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The Lovely Eggs

I Am Moron

    It’s a very busy time in Eggland right now. Since the release of their last album ‘This Is Eggland’ in 2017, The Lovely Eggs have sat back and watched the world mutate and slowly eat itself. However, rather than remaining frozen in despair, they have used their relentless analysis of a modern culture that is bringing the world to its knees and poured every bit of inspired anger, contempt and hysterical laughter into new album ‘I am Moron’.

    We got to hear the first results of their observations as 2020 lurched into life from its seasonal slumber, in the seething two-minute-and-fifty-seconds of rage in ‘This Decision’ and its accompanying mind-scrambling video, signaling the return of the Lancaster psych-punk duo. The single reached number #1 in both the physical and vinyl charts and was hammered by DJs at BBC 6 Music including Iggy Pop, Marc Riley, Steve Lamacq, Chris Hawkins, Gideon Coe, Tom Robinson and John Kennedy at Radio X. Not a bad start to their year, at all.

    ‘I am Moron’ is their second album to be co-produced and mixed by Dave Fridmann (The Flaming Lips, MGMT, Tame Impala) and continues their journey through Eggland into the unknown, with artwork by genius artist and video director Casey Raymond, who has the unbridled talent to perfectly visualize The Lovely Eggs sound, spewing Eggland out in a swirling whirlpool of dayglo colours, melting faces and symbols.

    Throughout their 13-year career, The Lovely Eggs have embraced isolation. Both metaphorically and geographically the married couple have chosen to shun the social conventions of normal life and dedicated their band and their life to the pursuit of what feels right.

    Operating out of their hometown of Lancaster, The Lovely Eggs are lonely pioneers and self-confessed kings of idiocy. Working in an industry whose currency is money, success and nepotism, The Lovely Eggs want none of it. They call out everything fake and plastic about the music industry and demand you to re-evaluate on their terms.

    ‘I Am Moron’ was self recorded by the band in Lancaster (“The Twin Peaks of Northern England”) between Lancaster Musicians Co-op and their home. During the recording, Lancaster Musicians Co-op was threatened with closure, so the band put their album on hold to fight the eviction.

    While the band were writing the album, they became fascinated by the Mars One program- a global project which aims to establish a permanent human settlement on Mars. Applicants are offered a one-way ticket- never to see earth again. This fascinated Holly and David who drew parallels between this mission and their own isolation as a band.

    Continuing the heaviness of ‘This is Eggland’. ‘I am Moron’ brings more depth to their sound bringing with it a mix of heavy psych, pop and strangeness. Some songs flicker between an earthly realism and the otherworldly loneliness of a one-way space mission. While in contrast, ‘Insect Repellent’ launches a gonzo-style attack against the middle classes and Bearpit questions the essence of working-class freedom.

    With no booking agent, manager, record label or publisher The Lovely Eggs are truly independent. And this isn’t due to economics. This is by design. From day one. And support for them is snowballing. They are selling out bigger and bigger venues and more eggheads are joining them in their crusade against bullshit.

    Welcome to their world. This Is Eggland!

    FORMAT INFORMATION

    Coloured LP Info: Neon yellow vinyl in gatefold sleeve.

    Pigs Pigs Pigs Pigs Pigs Pigs Pigs

    Viscerals

      “I learned long ago, never to wrestle with a pig” reasoned George Bernard Shaw. “You get dirty, and besides, the pig likes it.” True to form, Pigs Pigs Pigs Pigs Pigs Pigs Pigs have left the wiser of us aware that they are no band to be messed with. This is made manifest on ‘Viscerals’, their third proper, and an enormous leap forward in confidence, adventure and sheer intensity even from their 2018 breakthrough ‘King Of Cowards’.

      Incisive in its riff-driven attack, infectiously catchy in its songcraft and more intrepid than ever in its experimental approach, ‘Viscerals’ is the sound of a leaner, more vicious Pigs, and one with their controls set way beyond the pulverising one-riff workouts of their early days. Yet Pigsx7 have effortlessly broadened their horizons and dealt with all these new avenues without sacrificing one iota of their trademark eccentricity, and the personality of this band has never been stronger, whether on the Sabbathian and philosophical warcry of ‘Reducer’, the debauched, Jane’s Addiction-tinged swagger of ‘Rubbernecker’, the Melvins vs Sonic Youth demoltion derby of ‘New Body’ or even the demented MBV-meets-Twisted-Sister party-banger from hell that is ‘Crazy In Blood’.

      “We’re a peculiar bunch of people - a precarious balance of passion, intensity and the absurd” notes vocalist Matt Baty. Such is the unstoppable character of this unique and ever-porcine outfit; still the hungriest animals at the rock trough.

      FORMAT INFORMATION

      Coloured LP Info: 'Drained Of Blood vinyl' (Blood Red vinyl).

      Indies Exclusive LP Info: 'Blood And Guts vinyl' (Blood Red / Guts Yellow Swirl vinyl).

      Thundercat

      It Is What It Is

        “It Is What It Is” was produced by Flying Lotus and Thundercat and features musical contributions from Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, Steve Lacy, Steve Arrington, BADBADNOTGOOD, Louis Cole and Zack Fox. The album follows his game-changing third album “Drunk” (2017). That record completed his transition from virtuoso bassist to bonafide star and cemented his reputation as a unique voice that transcends genre. “This album is about love, loss, life and the ups and downs that come with that,” Bruner says about “It Is What It Is”. “It’s a bit tongue-in-cheek, but at different points in life you come across places that you don’t necessarily understand… some things just aren’t meant to be understood.”

        The unruly bounce of new single ‘Black Qualls’ is classic Thundercat, teaming up with Steve Lacy (The Internet) and Funk icon Steve Arrington (Slave). It’s another example of Stephen Lee Bruner’s desire to highlight the lineage of his music and pay his respects to the musicians who inspired him. Discovering Arrington’s output in his late teens, Bruner says he fell in love with his music immediately: “The tone of the bass, the way his stuff feels and moves, it resonated through my whole body.”

        ‘Black Qualls’ emerged from writing sessions with Lacy, whom Thundercat describes as “the physical incarnate of the Ohio Players in one person - he genuinely is a funky ass dude”. It references what it means to be a black American with a young mindset: “What it feels like to be in this position right now… the weird ins and outs, we’re talking about those feelings… Part of me knew this [track] was where Steve [Arrington] left us.”

        For fans of Kendrick Lamar, Childish Gambino, Flying Lotus, Kamasi
        Washington, BADBADNOTGOOD.

        FORMAT INFORMATION

        Coloured LP Info: 140g red vinyl, housed in a 3mm spined sleeve with OBI strip.

        Coloured LP includes MP3 Download Code.

        Deluxe LP Info: 140g transparent pink vinyl, housed in a 6mm spined gatefold sleeve with gold foil detail and OBI strip.

        Deluxe LP includes MP3 Download Code.

        Indies Exclusive LP Info: 140g cream vinyl, housed in a 3mm spined sleeve with OBI strip.

        Indies Exclusive LP includes MP3 Download Code.

        Picture Disc Info: Limited edition 140g picture disc, housed in a 6mm spined gatefold sleeve with gold foil detail and OBI strip.

        Picture Disc includes MP3 Download Code.

        CD Info: CD softpack.

        Ren Harvieu

        Revel In The Drama

          Harvieu’s defiance against the odds and her willingness to lay herself open to make what she believed was within her is baked into every groove of the record, across every stylistic turn: the giddy pop of ‘Strange Thing’, the gothic swoon of ‘Cruel Disguise’, the smokey seductiveness of ‘Yes Please’ through to the stirring torchsong finale ‘My Body She Is Alive’.

          Harvieu has come a long way from the 17-year-old who was signed to Island Records and who had no intention of becoming a singer-songwriter. Even when she made her debut album “Through The Night”, her confidence was low. “I did help write a few of the songs on that record, which I’m still very fond of, but I felt more of a mouthpiece for someone else’s talent, which eats away at you especially because I had so much to say lyrically I just hadn’t learnt how to as yet.”

          Her injury - a broken spine following “a freak accident” between recording and releasing her debut album - undermined Harvieu even further. Likewise, Island parted ways with her six months after it’s release, despite a Top 5 chart entry, making the BBC’s Sound Of 2012, a 5-star live review from The Guardian and TV exposure. What followed was what Harvieu describes as “some very dark years” which she addresses in songs like ‘Spirit Me Away’ and the 50’s ballad-evoking ‘You Don’t Know Me.’ A split with her long term partner, her manager and then her beloved Salford. “In one fell swoop everything was gone. I knew I had to get away, start again, rebuild myself.”

          It wasn’t until 2015 to be exact, when she met Romeo Stodart, the Magic Numbers frontman and songwriter who had emailed after seeing her perform on Later… With Jools Holland, to ask if she’d consider writing together. “When we started, the energy was immediately different to anyone I’d worked with before, there was this insane instant musical connection” she says. “I loved that Romeo really embraced who I was and encouraged it, I was starting to realise that I didn’t have to be anything other than myself.”

          The pair spent the next two years co-writing: “I wasn’t in a massive hurry, because at last I was having fun” Harvieu says. ‘We’d stay up all night drinking, dancing and playing music, I felt like I was re-discovering a girl who had been hidden, quietened. I’d tell Romeo, I don’t just want to paint pretty pictures I want to revel in the drama of my life, the good and the bad, before I was afraid to say something in my lyrics, but no longer. I felt free.”

          The album was co-produced by Romeo Stodart and Dave Izumi Lynch, owner of Echo Zoo studio in Eastbourne where recording took place. “It was a truly magical experience working with Dave & Romeo, they are two absolute nurturing musical wizards.” says Harvieu.

          Harvieu’s lyrical confidence is evident throughout the album and has you leaning in to absorb line after line. Her voice, soaring and caressing in equal measure, is matched in force by her flirtatious personality. From the album’s opening lyric “Let me put my paws on you, strange thing’through to the feminine bite of ‘Curves And Swerves’ “I’ve got some curves and some swerves, what you gonna do about it?” which crackles with sexual tension and an aching vulnerability.

          Among Harvieu’s new songs are messages of hope to her younger, anxious self. To the teenage goth Ren in ‘Little Raven’, she says: “I want you to know, that I’m starting to feel, but its gonna take time, but I’m ready to heal”. ‘Tomorrow Girl Today’ is to the Ren “who would make bad decisions… we can all be very self-destructive, but will we make it this time?”

          So what now, Ren Harvieu? “I’ve created a second chance for myself“ she says. “And I will keep creating second chances for myself, because this is my life and I’m not afraid to revel in it anymore.” Revel In the Drama of Ren Harvieu - finally we all can too.

          FORMAT INFORMATION

          Coloured LP Info: Indies exclusive clear vinyl.

          M. Ward

          Migration Stories

            A prolific writer, producer and performer, M. Ward has established himself as one of modern American music’s most unique and versatile voices. For his tenth album he journeyed to Quebec, Canada to work with Arcade Fire’s Tim Kingsbury, Richard Reed Parry, producer/mixer Craig Silvey (Arcade Fire, Arctic Monkeys, Florence and the Machine) and Teddy Impakt. Together at Arcade Fire’s Montreal studios they recorded a collection of 11 songs inspired by stories of human migration.

            M. Ward’s music has always felt intricate, intimate and other worldly. With Migration Stories he breathes beautiful life into vignettes of human flight, blurring the lines between reality and fantasy as it reckons with a world that feels more divided than ever before, even as its inhabitants grow more inextricably linked by the day.

            Warm Digits

            Flight Of Ideas

              On "Flight of Ideas", Warm Digits make a call to arms: when we all think our ideas are right, what are the costs of never believing you could be wrong? Looking back to the history of psychology to find out what happens when ideas outlive their sell-by date, with their vocal guests they set up a blistering musical exchange between fluorescent agit-funk, primary-coloured synth-bounce and fizzing sheets of guitar noise. The LP features vocal contributions from Maximo Park’s Paul Smith, The Lovely Eggs, The Orielles, Rozi Plain and the Delgados’ Emma Pollock.

              Infused with the restive spirit of Warm Digits and their guests, these inspirations are taken as a call to arms rather than an academic panel discussion. “Fools Tomorrow” uses the language of scientific revolutions and a spiral-eyed swirl of electro shoegaze to show how being able to accept you’re wrong can change your life, while “Replication” takes the ever-circling influence of Steve Reich and cult synth-composers like Laurie Spiegel to create a luminescent sparkling throb that’s impossible to resist. The Delgados’ Emma Pollock lends her vocals to "The View From Nowhere" which concerns two people working out their closeness and distance. It could be about any relationship, but the title is a reference to the way psychoanalysts historically kept themselves a "blank screen" with their patients, as if they could take a "view from nowhere" and be wholly objective in what they saw. “Feel the Panic” sees wigout psych-merchants The Lovely Eggs take advantage of Warm Digits’ relentless momentum to enthusiastically rail against pigeonholing and outmoded systems of authority with an unruly air-punching chorus. The song was inspired by the "being sane in insane places" experiment, which argued that the power wielded by psychiatrists' diagnoses was dangerously capricious, and that in some instances the treatment induced precisely the psychic distress they sought to classify.

              "Shake The Wheels Off" is about the moment when those subjugated by archaic systems of control take their power back: in this instance, the way research on transport safety took the male body as the norm, drastically increasing the risk that women would get injured in a car crash. The Orielles' roll-call of female engineering heroes heralds the moment when the balance starts to be redressed. Meanwhile Rozi Plain gently turns insecurity on its head over a pulsating Eurobeat-meets-MBV backing to make “Everyone Nervous” almost feel like a valedictory slogan. Celebrate Your Uncertainty!

              In an increasingly off-kilter world where reality shifts daily, truth is merely what we decide it to be, and an avalanche of possible identities overwhelms us with possibility, it can feel like our lives are careering towards chaos down a one-way street. The question is: do we “Feel The Panic” or “Shake The Wheels Off”? With its glorious defiance and heart-bursting grooves, “Flight of Ideas” calls to our past experience for answers, and dares us to listen.

              Warm Digits are Andrew Hodson and Steve Jefferis from Newcastle-upon-Tyne, UK. Their previous album for Memphis Industries, "Wireless World", featured guest vocals from Field Music and Sarah Cracknell, amongst others, garnered plaudits from BBC 6Music including an "Album of the Day" slot and playlists for “End Times” “Growth of Raindrops”, and boosted them on to the festival bills of Bluedot, Green Man and Festival No.6 amongst others.

              FORMAT INFORMATION

              Dinked Edition LP Info: • Exclusive mirror-board sleeve
              • Exclusive 7” featuring two brand new non-album tracks
              • Orange vinyl
              • Signed postcard
              • Limited to 300

              Coloured LP Info: Indies exclusive 180g orange vinyl.

              Everything Is Recorded

              Friday Forever

                Friday Forever is the second album from multi-artist project Everything Is Recorded, helmed by producer artist Richard Russell. This follows the critically acclaimed and Mercury Music Prize nominated debut of 2018, Everything Is Recorded by Richard Russell. Friday Forever takes on a multi-lensed perspective of a classic night out, followed closely by the sobering reflections of the next morning. The album features an array of new collaborators – in British rappers Aitch, Flohio and Berwyn, Irish singer songwriters Maria Somerville and Kean Kavanagh, the inimitable voices of A.K. Paul, James Massiah, and returning vocalist Infinite Coles – as well as established names like Ghostface Killah and Penny Rimbaud.

                Chris Forsyth With Garcia Peoples

                Peoples Motel Band

                  Over the past decade or so, Chris Forsyth has produced a series of perennially year-end list haunting studio albums of expansive art-rock, from 2013’s Solar Motel to 2019’s All Time Present , in the process becoming one of the leading lights of the so-called “indie jam” scene, musicians combining omnivorous influences with post-Dead sprawl. These critically lauded albums have established Forsyth as one of today’s most unique and acclaimed guitar player/composers - a forward thinking classicist synthesizing cinematic expansiveness with a pithy lyricism and rhythmic directness that makes even his 20-minute workouts feel as clear, direct, and memorable as a 4-minute song.

                  Pitchfork has called his music “a near-perfect balance between 70s rock tradition and present day experimentation,” NPR Music named Forsyth “one of rock’s most lyrical guitar improvisors,” and the New York Times calls him “a scrappy and mystical historian… His music humanizes the element of control in rock classicism (and) turns it into a woolly but disciplined ritual.” But the studio records are just the tip of the iceberg. You see, in a live setting Forsyth’s music is never really finished. He hasn’t had a fixed band in years and plays with a rotating cast of characters. Regulars in Forsyth’s bands have included bassists Doug McCombs (Tortoise) and Peter Kerlin (Sunwatchers), and drummer Ryan Jewell (Ryley Walker, too many others to mention), among others - basically, whoever is available for the given gig or tour.

                  These are not groups that rehearse, exactly. Operating more like a jazz band, Forsyth and his players treat the songs as frameworks that remain identifieable but morph based on who’s playing them, like weather to a landscape. Embracing this flux has become a cornerstone of Forsyth’s live sets, rendering every performance special and thereby catching the attention of tapers from his home base in Philly to New York City, Chicago, and Minneapolis. In fact, most of his live performances over the last few years are recorded and posted on the Live Music Archive site. But the taper recordings, though many are high quality and full of character, are not professionally recorded and mixed multi-tracks.

                  Which brings us to Peoples Motel Band , the new live LP culled from a set that Forsyth played with NY-based group Garcia Peoples as his band, and is self-releasing on his own Algorithm Free label in a limited pressing of 500 copies. Recorded September 14, 2019 before a packed and enthusiastic hometown crowd at Johnny Brenda’s in Philadelphia, Peoples Motel Band catches Forsyth and Garcia Peoples (plus ubiquitous drummer Ryan Jewell) re-imagining songs from Forsyth’s last couple studio albums with improvisatory flair.

                  Forsyth and Garcia Peoples played a number of 2019 shows together, beginning with a semi-legendary jam set at Nublu in NYC in March, through a couple dates on Forsyth’s month-long weekly residency at Nublu in September and concluding with a five-date tour of the Northeast in December. The chemistry between the players is tangible. As is often the case with Forsyth shows, the gloves come off quickly and the players attack the material - much of it so well-manicured and cleanly produced in the studio - like a bunch of racoons let loose in a Philadelphia pretzel factory.

                  Recorded and mixed with clarity by Forsyth’s longtime studio collaborator, engineer/producer Jeff Zeigler, the record puts the listener right in the sweaty club, highlighted by an incredible side-long take of the chooglin’ title track from 2017’s Dreaming in The Non-Dream LP (note multiple climaxes eliciting wild shouts and ecstatic screams from the assembled). This is not the new Chris Forsyth album, exactly, but then again, it kinda is because whenever he sits down to play, something new comes out.

                  Yves Tumor

                  Heaven To A Tortured Mind

                    Few projects at the forefront of contemporary art truly push visceral sonic boundaries in the way that Yves Tumor does. With an arc that impartially sits between psych-rock and modern pop, comparisons only serve as limitations intended to define that which cannot be. Yves Tumor melds restraint and chaos; diluting reality by giving meaning to the abstract and allowing for dissonance to be seen and heard as harmony.

                    Heaven To A Tortured Mind - written and composed by Yves Tumor and produced by Yves Tumor and Justin Raisen (Sky Ferreira, Ariel Pink, Charli XCX) - marks the fourth official full-length release from Yves Tumor and the follow-up to 2018's critically acclaimed and era-defining Warp release, Safe In The Hands Of Love. Breakout singles "Noid", "Licking An Orchid" and "Lifetime" shifted critical perception into media such as the New York Times, Rolling Stone, Pitchfork, the Fader, NPR and more awarding the album as one of the best releases of the year.

                    Yves Tumor has steered the project into a whole new realm with Heaven To A Tortured Mind, piercing through contradiction, redefining expression through song, and catapulting Yves Tumor into the next phase of illusion and evolution. Heaven To A Tortured Mind finds its place in music history as a collection of anthems for a generation.

                    FORMAT INFORMATION

                    Coloured LP Info: Silver vinyl.

                    Coloured LP includes MP3 Download Code.

                    LP includes MP3 Download Code.

                    It is a cliché to describe music as a trip or an ocean or whatever, so this album, Tecwaa’s album “Beyond the Altai” released on Höga Nord Rekords, will in part be described as a snowman: the snowman has its characteristic familiar shape. He is cold yet there is something warm and cuddly about him, something that makes you feel happy and safe.

                    The A side on the album goes from that warm/cold cosy feeling but elements of destruction like melodies in minor keys slowly transforms the album to become only cold and not so cosy - the snow turns grey and the snowman’s smiling mouth becomes a twisted grin. Its contours disappears and the shape dissolves as the snow melts and floats out on the ground beneath its body. As the album develops, the sound gets harder and darker and the York based DJ moves closer to his roots in electro and Roland-machine knob-turning.

                    In some ways, “Beyond the Altai” is a call from the eighties and nineties dancefloors like in the tracks “Back To The Atomic Ether” and “10 Swords” on the B-side but all melts together in Tecwaa’s music to create his own obstinate and loose sound!

                    Purity Ring

                    Womb

                      After more than five years, Purity Ring have returned to announce their third album, entirely produced and recorded by the duo of Megan James and Corin Roddick. Womb chronicles a quest for comfort, the search for a resting place in a world where so much is beyond our control. The striking vulnerability of “ruby insides” - “If I could, I would let you see through me” - charts a course that’s both intensely personal and deeply connected to those close to us, our kin whether by nature or nurture. As the ground shifts beneath their feet, Womb’s characters help one another face death, despair, and world-altering discovery with resilience and grace. For all the terrain it encompasses, Womb’s quest culminates in “stardew”, a glittering, transcendent invitation to “just be where you are” - to experience the kind of powerful peace that can only be found by truly coming home.

                      Womb follows Purity Ring’s 2012 internationally-acclaimed and highly influential debut Shrines and 2015’s another eternity. On another eternity, The New York Times praised the songs as “only a few steps removed from radio hits by singers like Ariana Grande and Ellie Goulding” while Rolling Stone called them “lustrous synth pop plus cavernous hip hop” and The New Yorker lauded the duo for “creat[ing] electro-pop that is as warm and human as it is cold and alien, an intoxicating combination that feels boldly futuristic.”

                      FORMAT INFORMATION

                      Coloured LP Info: Indies exclusive opaque red vinyl.

                      Sun Araw

                      Rock Sutra

                        ‘Rock Sutra’ is the new space rock album from Sun Araw. ‘Roomboe’, the first track, illustrates this process. Experience is elastic. Humans alive right now tend to think there is some sort of ‘baseline’ experience of a thing, a room, a person, a feeling, some version we all agree on. This isn't true at all: experience is completely dependent on the quality of attention of the experiencer. There is a granularity to experience that, when tuned up, reveals deeper and deeper space inside of things. When you zoom in (by pure observation: by not-articulating, not-thinking), you create ‘room’, you make space. Just like that. For instance, ‘Roomboe’ has an extremely limited tonal framework; about 9 notes for the main guitar melody. As the guitar pushes against these melodic limitations with continually renewed attention and energy, it begins to create space around itself. And all of the sudden (at about 4:57), out of this constriction, space balloons up from everywhere simultaneously. ‘Roomboe’ is a clue about how to open a portal outwards into free space.

                        ‘78 Sutra’ is about orbital motion. ‘Catalina’ is about taking a walk. ‘Arrambe’ is about a peculiar feeling you can get when you zoom in far enough. The music is offered in a spirit of generosity and adventure; it doesn’t stay put and it keeps zooming in to reveal more and more. The album was recorded live-to-midi with the band and this is the first Sun Araw album recorded like that. That band is Jon Leland on drums and percussion and Marc Riordan on synthesizers and Cameron Stallones on synthesizers and guitar and vocals.

                        Anna Burch

                        If You’re Dreaming

                          ‘If You’re Dreaming’ was tracked with producer Sam Evian in his home studio in the Catskill mountains of upstate New York. Where the first album had been a rush of inspired songwriting followed by a drawn-out process of arrangement and mixing, Burch and Evian worked with self-imposed time limitations to establish a sharper focus and get to the core of the new songs. The work was swift but somehow more relaxed, locking into a groove of tracking the basic elements and then expanding on the arrangements with overdubs and auxiliary instrumentation. The end goal was to present not just an assortment of new songs but craft an album that moved dynamically through an interconnected emotional arc.

                          With recurring themes of isolation, weariness and longing, these songs deliver that emotional arc with a delicate but uncompromising execution. Burch’s intrinsically catchy songwriting dials down the urgency of her debut a notch, taking a turn towards airy, jazz-voiced chords, floating reverb and an expansion of the sonic palate with unexpected instrumentation. The soft-rock bass grooves and understated saxophone lines of ‘Not So Bad’ push an impressive pop structure into exciting new territory and the sweetly melancholic Tell Me What’s True centres around muted electric piano, its languid but metered vibe recalling the gentler side of Carole King.

                          The nuance of arrangements that could sometimes get buried on debut ‘Quit The Curse’ rises to the surface on patient, opulent tunes like ‘Every Feeling’ and in the twelve-string guitar hooks of ‘Party’s Over’. The album drifts dreamily as much as it hones in with a sharper clarity on some of Burch’s most personal songs. Even at its most introverted, ‘If You’re Dreaming’ is always warm and present. It’s a deliberately drawn chapter of Burch’s work, trading in the wild-eyed and sometimes neurotic party hopping of ‘Quit The Curse’ for a more solitary walk after midnight. Daring and clear- headed, these songs cut deeper in their subtleties. ‘If You’re Dreaming’ moves with intention, taking its time revealing new layers of sophistication and growth in Burch’s always charming songcraft

                          FORMAT INFORMATION

                          Coloured LP Info: Purple vinyl.

                          Coloured LP includes MP3 Download Code.

                          Nils Frahm

                          All Encores

                            The three EPs will be available as one full length release titled All Encores featuring 80 minutes of music to follow his masterful 2018 album All Melody.

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

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

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

                            FORMAT INFORMATION

                            3xLtd LP Info: In celebration of the fifth Piano Day, Nils Frahm releases his acclaimed 'All Encores' album on 3LP vinyl.

                            Callisto

                            Guidance Is Internal : Part 3

                              Boston's Dana Kelley aka Callisto is a man whose music has long been the subject of much deserved adulation. A student of the deep and soulful, an explorer of the melodic and galactic, and an artist who manages to capture imaginations with his supremely crafted sonics. He is a much missed artist, someone who departed the physical too early, but the body of work he left behind has spoken to generations of listeners, DJ's and fans in equal measure.

                              This is the third and final instalment of 3 compilations focused on Callisto's golden period of productions for the legendary Chicago label Guidance Recordings. As with the other volumes that preceded it, it's an outright and joyous celebration of his music, his vision and the forward looking nature of his music that is still intact today. It's hard to think of someone with a more unique style and with a truer idea of their own sound-world. Callisto takes us deep inside, into other worlds with his own individualistic take on house, techno, ambient and even jungle and D&B.

                              These compilations celebrate one of the most idiosyncratic artists from the second wave of US house music producers, a truly essential body of work presented here respectfully, sourced from all audio sources courtesy of Above Board Projects, Guidance Recordings and Dana's family. Mastered by Curved, London and with special artwork by Atelier Superplus featuring a never before seen image of Dana from his family's photo albums.


                              Wilma Archer

                              A Western Circular

                                Within A Western Circular lies an exciting and varied crew of guest artists including MF DOOM, Samuel T. Herring (Future Islands), Sudan Archives, and Laura Groves, all contributing vocals to his rich, dexterous compositions. These collaborations are the by-product of several years of writing and producing. Recently, he’s appeared extensively on the debut albums by Sudan Archives (writing the lead single, 'Confessions', no less) and Nilüfer Yanya (contributing seven songs), alongside work with Celeste, and another writer and production credit on Jessie Ware’s Devotion.

                                An album that’s been in the works for the past half-decade, A Western Circular is a bold, reflective piece that directly relates to Archer’s personal experiences of life and death, centered on one particular week where they breathed with equal intensity. The record’s themes of greed, love and loyalty all relate back to that specific time. Inspired by author John Fante, A Western Circular is a spiritual voyage through life’s pushing and pulling: finding beauty in the rough, sadness in the bright. Ostensibly, it’s a poignant reflection on the duality of the human condition.

                                On the record, Archer has uncovered new depths and forged an invigorating singular sound - supple and multi-layered, honouring his acoustic heritage and influence, while building a sonic universe that commands contemporary references to everything from Frank Zappa to Yasuaki Shimuzu, Robert Wyatt to Arthur Russell.

                                FORMAT INFORMATION

                                Coloured LP Info: Indies exclusive clear vinyl.

                                Deluxe LP Info: Album on clear vinyl, comes with white label 12” of Last Sniff featuring MF Doom on black vinyl.

                                Butzmann / Kapielski

                                War Pur War

                                  Composer, radio dramatist and performance artist Frieder Butzmann began exploring experimental music in the late 1960s. One of the pioneers of German industrial music and a member of the Geniale Dilettanten movement, Butzmann has collaborated with artists such as Genesis P-Orridge, Blixa Bargeld, and Santrra Oxyd, as well as releasing numerous solo works. Frieder Butzmann joined forces with author and artist Thomas Kapielski in the early 1980s. Most of their compositions are minimalist tracks interspersed with everyday noises and fragments of speech, as can be heard on their WAR PUR WAR album, first released on Zensor in 1987. This utterly unique work is an idiosyncratic mix of eccentric electro-pop and bizarre sonic collages and has gone on to become a sought-after collector's item. Now lovingly remastered, with refreshed artwork and two bonus tracks, WAR PUR WAR is being reissued on LP and CD on Bureau B, complete with previously unpublished photos and liner notes by Frieder Butzmann. 

                                  Penya

                                  Super Liminal

                                    On The Corner deliver the long-awaited repress of sold out album Super Liminal, the debut LP by Afrolatin music collective Penya. It is released alongside their new EP ‘Penya Safari’ in collaboration with legendary gogo musician Msafiri Zawose. 'Super Liminal' is an otherworldly mix of modern, afro-motorik rhythms, chants and improvised congotronics. ‘Liminal’ – an in-between state – references the transitional process the four-piece band entered during a series of self-produced recording sessions held at Penya's multi-instrumentalist Magnus P.I's home studio between March 2016 and May 2017. Penya's percussive and futuristic Afro-Latin sound also owes its genesis to the concept of ‘liminality’: the threshold of disorientation occurring during ritual practices.

                                    FORMAT INFORMATION

                                    LP Info: Repress.

                                    Euros Childs

                                    Gingerbread House Explosion

                                      Euros Childs returns with his fifteenth album Gingerbread House Explosion released on his own label National Elf. Recorded by Stephen Black (aka Sweet Baboo) at Gus' Dungeon II studios Cardiff, it features Stuart Kidd (Kidd, The Wellgreen, Dr Cosmo's Tape Lab) on drums and Stephen Black on saxophone, clarinet and guitars.

                                      Following last year's all instrumental Olion, Gingerbread House Explosion sees Euros singing once more and returning to the more familiar melodic pop songwriting that he is perhaps best known for. It's an album brimming with memorable hooks and choruses, with songs tackling subjects such as Richard Branson acquiring the moon ( Virgin Moon) somebody's bits falling off in the bath ( Bits of me (Falling off) a couple bonding over a love of bombs ( Cuddle Up to the Bomb ) a man developing an unhealthy obsession with someone else's bins( Bin Night )and screwing things up (Screw It Up ).

                                      Gingerbread House Explosion is an album that will make you laugh, cry and tap your toes - possibly all at the same time. 


                                      Sir Richard Bishop

                                      Oneiric Formulary

                                        Five years after Tangier Sessions, Sir Richard Bishop, we presume, is back from his travels around the world. With Oneiric Formulary, he’s dug deeper into his bag of extra-musical gestures from the eternal and unknowable, along with a few sounds we might recognize, all transmuted for our mortal ears’ enjoyment. The last couple of Sir Richard Bishop releases on Drag City were genre exercises of sorts — The Freak of Araby explored the musical legacy of late Egyptian guitarist Omar Khorshid while Tangier Sessions explored the sound of an obscure 19th century guitar that Rick had acquired from a mysterious Swiss luthier.

                                        The title Oneiric Formulary, may sit contrarily on the tongue — but we may refer to it as representing “a collection of dream states” — which means we like it! With such a lofty goal in mind and at his fingertips, Sir Rick returns to the approach of his DC debut, Polytheistic Fragments — a different sound, a different instrument, for nearly every track, drawing from the music of all nations, including and especially that infamous republic with only one person on the census roll (initials SRB). It’s got mad variety, the kind you don’t see much of anymore — an Ed Sullivan kind of evening out, with some spinning plates, dancing mice, and of course, an appearance from Zippy the Chimp.

                                        What it means is that when you drop the needle/raise the laser/press the head to tape/or do whatever happens when you stream it, you’ve got sounds that don’t sound at first like guitars — because they’re not! Then you’ve got sounds that sound initially like guitars — because they are! Sir Richard found joy in not only finding unlikely sounds, but also writing a fake jingle, soundtracking an unreleased film, reflecting on Southern origins, going concrète (Beatles-style!), using computers (Sir Rick, no!), and accidentally juxtaposing Frippian electric guitar drone against the grit of ol’ school acoustic guitar while thinking of sci-fi, as well as revisiting (t)rusty old forms such as Americana, classical, gypsy and raga. It’s all trotted out to phantasmic effect, as it brings to us with the freshness, the roar of the old crowd as they see, smell and hear the greatest show on earth. What a night! Thank you, Sir Richard Bishop.

                                        CMON

                                        Confusing Mix Of Nations

                                          CMON is the new recording project of Josh da Costa and Jamen Whitelock. Even as they established themselves as integral members of New York’s DIY scene with their band Regal Degal, da Costa and Whitelock were acutely aware of how closed off they had become. As Regal Degal mounted its final tour, with clubs pushing their set times earlier and earlier to make space for the DJs who followed da Costa and Whitelock took notes. “We were definitely getting swept further from where we wanted to be and the excitement we wanted to portray,” Whitelock says. “There’s such joy in going out and dancing that was completely missing in a lot of shows, especially in New York. Nobody wants to move, everyone’s too self-conscious. But when you go to the club, everyone’s in it—you just want to dance, and that’s all that matters.”

                                          The community potential and the promise of physical liberation that came with dance music spoke loudly to both da Costa and Whitelock, and following the dissolution of Regal Degal, da Costa set up a new life for himself in Los Angeles—a steady relationship, a pet bird, a car —and got down to work with a copy of Ableton. Back in New York, his head spun by DJ Rashad, Whitelock was learning to program, too. They kept their line of communication open, and eventually Whitelock started making the cross-country trek to work and record with his old bandmate. They mined the sound they established with Regal Degal, applying their old band’s heavy atmospherics and melancholy soul to four-on-the-floor rhythm grids and smoothed-out guitar lines, taking production cues from EBM and AOR in equal measure. If Confusing Mix of Nations is a tour of anything, though, it’s not countries so much as psychic spaces.

                                          Each of its ten tracks feels like a postcard from an aesthetic territory worth returning to. Opener “Coo” begins with locked-in grooves reminiscent of Drugdealer (for whom da Costa drums) or Mild High Club, until it suddenly gives itself over to a rhythm that’s been chattering away in the back of the track. As da Costa and Whitelock follow its hints, “Coo” suddenly inverts its priorities and sounds like Miami bass all leaned out for Halloween, then calmly returns to the opening groove, the only proof of the excursion an excess of delay on da Costa’s vocal. “Peter Pan” struts like it’s on its way to meet side two of Sandinista! in its verses, then glows with New Romantic shine in the chorus. The pop hooks on “Good to Know” feel like they could set off a festival crowd, but they’re offset by a strange hollow ache at the song’s center—a weird sadness that makes you feel a little bad for dancing to it.

                                          Born Ruffians

                                          Juice

                                            Critically acclaimed indie rock mainstays Born Ruffians return with their sixth studio album, Juice, which finds the band moving into a more confident and polished direction, bringing to mind 1970s songwriting prowess with layered, and mature production sensibilities. The album was produced by Graham Walsh, known for his work with Alvvays, !!! (Chk Chk Chk), and Holy Fuck.

                                            FORMAT INFORMATION

                                            Coloured LP Info: Yellow vinyl.

                                            Ellis

                                            Born Again

                                              The full-length debut from Ellis, Born Again takes place in spaces both intimate and vast, ordinary and near-mythic: warm beds and lonely church pews, restless cities and desolate forests and the furthest reaches of the cosmos. Produced by Jake Aron (Snail Mail, Solange, Grizzly Bear) and recorded partly at Aron’s Brooklyn studio, Born Again arrives as the follow-up to Ellis’s debut EP The Fuzz—a self-released, self-produced effort that promptly led to a deal with Fat Possum Records. In a departure from the viscerally charged dream-pop of The Fuzz, Born Again unfolds with a mesmerizing subtlety, gracefully spotlighting Ellis’s unhurried melodies, starkly confessional lyrics, and the luminous vocal work she’s shown in opening for artists like Soccer Mommy and Alvvays.

                                              Irma Vep

                                              Embarrassed Landscape

                                                Irma Vep is the on-going, evolving main vehicle for polymath musician Edwin Stevens and on Embarrassed Landscape the project has reached a zenith. Primarily recorded in Stevens’s adopted home town of Glasgow over two days with frequent collaborators Ruari Maclean and Andrew Cheetham, Embarrassed Landscape is an album that breathes in a fetid skip full of millennial dread, self-effacing anxiety and doubt before exhaling it as heartbreaking songs and ecstatic abandon. Following a series of limited releases spread out over the course of a decade, recorded in fits and starts around the United Kingdom as the protagonists wanderlust saw fit, Irma Vep’s 4th album proper presents Stevens’s vision in its fullest and most realised form.

                                                Built around the skeleton of Stevens’s songwriting and fleshed out with loose, virtuoso playing, it’s a body of work that could have been the anxious songs of an over-thinker but rendered here Embarrassed Landscape revels in a kind of un-selfconscious confidence. Indeed, various tensions throughout the album are constantly revealing. Lyrics are riven with poetic, crushing self-analysis and absurdity only to be performed against a backdrop of trance-rock music skewered with Stevens’s own instantly recognisable guitar playing, a style free and full of fire.

                                                Songs wring nuggets of uncanny truth out of prosaic, every day activities while sounding like Rolling Thunder Revue era-Dylan. Songs that seem hewn from some unspeakable personal pain are laced with a disarming streak of black humour, massive, world-ending psych jams that harken to Vibracathedral Orchestra’s wall of sound dissipate into tender songs that deserve to be picked apart and cried to. Tension needs release and here the release needs tension. For example, Opener King Kong is bold in several directions at once. A pummelling trance spurred on by the endlessly enjoyable interplay between drummer Andrew Cheetham’s free jazz-inflected style and Stevens’s barely contained guitar wildness, the music screes for 6 minutes of transportation on its own steam before Stevens’s vocal even comes in.

                                                Perhaps the biggest dichotomy at the heart of Embarrassed Landscape is between the unbridled energy of the songs’ performances, their often bold arrangements and the heartbreaking, darkly funny songwriting at their heart. Closing song Canary brings most of these tensions to a sweet end. Within the alternating crescendos of violin and guitar Stevens intones about canaries brushing teeth down sinks, alcohol abuse, ghostly images half-seen through the fug of depression yet saved somehow by the social crutches friends and lovers provide. Embarrassed Landscape feels like the album Irma Vep always threatened to make, by some strange alchemy transforming the anxieties and self-criticisms inherent in the lyrics into a liberation, a letting go, a release from the tensions built up by a life lived full.

                                                FORMAT INFORMATION

                                                Ltd LP Info: Limited to 500 copies only.

                                                Various Artists

                                                Jamie 3:26 Presents A Taste Of Chicago

                                                  Following the 2018 release of a 12" preview sampler, BBE Music is excited to present the album 'A Taste of Chicago', a compilation of classic house edits by Jamie 3:26. Hailing from Beverly on the South Side of Chicago, Jamie 3:26 is an artist driven by a deep desire to get people moving in the dance. A Chi-Town vibe is always the focus for the master selector and producer who's capable of lighting up dance-floors around the world and that ethos shines through on this compilation, featuring a collection of tracks giving listeners a true insight into the sound, culture and style of the Windy City. The compilation sees classic tracks by the likes of Chip E, Quest and more get a serious Jamie 3:26 twist, with edits that not only capture the best of celebrated eras gone by, but point to the future too. Get ready for a unique and timeless journey into Chicago's famous house music scene, courtesy of one of the city's key players.

                                                  “This compilation represents the true unspoken sound of my city. While the House scene was blossoming into what would be a globally recognized phenomenon, we had this whole hidden movement going on. These personal edits that I played back then represent magical moments in time that are still being created in many of my sets today. A huge thank you to my music brothers Marshall Jefferson, Braxton Holmes, Tone B. Nimble, Chip E, Pap Spencer, Doc Brucio, Carl Bias for trusting my ears with your creations.” - Jamie 3:26

                                                  Dana Gavanski

                                                  Yesterday Is Gone

                                                    ‘I’m learning how to say goodbye / to let you go and face the tide / to wrap my feelings in a song,’ sings Dana Gavanski on the title track of her debut LP, Yesterday Is Gone. To wrap her feelings in a song: this is the task Dana has dedicated herself to with this record. It’s a goal common to many songwriters, but few approach it with such aplomb. By turns break-up album, project of curiosity, and, as Dana puts it, ‘a reckoning with myself’, Yesterday Is Gone is her attempt to ‘learn to say what I feel and feel what I say’: an album of longing and devotion to longing, and of the uncertainty that arises from learning about oneself, of pushing boundaries, falling hard, and getting back up.

                                                    Born in Vancouver to a Serbian family, Dana has always harboured a desire to sing. In her final year of university in Montreal, she picked up the guitar left by her ex-partner and decided to re-learn. But with a father in film and a painter mother, other art-forms clamoured for her attention. She spent a summer as her producer father’s assistant in the Laurentians, in a derelict hotel-turned-office that looked like something out of The Shining. The long days behind a computer cemented her desire to make music, ‘because it was so impossible to play that I needed to, in order to feel like it was real.’ The income she saved that summer funded a year of writing religiously, leading to EP Spring Demos in September 2017, which Dana describes as ‘whatever was coming out of me. A flood.’

                                                    Following Spring Demos, Yesterday Is Gone reflects Dana’s aim ‘to make something bigger, more thought through’. Steeped in determination and uncertainty in equal measure – ‘I just wanted to write a good song’ – the album took shape after she returned from a writing residency in Banff, Alberta. She left the residency resolved not to worry about her songs being ‘too obvious’. She’d begun to learn the art of empty time, of being alone with her emotions, losing herself in a landscape. She thought of Vashti Bunyan, riding for hours and writing, writing, writing. She considered how she might use writing to make sense of her life after the tumults of a break-up and a new city. Adrift in Toronto, Dana struggled to feel at home and connected to people, but the solitude also allowed her to ground herself in writing. She kept office-style hours at her bedroom desk every day until she started to understand the writing process, to see that ‘transforming a burning desire into something clear and tangible is a vulnerable and delicate act. You have to be able to let things happen, to accept losing control.’

                                                    The record is a co-production between Dana, Toronto-based musician Sam Gleason, and Mike Lindsay of Tunng and LUMP. While Sam helped Dana bring out the tunes, Mike’s input marked ‘the beginning of developing a sound that was closer to what I had in my head’. Though excited by the other elements of a song introduced during production, Dana and Mike were keen on ‘finding essential things, not overblowing, keeping things bare and letting the elements speak for themselves’. Not that the sheer variety of sounds and instruments didn’t overwhelm. ‘But you have that feeling,’ Dana says, ‘then you just pick up an instrument. At the base, you do know what you want. It’s about how to chip away at what you don’t want.’

                                                    The album shapeshifted as it passed through the hands of Dana, Sam, and Mike, taking on different tastes, feelings, and visions. When Dana performed the songs with a band, they found new form again. She was intrigued by performers like David Bowie and Aldous Harding, who inhabit different personalities on stage, physically tuning themselves to their music. ‘Watching these kinds of performances,’ Dana says, ‘I feel my body longing to express myself in exaggerations … to leave behind self-consciousness and become this energy.’ But a three-month trip to Serbia in autumn 2018 really pushed performance to the forefront of Dana’s mind. She took singing lessons to learn how to sing with the resonance that defines traditional Serbian song. Stirred by the bombast of fifties, sixties, and seventies music, including the high-energy kafana, or café music, as rooted in expressive pouts as it is vocal resonance, the trip incited a yearning to completely inhabit herself on stage. ‘I often feel we’re all just these controlled bodies,’ she says. ‘Sometimes I just want to make a snarl with my lip and keep it there.’

                                                    Stood on a crowded train last spring, Dana sang the Macedonian song Jano Mome to an audience of cheery Scottish ladies. The moment, brief but beautiful, lays bare Dana’s craving for live spontaneity. But it also reflects her injection of stylish drama and vivid emotion into the folk landscape that inspires her, from contemporary singers H Hawkline and Julia Holter, to stalwarts Fairport Convention, Anne Briggs, Connie Converse, and Judee Sill. Expressive urges run all through Yesterday Is Gone. Moments of beguilement splinter a backdrop of tenderly picked guitar, bass, synth, and poppier elements, which commune to produce her own kind of wall of sound. Each component is meticulously placed, yielding a deeply sincere response to the chaos of human emotion. ‘Often we have to go a little far in one direction to learn something about ourselves,’ Dana says. The months of solitary writing and self-doubt testify to this, but they’ve led to Yesterday Is Gone: an optimistic, steely-eyed gaze into the future.

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Indies exclusive orange vinyl.

                                                    Brian Fallon

                                                    Local Honey

                                                      The lead singer of beloved heartland-punk band The Gaslight Anthem, Brian Fallon steps away from that sound and into a stripped-down Americana space on his third solo album, Local Honey. Produced by Grammy-award winning producer Peter Katis (The National, Frightened Rabbit, Death Cab for Cutie), the album showcases Fallon's songwriting in small vignettes, from a loving devotional for his daughter to a vengeful murder ballad.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Indies exclusive yellow vinyl.

                                                      Coloured LP 2 Info: Translucent orange vinyl.

                                                      The Orb

                                                      Abolition Of The Royal Familia

                                                        The Orb (Alex Paterson and Michael Rendall) return with a new album that features Youth (Killing Joke), Steve Hillage (Gong, System 7), Roger Eno (co-creator of the Apollo album with Brian Eno & Daniel Lanois) & Jah Wobble (PiL, Primal Scream Orb, Invaders of the Heart). Really The Orb should need no introduction by now, but in essence they’re a rotating cast of members helmed by Paterson that began in 1988 and still thrives to this day. They were there since UK acid house day one, providing a unique ambient take on the musical milieu and soon rising to chart-topping, huge-venue-headlining prominence. They’ve released 19 albums plus EPs, singles, compilations and live recordings, influencing countless other musicians along the way.

                                                        FORMAT INFORMATION

                                                        2xColoured LP Info: Indies exclusive transparent blue vinyl.

                                                        Robert Forster

                                                        Danger In The Past

                                                          2020 sees the thirtieth anniversary of the album that launched the solo career of sometime Go-Betweens frontman Robert Forster. Upon its release ‘Danger In The Past’ met with universal acclaim from critics, even drawing comparison with Bob Dylan’s ‘Blood On The Tracks’ in some quarters. To mark this milestone, Needle Mythology will be reissuing expanded versions of both Danger In The Past and its 1992 successor ‘Calling From A Country Phone’. The re-release of these albums comes on the back of an incredible 2019 for Forster, in which he released an acclaimed studio album Inferno and received unanimous five star reviews for G Is For Go-Betweens Vol. 2, the second in a trilogy of box-sets gathering Go-Betweens studio albums and previously unreleased live recordings and outtakes. Forster himself has been fully involved on this expanded reissue contributing new liner notes and newly unearthed photographs. For Danger In The Past, Robert recorded in Berlin with an illustrious ensemble that included Bad Seeds alumni Mick Harvey (producer, multi-instrumentalist), Hugo Race (guitar) and Thomas Wydler (drums). BBC 6 Music’s Gideon Coe, described the record as "a beautiful, confident solo debut.” Of these new remasters, Needle Mythology co-founder Pete Paphides says, “The remastering (from Sean Magee at Abbey Road Studios) has dramatically revealed a depth and physicality to these recordings that casts new light on Robert’s intentions for these records. 

                                                          FORMAT INFORMATION

                                                          LP Info: LP + bonus 7".

                                                          Robert Forster

                                                          Calling From A Country Phone

                                                            2020 sees the thirtieth anniversary of the album that launched the solo career of sometime Go-Betweens frontman Robert Forster. Upon its release ‘Danger In The Past’ met with universal acclaim from critics, even drawing comparison with Bob Dylan’s ‘Blood On The Tracks’ in some quarters. To mark this milestone, Needle Mythology will be reissuing expanded versions of both Danger In The Past and its 1992 successor ‘Calling From A Country Phone’. The re-release of these albums comes on the back of an incredible 2019 for Forster, in which he released an acclaimed studio album Inferno and received unanimous five star reviews for G Is For Go-Betweens Vol. 2, the second in a trilogy of box-sets gathering Go-Betweens studio albums and previously unreleased live recordings and outtakes. Forster himself has been fully involved on this expanded reissue contributing new liner notes and newly unearthed photographs. For Danger In The Past, Robert recorded in Berlin with an illustrious ensemble that included Bad Seeds alumni Mick Harvey (producer, multi-instrumentalist), Hugo Race (guitar) and Thomas Wydler (drums). BBC 6 Music’s Gideon Coe, described the record as "a beautiful, confident solo debut.” Of these new remasters, Needle Mythology co-founder Pete Paphides says, “The remastering (from Sean Magee at Abbey Road Studios) has dramatically revealed a depth and physicality to these recordings that casts new light on Robert’s intentions for these records. 

                                                            Waxahatchee

                                                            Saint Cloud

                                                              What do we hold on to from our past? What must we let go of to truly move forward? Waxahatchee’s Katie Crutchfield spent much of 2018 reckoning with these questions and revisiting her roots for answers. The result is Saint Cloud, an intimate journey through the places she’s been, filled with the people she’s loved.

                                                              Written immediately in the period following her decision to get sober, the album is an unflinching self-examination. This raw, exposed narrative terrain is aided by a shift in sonic arrangements as well. While her last two records featured the kind of big guitars, well-honed noise, and battering sounds that characterized her Philadelphia scene and strongly influenced a burgeoning new class of singer-songwriters, Saint Cloud strips back those layers to create space for Crutchfield’s voice and lyrics. The result is a classic Americana sound with modern touches befitting an artist who has emerged as one of the signature storytellers of her time. Many of the narratives on Saint Cloud concern addiction and the havoc it wreaks on ourselves and our loved ones, as Crutchfield comes to a deeper understanding of love not only for those around her but for herself. This coalesces most clearly on “Fire,” which she says was literally written in transit, during a drive over the Mississippi River into West Memphis, and serves as a love song to herself, a paean to moving past shame into a place of unconditional self-acceptance.

                                                              Over the course of Saint Cloud, which was recorded the summer of 2019 and produced by Brad Cook (Bon Iver), Crutchfield peels back the distortion of electric guitars to create a wider sonic palette than on any

                                                              previous Waxahatchee album. It is a record filled with nods to classic country, folk-inspired tones, and distinctly modern touches. To bolster her vision, Crutchfield enlisted Bobby Colombo and Bill Lennox, both of the Detroit band Bonny Doon, to serve as backing band on the record, along with Josh Kaufman (Hiss Golden Messenger, Bon Iver) on guitar and keyboards and Nick Kinsey (Kevin Morby) on drums and percussion. Saint Cloud marks the beginning of a journey for Crutchfield, one that sees her leaving behind past vices and the comfortable environs of her Philadelphia scene to head south in search of something new. If on her previous work Crutchfield was out in the storm, she’s now firmly in the eye of it, taking stock of her past with a clear perspective and gathering the strength to carry onward.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Indies only coke bottle clear LP in matte gatefold jacket. Also includes 24" x 36" poster and download.

                                                              LP Info: Includes 24" x 36" poster and download.

                                                              LP includes MP3 Download Code.

                                                              Various Artists

                                                              Oto No Wa – (Selected Sounds Of Japan 1988 – 2018)

                                                                For the fifth entry in our Collector`s Series we enlist the skills of Japan-based musical connoisseurs, Ken Hidaka, Max Essa, and Dr. Rob. Their compilation Oto No Wa sets out to map the evolution of chilled Japanese sounds across 3 decades. Collecting 14 tracks, produced by a wide range of artists. From ambient pioneers to dance-floor veterans. Roping in 9-piece reggae band, Little Tempo, percussionist Kazuya Kotani, and organic, psychedelic collective, Olololop.

                                                                Beginning in the late 1980s, the era when “environmental music” became prevalent, there`s Yoshio Ojima`s cool computer-generated Sealed. The compilation also includes later work by his contemporaries Takashi Kokubo, and Yoshiaki Ochi. Theirs are compositions designed for art galleries and museum installations. “BGM” built from emerging technology, and / or counterpoint tapped out expertly on sticks and stones. The 90s give us the seminal electronics of Susumu Yokota, and the solar-flare strut of Scha Dara Parr - Japan’s answer to The Beastie Boys. Here, remixed by the legendary Major Force. Moving into the 21st century we have the post-house productions of Flower Records. Kentaro Takizawa`s oceanic Gradual Life, and Little Big Bee`s colourful coral reef-diving Scuba. Fellow traveller, Kaoru Inoue`s “Kyushu kosmische”. Representing the next decade are Flower Records` current rising stars, Coastlines, who calmly combine classic fusion, library music, and gentle nova bossa nova rhythms. Alongside them are the sun-baked electro-acoustics of Karel Arbus & Eiji Takamatsu, plus Chillax` previously unreleased epic analog / modular jam.

                                                                All of these selections are the result of some serious “digging” but more importantly they represent physical connections made during Ken`s 20-plus-year career in the “Biz”, Max` decade of DJing all over Japan. Music made by folks interviewed by Rob at the websites, Test Pressing and Ban Ban Ton Ton. Friendships forged at Lone Star - the trio’s long-running party, which takes place every month at Bar Bonobo in Harajuku.

                                                                STAFF COMMENTS

                                                                Patrick says: MFD look to Japan for the latest instalment of their imperious Collectors series, inviting Ken Hidaka, Max Essa and Dr Rob to pick out some personal highlights from the late eighties to the late teens. Across thirteen tracks you'll hear environmental ambience, sophisticated house, low slung fun and gentle jazz fusion, all perfectly suited to the Balearic mindframe. Maximum respect to Ken, Max and Rob, and to Music For Dreams for keeping these comps coming!

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Piccadilly Exclusive 'tropical pearl' vinyl!
                                                                Limited to just 100 copies!

                                                                Various Artists

                                                                DJ Kicks - Mr Scruff

                                                                  DJ-Kicks starts off its 25th year with a selector who’s been doing just that for even longer than we’ve been going. A true giant of the underground dance world, we proudly present the original ‘Jazz Potato’ himself: Mr. Scruff!  His 31-track masterclass features one new and exclusive track and lands 27th March 2020. Spanning the decades like a funky timelord for our special mix, Scruff brings some of the world’s best analogue and digital musicians together in a head-spinning melange of sinuous groove – ably blending sometimes disparate elements into an aurally nourishing whole - courtesy of two of the safest DJ hands you’ll ever have the pleasure to be in.


                                                                  Sufjan Stevens & Lowell Brams

                                                                  Aporia

                                                                    Aporia is a New Age album from Sufjan Stevens and his step-father and record label co-owner, Lowell Brams. In the spirit of the New Age composers who sanded off the edges of their synths’ sawtooth waves, Aporia approximates a rich soundtrack from an imagined sci-fi epic brimming with moody, hooky, gauzy synthesizer soundscapes. The album may suggest the progeny of a John Carpenter, Wendy Carlos, and Mike Oldfield marriage, but it stands apart from these touchstones and generates a meditative universe all its own. This is no mere curio in the Sufjan Stevens catalog - but a fully realized collaborative musical piece.

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Yellow vinyl.

                                                                    Little Dragon

                                                                    New Me, Same Us

                                                                      Little Dragon—the pioneering Swedish four-piece fronted by enigmatic vocalist Yukimi Nagano, with multi-instrumentalists Håkan Wirenstarnd and Fredrik Wallin on keyboards and bass respectively and Erik Bodin on drums and percussion—return with their sixth studio album, “New Me, Same Us”.

                                                                      For a band who are proudly left-of-centre and fiercely protective of doing things on their own terms, they have achieved no shortage of mainstream recognition. Grammy nominated for 2014’s “Nabuma Rubberband”, Little Dragon have long been seen as one of the most sought-after groups to work with. Chalking up an enviable list of collaborators throughout the years, working with equally groundbreaking artists like BADBADNOTGOOD, Gorillaz, SBTRKT, Flying Lotus, Flume, Kaytranada, Big Boi (who was first put on to the band via fellow Outkast member André 3000), De La Soul, DJ Shadow, Tinashe, Mac Miller, Future, Raphael Saadiq, Faith Evans and more. Their hugely popular and highly regarded live performances have spawned a decade-spanning career which has seen them recently co-headline a show with Flying Lotus at Los Angeles’ Hollywood Bowl and perform at some of the world’s most revered festivals such as Coachella, Glastonbury, Bestival, Lollapalooza, Melt, Dour, Sonar and Tyler, The Creator’s ‘Camp Flog Gnaw’.

                                                                      Having played together since their school days in Gothenburg—where they’d meet up after class to jam and listen to records by artists like A Tribe Called Quest and Alice Coltrane —“New Me, Same Us” is the sound of a band going back to basics and falling back in love with their instruments: drums, bass, keyboards, harp, guitar and voice, to produce some of their most focussed and inarguably best music to date. “This album has been the most collaborative for us yet.” they explain, “which might sound weird considering we’ve been making music together for all these years, but we worked hard at being honest, finding the courage to let go of our egos and be pieces of something bigger.”

                                                                      Entirely self-produced and recorded at their long-term home-built studio in Gothenburg, “New Me, Same Us” represents another chapter in the continuing evolution of Little Dragon, finding new direction in their unique style of unhurried, off-kilter r’n’b, pop and electronics, they sound as rejuvenated and energised as ever. The record also finds them in a reflective mood, Yukimi’s distinctive vocals musing on transitions, longing, and saying goodbye. “We are all on our own personal journeys,” they say, “full of change, yet still we stand united with stories we believe in, that make us who we are.” Lead single ‘Hold On’ is a message about breaking away and moving on, ‘Rush’ is about yearning for a love now lost, ‘Another Lover’ is described as a daydream of heartache, “I can’t understand what I'm doing / don't understand where we going” Yukimi laments in the opening lines. The aptly named ‘Sadness’ speaks to “how you might think you know someone but then time shows you a new face” say the band. ‘Where You Belong’ is a lullaby of fear of loss and death. There is room for optimism too, though. ‘New Fiction’ seeks that space in which to create new narratives and forge your own path and ‘Are You Feeling Sad’ is a reminder to take a step back and not worry too much: “you gonna be alright / don’t worry don’t worry / things gonna turn out fine”. 

                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Indies exclusive orange vinyl.

                                                                      Sorry

                                                                      925

                                                                        Together with co-producer James Dring (Gorillaz, Jamie T, Nilüfer Yanya), best friends Lorenz and Louis O’Bryen have woven 925 like a dreamscape in which idyllic and hellish scenes intermingle, forcing the question of what is real and what is make believe. Inspired by everything from Hermann Hesse to Aphex Twin and old-school crooner Tony Bennett, their experimental and holistic approach marks them out as a thoroughly 21st century band; from their open-minded approach to genre to their creativity allowing them to self-produce the music and direct accompanying videos.

                                                                        Joined by drummer Lincoln Barrett and Campbell Baum on bass, Sorry emerged from a thriving scene of bands in London, and though 925 is their debut album, it is by no means their first statement. It follows a series of mixtapes, released sporadically and used as a way to experiment with the disparate influences and sounds that give 925 its distinctively modern and apocalyptic sound.

                                                                        Where previous singles and mixtapes earned the band their status as one of the most vital and relentlessly creative new British bands of the moment, 925 is a record which will undoubtedly cement their status as true originals and cross-genre innovators in 2020 and beyond.

                                                                        FORMAT INFORMATION

                                                                        Coloured LP Info: Indies exclusive silver vinyl.

                                                                        Basia Bulat

                                                                        Are You In Love?

                                                                          "Oh why didn't I just listen to myself in the first goddamn place," Basia says. Somewhere in the middle of making her fifth album, Bulat took almost a whole year off. Because she had fallen in love, because her father died, because she had lost her sense of beauty and where it might be hidden. "The desert exposes you," she admits. "There's nowhere to hide." "Throughout this whole record, I was struggling between keeping it together and letting go," she explains, "between holding onto old narratives or accepting what's before me." There was death and grief, but also forgiveness, reinvention and love: "coming to terms with the past and acceptance of the present and trying to stay open to the future."

                                                                          The result is an album that’s gorgeous and startling, quietly strange, a shining desert record with a bit of dusty rose over all its 13 tracks. Are You in Love? is searching and certain; it’s the sound of a singer who’s refusing to hide. The title track sashays like a girl-group classic; "No Control" flashes like that group’s hard stare. "Already Forgiven" ripples with reverb like a ribbon in a windstorm, whereas "Your Girl" is cruising down the highway – with Bulat doing her best Christine McVie. "Love Is At The End of the World," the album’s gradually thunderous closing tune, is one of the most thrilling things Bulat has ever created: a blazing, incandescent ever-after, all raw electric hope.


                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Opaque beige vinyl.

                                                                          Daniel Avery + Alessandro Cortini

                                                                          Illusion Of Time

                                                                            Renowned UK producer Daniel Avery and acclaimed experimental musician and Nine Inch Nails synth artist Alessandro Cortini announce their debut full-length collaboration, ‘Illusion Of Time’, set for release on Phantasy.

                                                                            Beginning as a collaborative experiment before the pair had even met, Avery and Cortini then worked remotely and free of concept or deadline over several years. The result, finally completed when both artists were touring with Nine Inch Nails in 2018, is a quietly powerful album rooted in trust, process and experimentation.

                                                                            “It was very much a shared process,” notes Avery. “I would like to credit Alessandro with his belief that music has a life of its own, as well as the importance he places on the first take... That even something that may be considered out-of-step by some should be respected. Some of the tracks were borne simply out of a tiny synth part, or a bit of tape hiss that we had recorded. And that approach taught me a lot. It’s a record that’s been worked on hard, but not laboured over.”

                                                                            “I was a big fan of Daniel’s, and his work always spoke to me in a certain way,’’ explains Cortini. “Then, when we started working together, it just clicked. It’s very hard to explain, but I can always hear the love in his work, and that is true on this record. After our first collaboration, we just kept sending each other music and maintaining that dialogue. Next thing you know, we’re sitting in a hotel room in New York and had finished the record in three hours.”

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: LP pressed on transparent magenta heavyweight vinyl plus embossing with machine gloss on sleeve and digital download code.

                                                                            FACS

                                                                            Void Moments

                                                                              Chicago trio’s third album (ex-Disappears). Chicago trio FACS have evolved very quickly in the span of their three year existence. "Void Moments" is their third & latest off¬ering; a dark & claustrophobic album with rivulets of seismic beauty peeking through the din. Formed in the wake of the dissolution of Disappears, guitarist Brian Case & drummer Noah Leger's project is the logical continuation of the trails blazed in their former outfit. Since their 2017 debut "Negative Houses", the band have reworked, retooled & reshaped their sound, and with the addition of bassist Alianna Kalaba on 2018's "Lifelike", their evolution has coalesced into something distinct. Gone is the bone-rattling minimalism of "Negative Houses"; "Void Moments" o¬ffers an abstraction of the melodic elements that crept into "Lifelike" and contorts them toward a new horizon.

                                                                              Where "Lifelike" rang with a metallic, near-industrial racket, "Void Moments" cloaks the music behind a black velvet curtain of sonance, obfuscating the band's most direct set of songs to date. "Boy" kicks o¬ with a lurch of vocals and Case's sinewy guitar-line guiding a stoic march. By the time Kalaba drops in with the bass, the track morphs into a milky swirl, leading into the chiming swirl of "Teenage Hive’s buzzing churn. "Casual Indiff¬erence" expertly fuses the band's rhythmic pulse with a sombre dissolve of guitars, vocals and backwards-masked drums. "Version" closes out side one with lush surges of Case's shoegaze'd guitar & voice weaving around the rhythm section. Side two careens in with Leger's cavernous drums, with Kalaba and Case riding alongside.

                                                                              The album's final two tracks "Lifelike" and "Dub Over" cascade into one another, becoming one & act as a perfect analogy to "Void Moments" mutability, both musically & lyrically. Despite its foggy presence, "Void Moments" still careens toward the light. By embracing fluidity, FACS continue to evolve & refuse to be ensnared by genre. "Void Moments" ruminates on humanity's increasing refusal of identity, not only by our increasing reliance on technology, but also within our society's challenging of societal & gender norms. "Void Moments" feels one step closer to oblivion, but its sounds are a welcome salve

                                                                              FORMAT INFORMATION

                                                                              Coloured LP Info: Indies only limited 'Pink Void' vinyl version.

                                                                              Bon Iver

                                                                              Blood Bank EP - 10th Anniversary Edition

                                                                                Bon Iver’s Blood Bank EP was originally released in early 2009, hot on the heels of the beloved album ‘For Emma, Forever Ago’. The EP was a harbinger of a new sound for Bon Iver: a movement away from the acoustic guitar-led instrumentation of the debut and the beginning of an exploration into the experimental sounds that have evolved but defined Bon Iver ever since. The reissue of this seminal EP is coupled with brand new live renditions of all the EP tracks.

                                                                                A reflection on the Blood Bank EP by Ryan Matteson: "When I reflect on the songs that make up the Blood Bank EP, I am drawn to mantras, both musical and lyrical. The driving and pulsating rhythm of the title track is held steady by the repeated refrain, I know it well, before it eventually yields to a beautiful array of guitar distortion and noise. These moments are significant through all four songs. When the steel guitar makes its entrance on “Beach Baby,” it’s transportive. A blissful, breezy feeling sweeps into the room and that puts you within the moment. Close your eyes and you can feel it. “Babys” follows perfectly. A piano guides your mind to the new beginnings that come with the changing of seasons. The awareness of time passes and makes way for another day. Then there’s “Woods.” A flawless finale. Foreign and new. Not just a new direction but a new beginning entirely. A place where boundaries don’t exist. It was a signal change of things to come, laying the groundwork for new collaborations. A decade later, the song says so much in just three lines. Most significant to me are the words, “I’m building a sill to slow down the time.” Time doesn’t slow down, it races."

                                                                                FORMAT INFORMATION

                                                                                Coloured LP Info: Red Vinyl.

                                                                                Jaimie Branch

                                                                                Fly Or Die

                                                                                  Strings and swinging traps pulse beneath radiant brass painting a daring dynamic East Coast evolution of Chicago style avant-garde. Fly or Die received “Best of 2017” honours from The New York Times, Los Angeles Times, NPR Music, WIRE Magazine, Aquarium Drunkard, Stereogum, The Quietus, Bandcamp, and more.

                                                                                  Margaret Glaspy

                                                                                  Devotion

                                                                                    Brooklyn singer-songwriter Margaret Glaspy returns with her highly anticipated new album ‘Devotion’ through ATO Records.

                                                                                    ‘Devotion’ follows Glaspy’s first full-length since her acclaimed debut 2016 ‘Emotions and Math’ and marks an entirely new sonic chapter for her.

                                                                                    Glaspy has built a reputation as a skilled guitarist and ‘Emotions and Math’ was notable for its swaggering electric guitar sounds; on this new offering she shifted gears and built songs with electronic software as their base.

                                                                                    The results - co-produced with Los Angeles’ Tyler Chester - are rich, sweeping and melodic, a fittingly enchanting sound for a collection of twelve love songs. “It's about letting love in even when you don’t know what will happen when you do,” says Glaspy. “It’s about devoting your heart to someone or something, against all odds.”

                                                                                    Margaret Glaspy emerged as an audacious new musical presence in 2016 that saw The Sunday Times wowed by her “folk introspection to feral, grungy blues, with lyrics full of visceral self-laceration and hard-won perspective” and The New York Times hailing her as “a singer-songwriter who specializes in giving her confessional tunes a distorted crunch.”

                                                                                    On release ‘Emotions and Math’ quickly accrued plaudits; Stereogum proffered “a bold and career-defining debut” and called Glaspy “one of the year’s most exciting breakout acts,” while Pitchfork raved, “These songs share the self-scrutinizing intimacy of Elliott Smith and the imaginative melodic intonations of Joni Mitchell… Glaspy is a lyricist who can toggle between distanced storytelling and open-hearted selfexamination with equal ease.”

                                                                                    FORMAT INFORMATION

                                                                                    Coloured LP Info: Initial LP copies pressed on ‘Sandstone beige’ coloured vinyl with 9” x 14” photo insert and printed inner sleeve.

                                                                                    Coloured LP includes MP3 Download Code.

                                                                                    Lee Scratch Perry W/ Seke Molenga & Kalo Kawongolo

                                                                                    Roots From The Congo

                                                                                      Congo meets Jamaica on this exceptional reggae album from the late seventies. Made in collaboration with Lee 'Scratch' Perry and Seskain Molenga and with liner notes by David Katz. The Belgian labels Planet Ilunga, specializing in researching, documenting and releasing Congolese music from the fifties to seventies, and Roots Vibration, devoted to reissue classic roots singles and albums, join forces for the first time. Together making one of the most enigmatic reggae albums available again. Recorded and produced in the late seventies at Lee Perry's Black Ark studio in Kingston, Jamaica. The album which Congolese artists Seskain Molenga and Kalo Kawongolo recorded together with Lee ‘Scratch’ Perry is one of the most mysterious projects to surface from the Black Ark Studio during the late 1970s.

                                                                                      It's also one of the most misrepresented of Perry’s productions, with myriad explanations for its existence falling far short of what actually happened. The intention of the original band, formed in France by the producer Bernadette Duget and composed of a mixture of Congolese, Senegalese and French musicians, was to head to Jamaica to record a rock album with African undercurrents in Lee Perry's Black Ark studio. However, in Jamaica things didn't go according to plan and the project turned out to be a failure. The Congolese duo Seskain Molenga and Kalo Kawongolo continued working with Lee 'Scratch' Perry and this collaboration would eventually bear an unexpected reggae fruit.

                                                                                      These recordings were originally released on LP in 1979 and re-released in 1991, yet the vinyl album remains highly sought-after. Now finally re-issued with extensive liner notes by the American journalist, author and reggae aficionado David Katz sheds more concerted light on the complex tale that lies behind the work. Most notably thanks to the emergence of new eyewitness accounts such as Seskain Molenga, Wasis Diop and Lee Perry. The debut album by Seskain Molenga and Kalo Kawongolo remains a unique slice of musical ingenuity, an intoxicating sonic storm that resulted from their temporary presence at the magical space of the Black Ark. Tribal grooves coagulate in a thick swirl beneath trademark Black Ark bass lines. The two cultures connect in electrifying ways, while the reggae beat thrives in a more ancient setting. The songs are sung with gusto in Lingala and there’s an exuberant spirit to proceedings. This record is a document to what happens when fate intervenes and fetches victory from the clutches of defeat. There is blood and there is fire

                                                                                      It is with great pleasure that Public Possession and Cascine present to you the debut album of Bell Towers. Elev-en singles deep into his catalogue, his first LP is finally ready, an "Ode to escaping into (and out of) the emo-tional pits of dance floors – about finding a place in one night’s fantasy¹”. Musically it’s all we’ve ever wanted from a Bell Towers production: ear worm melodies, sharp baselines, wild cross-references in between genres and at last sees him explore his abilities as a singer/songwriter to full extent. "Junior Mix" is the sort of pop music that one is always looking for, but rarely finds - bright, charming and a little bit mad.

                                                                                      STAFF COMMENTS

                                                                                      Patrick says: The hottest Aussie heart-throb since Drazic, Bell Towers finally delivers his debut LP for close friends Public Possession. Think Pet Shop Boys style vocals, post vaporwave dreaminess and superb synthetic house grooves and you'll still fall short of this beauty.

                                                                                      Daniele Baldelli & Marco Fratty

                                                                                      Oil Painting

                                                                                      Leng Records’ first album release of 2020 comes courtesy of two contrasting legends of Italian dance music, Afro-Cosmic pioneer Daniele Baldelli and sometime FPI Project member Marco Fratty (real name Marco Frattini).

                                                                                      Both producers have a wealth of experience. Baldelli first to rose to fame as resident DJ at the near mythical Cosmic Club in the early 1980s, before moving into music production two decades ago. Since then, he’s collaborated with heaps of producers – most notably DJ Rocca, Marco Dionigi and Dario Piana – but “Oil Painting” marks his first collaboration with Frattini, an experienced producer whose bustling discography stretches right back to the Italian house explosion of the late 1980s and early ’90s.

                                                                                      The pair’s debut collaborative release is bold, bubbly, vibrant and funky, with the storied Italian veterans making extensive use of live instrumentation, vintage synthesizers and chugging, floor-friendly grooves. As you’d expect from a Baldelli-related project, the influences are obvious – think funk, dub-disco, cosmic rock, Italo-disco and nu-disco – but the resulting colourful cuts refuse to settle on one specific style.

                                                                                      Firmly focused on the dancefloor, “Oil Painting” is a gleeful, celebratory and excitable as anything either producer has released to date. For proof, check the surging arpeggio style synth-bass, kaleidoscopic synthesizer lines and eyes-closed rock guitar solos of “Automatic Amplitude”, the flute-laden dub disco shuffle of “Jasmine Flavour”, the organ-laden cosmic funk chug of “Oil Painting” and the lolloping disco-funk exuberance of “Steam Engine”, where crunchy guitar licks and Meters style organ stabs wrap themselves around a vintage disco bassline and head-nodding, toe-tapping drums.

                                                                                      The highlights don’t stop there, either. The percussion and delay-laden Afro-Cosmic funk fusion of “Slinky Funk” is a veritably tropical excursion that repurposes the bassline and incessant cowbells from Cymande classic “Bra”, and the Clavinet-heavy stomp of “Positive Flow”, whose snaking, constantly-changing saxophone solo and flash-fried guitar riffs helps create a thrillingly excitable mood.

                                                                                      From start to finish, “Oil Painting” is an album full to bursting with musical joy and umpteen giddy calls towards the dancefloor. From producers of Baldelli and Frattini’s experience, we’d expect nothing less. 

                                                                                      Irreversible Entanglements

                                                                                      Irreversible Entanglements

                                                                                      Four relentless bouts of inspired fire music forged from the true spirit of free jazz, driven by searing poetic narrations of Black trauma, survival and power. Irreversible Entanglements received “Best of 2017” honors from Gilles Peterson, NPR Music, WIRE Magazine, The Quietus, and Stereogum.

                                                                                      Knxwlege

                                                                                      1988

                                                                                        The new album from Grammy Award-winning beatmaker Knxwledge, a leading contemporary hip hop producer.

                                                                                        ‘1988’ is the highly anticipated follow-up to Knx’s hugely acclaimed 2015 album ‘Hud Dreems’.

                                                                                        ‘1988’’s 22 tracks delve into Knx's intricate world of mesmerizing loops and warm, lo-fi textures.

                                                                                        Available to independent retailers on purple vinyl.

                                                                                        Knxwledge has collaborated with Kendrick Lamar, Anderson .Paak (as NxWorries), Joey Bada$$, Earl Sweatshirt and more.

                                                                                        For fans of Madlib, J Dilla, Mndsgn, Flying Lotus, Teebs.

                                                                                        Germany's premier proponents of handsome soft pop Balcony DC make a long overdue appearance in the good ship Piccadilly with gorgeous sophomore LP "Puma Pride". Taking a playful approach to their art, Chistoph Mü and Denny Thiele practise a particularly post-modern version of pop music, equally indebted to the sensual funk of Prince, slacker antics of Mac Demarco, lo-fi soul of Blood Orange and arch-vaporwave of Macintosh Plus.

                                                                                        Sounding like a glimpse of a future I want to live in, the eight cuts slink and shimmy through futuristic pop with a charming surprise around every corner. Syrupy beats and erogenous bass keep their own jaunty time in the rhythm section, lo-fi guitar licks burst out from beneath the dry-ice mist of synthesis and those falsetto vocals coo right into your ear - pillow talk for the valium generation. Currently getting maximum approval ratings from Ryan Horsebeach, Mine, Millie and yours truly (Patch), this is deeply dope folks.

                                                                                        Hailu Mergia

                                                                                        Yene Mircha

                                                                                          From a young musician in the 60's starting out in Addis Ababa to the 70's golden age of dance bands to the new hope as an emigre in America to the drier period of the 90s and 2000s when he mainly played keyboard in his taxi while waiting in the airport queue or at home with friends. More recently, with reissue of his classic works and a re-assessment of his role in Ethiopian music history, Mergia has played to audiences big and small in some of the most cherished venues around the world.

                                                                                          With 2018's critical breakthrough "Lala Belu" Mergia championed himself and consolidated his legacy, producing the album on his own and connecting with listeners through the sheer creative power of his version of modern Ethiopian music. His subsequent performances revealed an artist who is in no way stuck in the nostalgia for the “golden age” sound. The press agreed, including the New York Times, BBC and Pitchfork, calling his music “triumphantly in the present” in its Best 200 Albums of the 2010's list. Mergia's new album "Yene Mircha" ("My Choice" in Amharic) encapsulates many of the things that make the keyboardist, accordionist and composer-arranger remarkable—elements that have persisted to maintain his vitality all these years, through the ebb and flow of his career.

                                                                                          The rock solid trio with whom he has toured the world most recently, DC-based Alemseged Kebede (bass) and Ken Joseph (drums), forms the nucleus around which an expanded band makes a potent response to the contemporary jazz future "Lala Belu" promised. "Yene Mircha" calcifies Mergia's prolific stream of creativity and his philosophy that there is a multitude of Ethiopian musical approaches, not just one sound. Enlisting the help of master mesenqo (traditional stringed instrument) player Setegn Atenaw, celebrated vocalist Tsehay Kassa and legendary saxophone player Moges Habte from his 70's outfit Walias Band, Mergia enhances his bright, electric band on this recording with an expanded line up on some songs. Mergia produced the album which features several of his original compositions along with songs by Asnakesh Worku and Teddy Afro.

                                                                                          An artist still reinventing his sound every night on stage during his marathon live sets, this 74 year-old icon refuses to make the same album twice. The album feels as urgent and risky as his concerts can be, pushing the band to the outer limits of group improvisation and back with chord extensions during his exploratory solos. "Yene Mircha" captures this live experience and fosters an expansive view of what else could be in store for this tireless practitioner of Ethiopian music. CD features bonus “Dibik Fikir”. 

                                                                                          Makaya McCraven

                                                                                          Where We Come From

                                                                                            Taken from live improvisation to live sampling & recomposition to borderdefying beat collage – a new jazz mixtape tells a many-splendored tale of Trans-Atlantic collaboration in constant cadence. The vinyl edition of Where We Come From (CHICAGOxLONDON Mixtape) is a split-label release with London’s Total Refreshment Centre.

                                                                                            The Emperor Machine

                                                                                            Music Not Safari

                                                                                            Andy Meecham is a long-time stalwart who remains unconventional and inventive in all he does. He has been dazzling dancefloors for years as The Emperor Machine with his synth-heavy, tough edged and psyched-out disco beats on DFA, Phantasy and Skint Records, and has a musical history dating back to the UK’s acid house explosion as part of Bizarre Inc. and latterly Chicken Lips. His grooves are tough and designed for dancing but are always full of space-age cinematic details that make them stand out from the crowd. That is also true when serving up one of his unique live shows; few conjure the sort of soundscapes as The Emperor Machine, and for that reason, he has been a hit at Craig Richards’ Houghton festival and is the only live artist to have been invited back twice to the bi-annual ‘Revolting‘ party Berghain’s infamous Lab.oratory. In the studio, he has collaborated to critical acclaim with the likes of Erol Alkan as Future Four, and picked up high profile support along the way from DJ’s including Andrew Weatherall, The Black Madonna, Francois K and Laurent Garnier, to name just a few. Across his latest full length, he once again runs a gamut of styles with a true sense of studio flair few can match, making "Music Not Safari" a truly unique listening experience.

                                                                                            Opener "C.C." is a colourful synth opus, with skyward chords and disco beats all getting you up on your toes. The shimmering synths continue on '"What You Need"', which has hip swinging claps and perfectly squelchy boogie bass that goes back to the future. Recent single, "House Des Lowe" is full of trickery, reverb, and peerless sound designs, with its rubbery bass and elastic grooves all lit up by darting chords and dancing percussive patterns.

                                                                                            The Emperor Machine's tracks are never less than luxurious and ebullient and that's the case again on "Moscow Not Safari", a cosmic adventure filled with lithe synth work and sonic definition of the highest order. After more rumbling drums and rugged bass that are designed to ignite disco lovers from all eras on "Stiff Poly" comes the latest single. "Danse Blanc" is an electrifying track that speeds up as it unfolds, with a knotted baseline and organic, wooden percussion all tumbling freely beneath celestial synths and keys. Like all recent singles, when this one gets its standalone release it will be in three forms; ‘Extended’, ‘Version 54’ and ‘Warehouse mix’. Former singles '"Function" and "Two Voice" then keep the good times alive with the prickly and upbeat disco charm of "You Two" sandwiched in between.

                                                                                            This is another timeless offering from one of dance music's most consistently excellent names and comes ahead of live performances at Golden Pudel Club in Hamburg, Good Room in N.Y. and two slots at the UK’s best-loved Somerset festival ;)


                                                                                            Nap Eyes

                                                                                            Snapshot Of A Beginner

                                                                                              Nap Eyes’ latest full length, ‘Snapshot Of A Beginner’, is proof that sometimes the late bloomers bloom brightest. Eight years and four albums into it, the artistic arc of Nap Eyes finds itself tracing a line alongside frontman Nigel Chapman’s daily tai chi practice. Those first years and albums are the cold mornings in the park: the measured movements, the joint aches, the self-doubt. With each new release, an incremental and invigorating step forward. And with the end of each album and tour, a return to the beginner’s practice. And now, ‘Snapshot Of A Beginner’ - Nap Eyes’ boldest, most concentrated and most hi-fi album to date - a study of that repeated return and all that it can teach you.

                                                                                              Almost all the songs of Nap Eyes are whittled into their final form from Chapman’s unspooling, 20-minute voice-and-guitar free-writing sessions. Each member - drummer Seamus Dalton, bassist Josh Salter or guitarist Brad Loughead - then plays a crucial role in song development, composing around the idiosyncratic structures and directing the overall sound and feel of the songs. Until now, that final song construction and recording has been mostly done live in a room. But for ‘Snapshot Of A Beginner’ the band went to The National’s neuvo-legendary upstate NY Long Pond Studio, working with producers Jonathan Low (Big Red Machine, The National) and James Elkington (Steve Gunn, Joan Shelley), the latter of whom also did pre-production arrangement work with the band.

                                                                                              It took Nap Eyes a long time and a long practice to reach this artistic zen but one gets the feeling throughout ‘Snapshot Of A Beginner’ that this balance is going to hold.

                                                                                              Previous album ‘I’m Bad Now’ was described by Uncut as “as much a modest masterpiece as ‘Spring Hill Fair’ [by The Go-Betweens] or ‘Tigermilk’ [by Belle and Sebastian].”

                                                                                              FORMAT INFORMATION

                                                                                              Coloured LP Info: Coke Bottle clear coloured vinyl.

                                                                                              Coloured LP includes MP3 Download Code.

                                                                                              Catholic Action

                                                                                              Celebrated By Strangers

                                                                                                The Glasgow quartet Catholic Action return with their sophomore album Celebrated by Strangers. The single One Of Us packs a fuzzed-out stomp alongside masterfully giddy melodies that sees lead singer and guitarist Chris McCrory recount “the welfare son of a welfare son”, taking aim at the billionaire-owned media and their Bullingdon Club ilk who shirk responsibility for sowing the division we see in the UK. It sets the tone for a record that asks both searching questions of the self, while pointing the finger at inaction in the wider world. Through a procession of skittish, off-kilter riffs and squawking saxophones, Celebrated by Strangers doesn’t just call for action, it demands it. Fizzing with invention, accusation, self-belief and creativity, it never stutters under the weight of its own message.


                                                                                                FORMAT INFORMATION

                                                                                                Coloured LP Info: Khaki coloured vinyl.

                                                                                                Cable Ties

                                                                                                Far Enough

                                                                                                  Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life.

                                                                                                  Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry. The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music.

                                                                                                  FORMAT INFORMATION

                                                                                                  Coloured LP Info: Indies-only Black and orange swirl vinyl.

                                                                                                  Las Kellies

                                                                                                  Suck This Tangerine

                                                                                                    Argentinian grrl group Las Kellies return with new album ‘Suck This Tangerine’ out 27th March on Fire Records and will be touring Europe in Spring 2020. Sucking you in, Las Kellies takes us straight back to the party reminding us of what we’ve been missing with their libidinous mix of garage, punk and dub. Thrashing it out on the dancefloor, ‘Suck This Tangerine’ deals with the difficulties of a society in never ending crisis (‘Funny Money’) to the highs and lows in relationships (‘He’s Who’, ‘Let You Go’) and there’s a guest appearance from ex-Kellie Julia Worley on ‘Close Talker’. Recorded at home in Buenos Aires, the chemistry of the duo’s formative years remains as does their febrile new wave post-punk sound soaked in fiery dance beats and dub-pop. Their first release since 2016’s ‘Friends & Lovers’ was “impressively varied” (The Vinyl District) whilst “seamlessly melding psych/fuzz pop, post-punk attitude and dance beats” (Louder Than War). Las Kellies are Cecilia Kelly (bass, guitars, vocals) and Silvina Costa (drums, percussion and vocals). "Absolutely love 'em" Lauren Laverne

                                                                                                    Harry Stafford

                                                                                                    Gothic Urban Blues

                                                                                                      Manchester-based indie music stalwart Harry Stafford releases 'Gothic Urban Blues', an album about the Metropolis, the naked city, the urban sprawl and the need to get back to the ripped back streets when you’re far away. If there are a million stories in the naked city, here are a few to keep you warm. 

                                                                                                      Led by Harry Stafford, best known as founder, guitarist and vocalist of post-punk gothic rockers Inca Babies, the band's core includes drummer Rob Haynes (The Membranes, Inca Babies), trumpeter Kevin Davy (Lamb, Cymande), guitarist Andy Mills, and Vincent O'Brien on Weisseborn slide guitar. Formed in the early 1980s, Inca Babies released four albums and multiple singles and Peel sessions. Much of his musical career has been spent with Inca Babies, playing across Europe and the world but in 2015, after 35 years with Inca Babies, Stafford decided to release untamed solo material that echoes his love of blues piano and barroom ballads. The new album 'Gothic Urban Blues' and debut solo album 'Guitar Shaped Hammers', released in December 2017, are the inevitable result, reflecting a multitude of ideas around a driving yet lilting punk-piano blues. The idea was for Stafford to leave his noisy electric guitar behind - abandoning everything he held and cherished - to make some new music with a piano and a head full of ideas. The new album, out in March 2020, features a more defined sound of a band finding its stride.

                                                                                                      The band is hereforth called Guitar Shaped Hammers to reflect this cohesion of musical unity - with more guitars from Vincent O'Brien, and an additional layered sonic blast from Nick Brown (The Membranes). With intense percussion from Rob Haynes and a truly masterful trumpet contribution from jazz supremo Kevin Davy, the result is very much the soundtrack of a basement radio station stumbling across a new genre they’ve tagged Gothic Urban Blues. 

                                                                                                      Activity

                                                                                                      Unmask Whoever

                                                                                                        Supergroup featuring members of Grooms, Field Mouse, and Russian Baths Produced by Jeff Berner of Psychic TV. Mastered by Heba Kadry, known for her work with Bjork, Slowdive, Deerhunter, Japanese Breakfast, Cass McCombs, et al. Activity are an avant four-piece featuring Travis Johnson, and drummer Steve Levine, both from the band Grooms, bassist Zoë Browne from Field Mouse, and guitarist Jess Rees from Russian Baths. Produced by engineer Jeff Berner of Psychic TV, their debut forms a casually menacing framework for lyrical themes of paranoia, exposed character flaws, and the broader human capacity for growth when an ugly truth is laid bare.

                                                                                                        Lead single “Calls Your Name,” establishes the record’s spectral aura with nauseated electronic bells, and a relentless Geoff Barrow-esque drum beat beneath a half-sung, half-spoken lyrics inspired by C.S. Lewis’s 1945 novel The Great Divorce. In the novel, characters stuck in a grey, joyless conception of hell repeatedly deny opportunities to be taken into heaven, instead making excuses as to why they should remain in their embittered purgatory states.

                                                                                                        Allegorically, this speaks to the kind of opportunity for metamorphosis and positive change that’s possible when the depths of disillusionment are reached, an idea which permeates much of the album. Despite recurrent aches of discontentment, each track glows with radiant waves of catharsis while elegantly evoking jubilation and anguish within the same breadth, showing that the two are always around the corner from one another. 

                                                                                                        FORMAT INFORMATION

                                                                                                        Coloured LP Info: ’Translucent glacial blue’ vinyl

                                                                                                        Various Artists

                                                                                                        Whispers Lounge

                                                                                                          Ten incredible albums culled from the deepest, weirdest co-op of record enthusiasts ever gathered under one banner. Numero have 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.

                                                                                                          A lounge in the Poconos located just inside a Holiday Inn, 1973. The smoky haze clears to reveal a middle aged couple on a one-foot high stage, prattling on about the weather or Watergate before launching into a serviceable cover of Burt Bacharach’s “Do You Know The Way To San Jose?” Tens of thousands of such combos littered restaurants, cruise ships, casinos, lobbies, and cocktail bars throughout the ’60s and ’70s, but far fewer cut a record worth buying from the stage, much less listening to on the home hi-fi. Gathered here are 14 lounge originals from across the entire easy listening spectrum. A spent matchbook’s worth of crooners, bossa nobodies, seafood jazzers, and Donca-Matic enthusiasts all in search for their ticket out of a red leather booth hell.


                                                                                                          In the summer of 2018 Beachfreaks Records founder and celebrated crate digger Charles Bals threw open the doors of Club Meduse, an imaginary open-air venue on the Cote D’Azure where the obscure but inspired soundtrack is always humid, sun-kissed, synthesizer-heavy and proudly European. The resultant compilation was acclaimed by both music critics and record buyers, so two years on Bals has once more joined forces with Spacetalk to re-open Club Meduse for another imaginary summer season beneath the baking-hot Mediterranean sun. Acting again as in-house DJ, Bals has dipped into his personal stash of obscure, overlooked and little-known gems and selected a soundtrack rich in drowsy chanson vocals, glistening Spanish guitar lines, Latin-tinged drum machine rhythms, rushing Fairlight stabs and sparkling synthesizer sounds. Having gone to great lengths to track down the musicians behind the music, he’s joined in the virtual DJ booth by a wealth of forgotten artists whose magical music he holds so dear.

                                                                                                          This time round there’s an undeniable 1980s flavour to proceedings with all but one of the tracks – Claude Miss’s African-influenced 1990 Balearic pop shuffler “Paco Ye Adame” – being produced and released during the decade. As with its predecessor, Meduse (Retour au Club) contains a mixture of off-kilter, barely known dancefloor cuts and the kind of drowsy, slow-motion tracks that are best suited to lazy afternoons by the pool and early evenings spent squinting towards the sunset. In this category you’ll find the ambient-pop bliss of Lili’s fretless bass and Flamenco guitar-sporting “Gitana Morena”, the slow-motion brilliance of Belgian outfit Capco’s “No Vayas Al Sol” (featuring the vocals of future Benelux pop star BeaLuna), the trumpet-laden magic of Nathalie David’s “Coup De Foudre (Instrumental)” – a track written by her songwriter father Jacques Bendavid – and the Mediterranean pop slickness of Jean-Claude Watrin’s “Game City”.

                                                                                                          If dancing in your Speedos or swimming costume is your thing, Bals also has you covered. Check, for example, the “Midnight Mix” of Jade 4 U’s Praga Khan produced 1988 gem “Rainbows” – a prize slice of new beat/synth pop fusion powered forward by a bold, headline-grabbing bassline – or De Dion’s “Sexy Cola (Glu Glu Version)”, a jaunty, hard-to-explain mixture of pop cheeriness, Art of Noise experimentation and summer holiday glee. Or for that matter the reggae/zouk/electro fusion of Les 36 15’s effervescent “Zoulous (Remix)” and the boogie-era Gallic jazz-funk of Marc et Frank’s “Cap’tain Coke” – a cut recorded in a Paris studio by two prisoners on day release, jointly funded by the French ministries of justice and culture. When you’re done dancing, there’s plenty to soundtrack those wide-eyed late night romantic moments too, not least the bubbly, 80s-soul influenced chanson delight of Weekend Millionaire’s “Exit”, the gentle reggae/synth-pop fusion of L’s private press delight “La Boite Musique” and Cecilia’s seductive synth-pop shuffler “Chocolat”, the B-side of a seven-inch single that now changes hands for hundreds of pounds online.

                                                                                                          Various Artists

                                                                                                          Fabric Presents Maribou State

                                                                                                            The mix is an eclectic mix of soul, funk, disco and electronica from across the decades compiled by Ninja Tune’s Chris Davids and Liam Ivory for the fifth edition in the fabric presents series. Maribou State’s recent sell-out tours across UK, USA and Europe came off the back of 2018’s longplayer ‘Kingdom of Colour’ that hit no.25 on the UK album charts. The mix includes 2 exclusive Maribou State tracks and a Maribou State remix of Radiohead’s Reckoner. It reflects the hours spent before heading to the club; drinks at a friend’s house, the journey into London and the anticipation in the build-up beforehand. They captured and interwove audio field recordings of themselves re-taking the journey to and from the club to reinforce their story

                                                                                                            Baxter Dury

                                                                                                            The Night Chancers

                                                                                                              Failed Fashionistas, Instagram voyeurs, jilted Romeos, reeking insecurity, the willingly self deluded, the comically unware, the Night Chancers… “Baxter Loves You” The album was co - produced by long time collaborator Craig Silvey (Arcade Fire, John Grant, Artic Monkeys) and Baxter, and was recorded at Hoxa studios West Hampstead in May 2019.

                                                                                                              From thrilling affairs that dissolve into sweaty desperation (Night Chancers) to the absurd bloggers, fruitlessly clinging to the fag ends of the fashion set (Sleep People), via soiled real life (Slum Lord) social media – enabled stalkers (I’m not Your Dog) and new day, sleep – deprived optimism (Daylight), the record’s finely drawn vignettes, are all based on the corners of world Dury has visited.

                                                                                                              Baxter says “Night Chancers is about being caught out in your attempt at being free”, it’s about someone leaving a hotel room at three in the morning. You’re in a posh room with big Roman taps and all that, but after they go suddenly all you can hear is the taps dripping, and all you can see the debris of the night is around you. Then suddenly a massive party erupts, in the room next door. This happened to me and all I  Could hear was the night chancer, the hotel ravers”.



                                                                                                              FORMAT INFORMATION

                                                                                                              Coloured LP Info: Crystal clear vinyl.

                                                                                                              The Slow Readers Club

                                                                                                              The Joy Of The Return

                                                                                                                Manchester’s The Slow Readers Club return with their fourth album, The Joy Of The Return. Opening to an energetic blend of driving drums and infectious guitar lines, the opening track builds through evocative verses and anthemic choruses, imbued with their idiosyncratic brand of insightful and confronting lyricism and set against relentlessly danceable and energy-provoking instrumentation. “‘All I Hear’ is about a lack of agency and an inability to affect change. That there’s something happening, and you have no choice but to go along with it,” explains singer Aaron Starkie.

                                                                                                                Throughout the album, the band explore a vast swathe of sonic territory, from the passionately delivered ‘All The Idols’, to the poppier tones of ‘Jericho’ that power through with bright indie guitar lines and ethereally melodic choruses.  Recorded at Parr Street Studios in Liverpool and produced by long-standing collaborator Phil Bulleyment, The Joy Of The Return marks a significant change in the band’s process, with their extensive touring allowing them time to write and develop tracks and arrangements through soundchecks and back-of-van jams.

                                                                                                                “I think it’s definitely our most interesting and accomplished record musically,” says singer Aaron Starkie. “Lyrically the album covers love, alienation, the rise of right wing populism and comments on algorithm driven propaganda. And as always, I try to deliver those lyrics with uplifting melody.”

                                                                                                                The dark power-pop that defined their previous releases holds a strong influence, with the brooding ‘No Surprise’ providing a powerful dose of evocative lyricism amid immersive soundscapes, while the unsettling ‘Paris’ is an undulating exploration of observational songwriting and eclectic musicality The swelling, arena-sized ‘Zero Hour’ displays the enormity of The Slow Readers Club sound and sets the precedent for their incredibly exciting future, while ‘The Wait’ closes the album with a beautifully absorptive combination of atmospheric synths flipping the pace of the record on its head to intoxicating effect.


                                                                                                                FORMAT INFORMATION

                                                                                                                Dinked Edition LP Info: • Exclusive Clear Vinyl with Magenta Splatter.
                                                                                                                • Exclusive Dinked Edition Art print (Numbered & Signed).
                                                                                                                • Exclusive Sleeve Design (Dinked edition).
                                                                                                                • Limited to 400 copies.

                                                                                                                Coloured LP Info: Magenta coloured vinyl.

                                                                                                                Moaning

                                                                                                                Uneasy Laughter

                                                                                                                  What happens when an abrasive rock trio trades guitars for synths, cranks up the beats and leans into the everyday anxieties of simply being a functioning human in the 21st century? The answer is Uneasy Laughter, the sensational second Sub Pop release from Los Angeles-based Moaning.

                                                                                                                  Vocalist/guitarist Sean Solomon, bassist/keyboardist Pascal Stevenson and drummer Andrew MacKelvie have been friends and co-conspirators amid the fertile L.A. DIY scene for more than a decade. They are also immersed in other creative pursuits — Solomon is a noted illustrator, art director and animator, while Stevenson and MacKelvie have played or worked behind the boards with acts such as Cherry Glazerr, Sasami and Surf Curse. On Uneasy Laughter, they’ve tackled challenges both personal and universal the only way they know how: by talking about how they’re feeling and channeling those emotions directly into their music.

                                                                                                                  “We’ve known each other forever and we’re really comfortable trying to express where we’re at. A lot of bands aren’t so close,” says MacKelvie. Adds Solomon, who celebrated a year of sobriety during the Uneasy Laughter sessions, “Men are conditioned not to be vulnerable or admit they’re wrong. But I wanted to talk openly about my feelings and mistakes I’ve made.”

                                                                                                                  Moaning’s 2018’s self-titled Sub Pop debut featured songs mostly written in practice or brought in already complete by individual band members. It garnered acclaim from Pitchfork, Stereogum and Los Angeles Times, who observed, “Moaning craft anxious music for an increasingly nervous local scene.” But Uneasy Laughter is a collaborative breakthrough which significantly brightens Moaning’s once claustrophobic sound, again abetted by producer/engineer Alex Newport (At The Drive-In, Bloc Party, Melvins). The trio points to first single “Ego,” which features a costume-heavy video directed by Ambar Navarro, as an embodiment of this evolution.

                                                                                                                  Solomon admits Uneasy Laughter could have gone in quite another direction had he not gotten sober and educated himself on such core subjects as gender and mental health. “I did a lot of reading in the tour van — authors like bell hooks, Mark Fisher, and Alain de Botton, all really inspired me. I don’t want to be the person who influences young people to go get high and become cliche tragic artists,” he says. “What I’d rather convey to people is that they’re not alone in what they think and how they feel. ‘Ego’ specifically and the album overall is about those themes — letting go of your bullshit so you can help other people and be present.”

                                                                                                                  “We want to be part of a community,” he adds. “I wrote online about being sober for a year, and I had kids from all over writing and asking for advice. One of them said, ‘For the first time I can remember, I didn’t drink last night.’ I thought, for once, maybe we did something besides sell a record. That’s a win. That’s incredibly exciting.”



                                                                                                                  FORMAT INFORMATION

                                                                                                                  Indies Exclusive LP Info: Loser Edition on white vinyl.

                                                                                                                  Indies Exclusive LP includes MP3 Download Code.

                                                                                                                  CD Info: Digipack with spot-gloss and custom dust sleeve.

                                                                                                                  Morrissey

                                                                                                                  I Am Not A Dog On A Chain

                                                                                                                    First new studio album since 2017, I Am Not A Dog On A Chain was recorded at La Fabrique in France in 2018. The eleven track album, which was produced by Joe Chiccarelli will be release on Friday 20th March 2020.

                                                                                                                    FORMAT INFORMATION

                                                                                                                    Coloured LP Info: Exclusive coloured vinyl edition.
                                                                                                                    140 gram red transparent vinyl.

                                                                                                                    Matthew Tavares & Leland Whitty (BADBADNOTGOOD)

                                                                                                                    Visions

                                                                                                                      ‘Visions’ is a new collaborative album from BADBADNOTGOOD co-founders, Matthew Tavares and Leland Whitty. The Grammy Award winning, multi-platinum producers have been performing and writing music together for 10 years. They have achieved international acclaim with BADBADNOTGOOD and Tavares’ recent solo single ’Self-Portrait’ has been championed by tastemakers such as Gilles Peterson and Benji B. ‘Visions’ is the latest upshot of their incredibly fruitful partnership.

                                                                                                                      Recorded in Toronto, it was produced by Tavares and Whitty - with Tavares also mixing the album and arranging strings. After a three-week writing period it was played in its entirety in one continuous studio session; almost all the tracks on the album are the first take. Tavares is on piano and guitar, Whitty on saxophone and flute. The rhythm section of Julian Anderson-Bowes on bass and Matthew Chalmers on drums completes the players. They make an impressive collective and are performing at the peak of their powers.

                                                                                                                      Conceptually the album is a canvas for a combination of composition and group free-form improvisation. Tavares and Whitty are the sole composers, but with some tracks collectively improvised, there is also a group dynamic running through the album. The outcome is a sublime melting pot of modern jazz, impressionist classical music and Arthur Verocai-esque arrangements. It is a sound that is hard to date; it is certainly of the now but is also reminiscent of a lost classic. Similar to the process of its creation, the optimal listening experience for ‘Visions’ is in its entirety. As a coherent body of work it draws the listener in with waves of intensity and crescendos that release back into tranquility - there is both darkness and light in the album’s narrative arc. There is also rawness and honesty to the music, which makes it feel like an intensely personal and intimate offering.

                                                                                                                      FORMAT INFORMATION

                                                                                                                      2xColoured LP Info: Red Transparent coloured vinyl.

                                                                                                                      Last time Tornado Wallace worked his magic in long form he treated us to "Lonely Planet", a gorgeous collection of Balearic house grooves which landed near the top of our end of year chart. Now the Berlin-based Aussie serves up a five track mini-LP for Optimo Music, channeling progressive house churn, trance idents and tribal percussion into the psychedelic assualt of "Midnight Mania". 
                                                                                                                      Presumably well into the toad, the Tornado finds a middle ground between the wild synth freak outs Baldelli and Loda dropped in cosmic mode, and the neon clad bangers which bounced round Goa a decade later. Shuffling rhythms, alive with hand drums and pitched percussion sit beneath wormhole sequences, snatches of cryptic vocal and bursts of techy melody, constantly propelling the listener forward through this nocturnal sonic playground.

                                                                                                                      STAFF COMMENTS

                                                                                                                      Patrick says: Tornado Wallace lends his trance-inducing arrangements a darker shade of psychedelia here, fusing cosmic synth and prog house into a twisted soundtrack for the Goan full moon...

                                                                                                                      Låpsley

                                                                                                                      Through Water

                                                                                                                        Through Water is the follow up to Lapsley's 2016 album Long Way Home, one of that year’s most acclaimed debuts. Released while she was still a teenager, Long Way Home featured Låpsley’s breakthrough moments ‘Station’ and ‘Falling Short’ and spawned one of the biggest club tracks in recent years (DJ Koze's edit of "Operator") as well as inspiring a new generation of electronically minded songwriters including Billie Eilish, who namechecked it as a key influence on her sound.

                                                                                                                        Through Water is without doubt Låpsley’s most accomplished work to date, written and recorded during her transition into young womanhood. With Låpsley as the major producer and songwriter, the ten songs (whittled down from over one hundred) reflect her newfound confidence, clarity and self-awareness as an artist, documenting a wealth of personal experiences and coming-of-age stories set against a thematic backdrop of water, climate, weather and the elements.



                                                                                                                        FORMAT INFORMATION

                                                                                                                        Coloured LP Info: Clear indies-only LP plus bonus 7".

                                                                                                                        Shabaka & The Ancestors

                                                                                                                        We Were Sent Here By History

                                                                                                                        Shabaka Hutchings is a British-Barbadian jazz saxophonist, clarinetist and band leader. He leads the bands Sons of Kemet and Shabaka and the Ancestors. He is also a member of The Comet Is Coming, performing under the stage name King Shabaka. S&TA project was formed in early 2016, leading to their debut album later that year ‘Wisdom of Elders’; a document of sessions combining Hutchings with a group of South African jazz musicians he’d long admired. His connection to the group was Mandla Mlangeni (bandleader of the Amandla Freedom Ensemble), whom he’d flown there to play with over the past few years. ‘We Are Sent Here by History’ is a meditation on the fact of our coming extinction as a species. It is a reflection from the ruins, from the burning. A questioning of the steps to be taken in preparation for our transition individually and societally if the end is to be seen as anything but a tragic defeat. For those lives lost and cultures dismantled by centuries of western expansionism, capitalist thought and white supremist structural hegemony the end days have long been heralded as present with this world experienced as an embodiment of a living purgatory. 


                                                                                                                        Irreversible Entanglements

                                                                                                                        Who Sent You?

                                                                                                                          Stay on it! This is the future! This is the spectral dreaming, the reshaped soundwaves of postKatrina, post-Osage Avenue, post-Obamacare that we borrow from to do this work, so stay on it. Who Sent You? they said from their liquid cryo-chamber, from a low-light induction field cobbled together with lithium rods, with melted down Romare Bearden and Howardena Pindell paintings, stitched with chaos fibers and placed in the center of the carrion husk of a burnt out shanty town. They took time to scrape ashen samples of what was, their souls the residue thick and caked on, that still climbs those new high-rise condominiums like moss—the only evidence that they were once there, that they were baked into the fabric of this planet— -they were there fixing elevators and tossing wrenches into quantum fields until they were stopped! frisked! and turned into weird, 100-foot martyr murals on the backside, the north side, of supermarket walls—Who Sent You? is how the matrix modulation works. Dig it: Who Sent You? is the punk-rocking of jazz and the mystification of the avant-garde, a sci-fi sound from that out-soul-fire jazz quintet Irreversible Entanglements.

                                                                                                                          Who Sent You? they asked and tried to lock us in their distress chambers, and yet here it is: an album that functions as a heat-sealed care package for the modern Afrofuturist’s pre-flight machinations. This record weaves kinetic soul fusion, dreamy yet harrowing spectral poetry, and intricate force-field-tight rhythms into wild, warmth-giving tapestries that comfort and conceal, confront and coerce all at once, with the dark matter of the deep, black allconsuming universe as its thread. Where the band’s self-titled debut was all explosive noisy anthems and glorious cosmic bluster, Who Sent You? is a focused and patient ritual. Irreversible Entanglements take their time in between these grooves, stalking the war-torn streets of the Deep South and post-Columbian apocalypses—taking their time to add our DNA to the centrifuge, to dream up an alchemical amalgamation that sounds truly euphoric, drenched in the epic star-flung fallout of a nova only they can conjure. More than the sum of its parts—Luke Stewart’s war-like basslines, Keir Neuringer’s haunting saxophone, Aquiles Navarro’s cyberpunk brass, the unwieldy storm of Tcheser Holmes’ drums, and the oracular phyletic incantations of Camae Ayewa—Who Sent You? is an entire holistic jam of “infinite possibilities coming back around,” a sprawling meditation for afro-cosmonauts, a reminder of the forms and traumas of the past, and the shape and vision of Afrotopian sounds to come.

                                                                                                                          Afro grooves, electronics and fierce energy. Afro futurist sensations Onipa unleash their debut album, combining Afro grooves, electronics and fierce energy for an effervescent celebration of cultural and musical encounters.

                                                                                                                          Onipa means ‘human’ in Akan, the ancient language of the Ashanti people of Ghana. It’s a message of connection through collaboration: from Ghana to London, our ancestors to our children, Onipa brings energy, groove, electronics, Afro-futurism, dance and fire! Born out of deep collaboration between long-time friends K.O.G (Kweku of Ghana of KOG and the Zongo Brigade) and Tom Excell (MD, guitarist and writer of acclaimed jazz/ soul afrobeat pioneers Nubiyan Twist), the group features KOG on vocals, balafon and percussion, Tom Excell on guitar, percussion and electronics, Dwayne Kilvington (Wonky Logic) on synths and MPC and Finn Booth (Nubiyan Twist) on drums.

                                                                                                                          The group have worked closely with Ghanaian star Wiyaala who features on three tracks, singing in the Sisaala language from the North of Ghana. The album also features collaborations with South African rapper Spoek Mathambo, Lesotho star Morena Leraba, Ghanaian percussion master Afla Sackey and Tanzanian sisters Pendo & Leah Zawose, each adding their own flavour to the project. “Through the musical prisms of London and Ghana our influences join together to create, a fundamental thread of traditional African rhythms, instrumentation and storytelling, interwoven with electronics, urban soundscapes and synth bass. We use technology, but it should never use us, our music is live and about deep human connection.” (Onipa)

                                                                                                                          After coming to prominence as the frontman of the Mercury Prize-winning Klaxons, recording with Arctic Monkeys and crafting his Shock Machine project, James Righton releases his debut solo album “The Performer”.

                                                                                                                          ‘The Performer’ stands in stark contrast to the electro-hedonism of Righton’s work with Klaxons. Instead, it spins through various points from 1970 onwards. It touches on the suave art-lounge of Roxy Music, the jangly grooves of R.E.M., the sumptuous psychedelia of latter day Beach Boys and the songwriting gift of Nick Lowe. In short, it uses classic elements as the groundwork for something which feels a natural fit for now.

                                                                                                                          The album flits between two core themes. Fatherhood has changed Righton’s life. It’s altered the relationship with his wife Keira Knightley, which he explores on the 90s-tinged pop-rock of “Start” and the crescendo that soars through “Lessons In Dreamland, Pt2”. But there are simpler emotions too, with the unrequited love and sweet harmonies of “Edie”, a song he wrote for his daughter when she was just a few days old.

                                                                                                                          “The Performer” was written, performed and produced by James Righton, with the help of some select collaborators. James Ford (The Last Shadow Puppets, Simian Mobile Disco) performed drums throughout and bass on two tracks; Sean O’Hagan (High Llamas, Microdisney) contributed string arrangements; saxophone was provided by Jorja Chalmers (Bryan Ferry) and Josephine Stephenson (Thom Yorke, Ex:Re) contributed additional piano and string arrangements.


                                                                                                                          FORMAT INFORMATION

                                                                                                                          Ltd LP includes MP3 Download Code.

                                                                                                                          Rustin Man

                                                                                                                          Clockdust

                                                                                                                            Having waited 17 years for Drift Code, some may be surprised at Clockdust’s swift arrival, but the album’s roots can be found in the same extended sessions. “Early on I realised I had two albums worth of material,” Webb explains. “The first tunes I wrote were electric guitar based, with long arrangements that built up in layers to something sonically quite dense. These became the bulk of Drift Code. As a reaction, I wrote a batch of songs that were tighter in their structure but had more feeling of space. These make up the bulk of Clockdust.”

                                                                                                                            Once he’d identified each song’s greater role, Webb took pains to ensure the albums would stand alone. “Through the year of mixing and releasing Drift Code,” he continues, “I made a conscious effort not to listen to Clockdust. It became some long-lost twin everybody had forgotten. There was an older, wiser atmosphere to it, more cinematic, but in a romantic way”.

                                                                                                                            Clockdust draws upon an armoury of instruments, some, like the euphonium, unfamiliar in such contexts, and plenty – the kokoriko, the okónkolo – with even more unfamiliar names. Each track, too, indicates Webb’s fondness for the path less travelled, its twists and turns at first jarring but soon intuitive. That they’re embellished by a voice which has seemingly endured many lifetimes emphasises their mysterious nature. That its recording was soundtracked by Jacques Brel, Jet Harris and Kurt Weill no doubt contributed too. That many songs are inspired by old movies enhances their ageless atmosphere yet further.

                                                                                                                            Lead single “Jackie’s Room” is about a dysfunctional yet romantic relationship in which the protagonist believes “as long as she’s desired, she’ll never grow old” and the resulting track sways with the grace of its aging seductress. “I think of the album as containing stories from people who’ve reached their present situation through many years of experiences,” Webb says.

                                                                                                                            Idiosyncratic and quietly haunting, Clockdust is seeped in sepia-tinted nostalgia, “a powerful force of nature,” Webb states, “up there with love and desire”. The album blurs the boundaries between past and present. Webb insists that he prefers to live in the here and now, but in looking back he’s found a magical, mesmerising manner in which to forge a path forward: for him, for his music, and for his audience.

                                                                                                                            FORMAT INFORMATION

                                                                                                                            Indies Exclusive LP includes MP3 Download Code.

                                                                                                                            Hot on the heels of the "Boliglan" 7" last week, Norwegian newcomers Leoparden drop their debut LP, the killer "Stilen Er Svimmel". If you bagged a copy of that introductory single (if you didn't then think on), you'll be delighted to know this long player is the natural evolution of that humid white funk sound, providing soulful echoed vocals, dancing guitar rhythms and cosmic synth jams for days! Inspired by everything from Bollywood disco to Nigerian boogie, with a twist of funk from the east Oslo suburbs Leoparden's LP debut is a dreamy and freaky lo-fi affair, and it's a delight on the Piccadilly player this afternoon.
                                                                                                                            LIYL Whitest Boy Alive, Jaakko Eino Kalevi, Casiokids, Mauskovic Dance Band or Hubbabubbaklubb.


                                                                                                                            STAFF COMMENTS

                                                                                                                            Matt says: Oddball dance maverick Leoparden unites the Piccadilly backline with his wacky and completely unique take on sonic expression. Any attempts to categorize or put into any type of box met surely futile. A new musical life form is discovered....

                                                                                                                            Tony Allen & Hugh Masekela

                                                                                                                            Rejoice

                                                                                                                              ‘Rejoice’ is a very special collaboration between Tony Allen, the legendary drummer and co-founder of Afrobeat, and Hugh Masekela, the master trumpet player of South African jazz. Having first met in the 70s thanks to their respective close associations with FelaKuti, the two world-renowned musicians talked for decades about making an album together. When, in 2010, their touring schedules coincided in the UK, the moment presented itself and producer Nick Gold took the opportunity to record their encounter. The unfinished sessions, consisting of all original compositions by the pair, lay in archive until after Masekela passed away in 2018. With renewed resolution, Tony Allen and Nick Gold, with the blessing and participation of Hugh Masekela’s estate, unearthed the original tapes and finished recording the album in summer 2019 at the same London studio where the original sessions had taken place.

                                                                                                                              ‘Rejoice’ can be seen as the long overdue confluence of two mighty African musical rivers – a union of two free-flowing souls for whom borders, whether physical or stylistic, are things to pass through or ignore completely. According to Allen, the album deals in “a kind of South African-Nigerian swing-jazz stew”, with its roots firmly in Afrobeat. Allen and Masekela are accompanied on the record by a new generation of well-respected jazz musicians including Tom Herbert (Acoustic Ladyland / The Invisible), Joe Armon-Jones (Ezra Collective), Mutale Chashi (Kokoroko) and Steve Williamson.


                                                                                                                              STAFF COMMENTS

                                                                                                                              Matt says: Relishing in the top ring of the pyramid we find emperors Tony Allen & Hugh Masekela in primo form; whipping up a dazzling eight tracks of afro-beat mayhem that few can rival. Especially poignant and arresting following Masekela's death a couple of years ago; it's a delight to see the musician on top of his game till his dying breadth. They don't make em like they used to!

                                                                                                                              Oaklands Space Ghost drops his new album on Apron. "FREE 2 B" is a detour between Space Ghost’s albums "Endless Light" (2018) and "Aquarium Nightclub" (2019). With Apron in mind and a bit of new found creative freedom, producing this album allowed Ghost to explore a different side to his influences. Shimmering house and glossy R&B sounds collide on this collection of 9 vibes.

                                                                                                                              Produced and Mixed by Sudi Wachspress Lyrics and vocals on “I’ll Be Yours,” by G’la.

                                                                                                                              All tracks recorded in East Oakland, CA 2018 - 2019 'Thanks for listening!' -SG

                                                                                                                              STAFF COMMENTS

                                                                                                                              Matt says: Tantalizingly fresh new vibrations from Space Ghost on Funkineven's Apron label. An up-to-date mix of new boogie, deep house & electronic soul; galvanized by some wonderful production and elevated by a keen musical ear. A brilliantly sequenced collection of songs rather than tracks, Space Ghost embodies sophistication, musical intent and inventive songwriting across a succinct eight tracks. Check!

                                                                                                                              Bobby Conn

                                                                                                                              Recovery

                                                                                                                                Bobby Conn returns with his first new album in 8 years. As always, the sound is the past 50 years of art rock and soul tossed into a blender and set on liquify. I was really into 10cc, J Dilla, Liaisons Dangeroux, Jean Claude Vannier, Anna Meredith, Slade, D'Angelo, etc. when writing this record, but I'm sure you can hear it for yourself. Musically, this is a collaboration with my partner Monica BouBou on violin and vocals and our Superband of drummer Josh Johannpeter, bassist Jim "Dallas" Cooper, keyboardist and string player Billie Howard, guitarist Devin Davis, and long time sound artist DJ LeDeuce. We recorded it over many months in a basement. There is a cameo by synth genius Felix Kubin on Brother. Mixed by the brilliant Tobias Levin and Hannes Plattmeier in Hamburg, Germany.

                                                                                                                                Arbouretum

                                                                                                                                Let It All In

                                                                                                                                  Arbouretum’s mystic folk-rock uses English folk, country blues, Americana and 70s psychedelia as touchpoints in their singular and distinctive sound and they’ve perfected the craft of storytelling, using a delicate interplay of melodies and prosaic lyrics.‘Let It All’ In is their most accomplished and evocative album yet. Guitarist and vocalist Dave Heumann’s melodies and solos remain a central focus, bolstered by the hypnotic rhythms of bassist Corey Allender and drummer Brian Carey, enhanced by Matthew Pierce’s substantial yet understated keyboard figures. Each song a vivid scene or tale; Heumann’s deep sense of spirituality and command of storytelling through myth and metaphor transports the listener to another world and time. Features guest performances from Mike Kuhl, Hans Chew and Dave

                                                                                                                                  Sky Valley Mistress

                                                                                                                                  Faithless Rituals

                                                                                                                                    Included is a free 'Faithless Rituals' board game, 16 unique tarot cards, 4 Sky Valley tokens a game spinner and full instructions all housed in its own separate inner sleeve. Full download included as well.

                                                                                                                                    Main CD package is a 4 panel digipack, with a 4 page booklet.

                                                                                                                                    Sky Valley Mistress are 4 young upstarts from Blackburn, Lancashire, full of spit and vinegar who have delivered a ferocious, two fingered hello to rest of the world with their debut album 'Faithless Rituals'. Eight tracks of fierce passion and spirit, blistering stoner rock 'n' roll with huge riffs, buckets of fuzz and hooks guaranteed to nail you to the wall from the get go. Couple that with inciendiary playing one of the best female vocalists around ... you have one helluva debut album. In fact, SVM could easily hold their own against the likes of Jim Jones, Rival Sons, Royal Blood, BRMC or any other rockers greasy or otherwise.

                                                                                                                                    Still only in their mid 20’s, you can only assume, on listening to their debut, that these young turks made that journey to those legendary crossroads and did the dirty deed with the dark one himself, such is the level of musicianship and vocal prowess on show here. The album was recorded at the legendary Rancho De La Luna, Joshua Tree, California, and co produced by, and featuring Dave Catching (Queens Of The Stone Age, Eagles Of Death Metal and Mojave Lords amongst others) and like all great rock 'n' roll it has vibe and attitude in spades. “I just wanna tell you guys a little somethin’ about this record. Somethin’ that you really need to know. I want this to perforate your eardrums, have a fight inside your head and leave a slow burnin’ fire in the darkest part of your mind. That will never let you forget what will be embedded inside you forever”

                                                                                                                                    These are the words of Dave Catching (Mojave Lord, Eagles Of Death Metal, QOTSA), co-producer along with the band of the album. Dave’s intro opens ‘Faithless Rituals’, the debut album from Sky Valley Mistress. 8 tracks of full on hard, and heavy stoner rock, that is guaranteed to nail your ass to the wall from the get - go. 8 tracks of fierce passion and spirit. As Dave says … “Let it puncture your heart, bleed through your body and electrify your soul. Because this … THIS IS ROCK ‘N’ ROLL” Sky Valley Mistress are: Kayley “Hell Kitten” Davies (vocals), Sean “Starsky’ Berry (Guitar), Russell “Russell” Russell (Bass), Maxwell Harvey William Newsome III (Drums/Percussion) 

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    LP Info: Initial copies on cream and green splatter vinyl.

                                                                                                                                    LP includes MP3 Download Code.

                                                                                                                                    Buckwild Texan sound mangler, peyote-rock connoisseur and general Lord of the Freaks: Shit and Shine return to Rock Is Hell - home of the legendary "Le Grand Larence Prix" album from 2011 - with the brand spanking new banger "Scenic Farm'. Spread over two heaving discs, the main man Craig Clouse has once again proved how up there he is right now as a producer, slaying all in his path and showing how far you can really take this shit. It's all right here - from the snare driven Schifrin funk of "Camino Real" to the growling acid of "Whaxaxaxki" via the urban sizzurp of "Off The Wall" and that's just the first side. Take the full ride my friend. Glistening 808's, samples of spoken word, breaks that glitch and split into revealing grooves you had no idea were even there, a smattering of kosmich, total distortion overload, a link up with EVOL and a re-do of Pet Brick too. It's all here. Unfiltered and raw. Recommended.

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    2xColoured LP Info: Clear vinyl.

                                                                                                                                    Various Artists

                                                                                                                                    Alex Attias Presents LillyGood Party Vol. 2

                                                                                                                                      Swiss DJ Alex Attias returns to BBE with a second helping of uptempo cuts, perfectly encapsulating his LillyGood Party! sound. Founder of the recently revived Visions imprint, a long-time collector and a revered selector, Alex Attias is, before everything, a refined producer whose musical craft has seen him travel the globe, most notably with an extended stint in the birthplace of the bruk sound, London. The tracks you’ll find on this compilation are all current favourites, or proven classics that have never left Alex's record box at the LillyGood Parties, a gathering Alex and his brother Stephane run in their hometown of Lausanne, Switzerland. LillyGood Party! Vol.2 is another testament to Attias’ unswerving taste for smooth yet intricate, subtly layered yet deeply rooted dance compositions; some subtly edited for maximum dance-floor effect. Featuring instantly recognisable names such as Louie Vega's Elements Of Life, Peven Everett and even Pharoah Sanders, LillyGood Party 2 also sheds light on some lesser-known artists, digging out some gems, buried deep across the jazz, disco and electronic musical strata. 

                                                                                                                                      STAFF COMMENTS

                                                                                                                                      Sil says: More jazzy than my usual preferences; this great compilation has got me shacking my arse in ways not previously known! Someone put me on a dancefloor!

                                                                                                                                      Various Artists

                                                                                                                                      Sampled Groove

                                                                                                                                        Over the years, artists have continuously inspired one another through the art of sampling. The SAMPLED vinyl collection is an invitation to (re) discover the most iconic sampled artists and original tracks in music history such as Charles Aznavour, Ray Charles, Dusty Springfield or Gwen McCrae. Launched in 2018 with 2 volumes dedicated to Funk and Soul, the collection is back this year introducing a new opus: “Sampled Groove” featuring Disco, Funk & Soul tracks sampled by Mobb Deep, Cypress Hill, Mary J. Blige, Will Smith and many more.

                                                                                                                                        Porridge Radio

                                                                                                                                        Every Bad

                                                                                                                                          Porridge Radio grew out of Dana Margolin’s bedroom, where she started making music in private. Living in the seaside town of Brighton, she recorded songs and slowly started playing them at open mic nights to rooms of old men who stared at her quietly as she screamed in their faces. Though she eventually grew out of them, for Margolin these open mic nights unlocked a love of performing and songwriting, as well as a new way to express herself. She decided to form a band through which to channel it all, and be noisier while she was at it – so Porridge Radio was born.

                                                                                                                                          Inspired by interpersonal relationships, her environment - in particular the sea - and her growing friendships with her new bandmates (bassist Maddie Ryall, keyboardist Georgie Stott, and drummer Sam Yardley) Margolin’s distinctive, indie-pop-butmake-it-existentialist style soon started to crystallise. Quickly, the band self-released a load of demos and a garden-shed-recorded collection on Memorials of Distinction, while tireless touring cemented their firm reputation as one of UK DIY’s most beloved and compelling live bands.

                                                                                                                                          As the band’s sound – bright pop-rock instrumentation blended with Margolin’s tender, open-ended lyrics – has developed and refined, Porridge Radio have also received enthusiastic radio airplay on the BBC, Radio X and more. Now, they are taking that development a step further, as they put out their label debut, Every Bad.

                                                                                                                                          FORMAT INFORMATION

                                                                                                                                          Coloured LP Info: Indies exclusive milky white vinyl.

                                                                                                                                          Coloured LP 2 Info: Limited transparent blue vinyl edition

                                                                                                                                          Four Tet

                                                                                                                                          Sixteen Oceans

                                                                                                                                            The flag bearer for dancefloor-orientated electronic music has come up with something rather special for, what I think, is his twelfth proper studio album to date. Reaching, through his ever-forward-glancing soundscapes, to even deeper levels of intimacy, intricity, abstraction & intrigue. Four Tet continues to usher in the Now; way before you even knew it existed.

                                                                                                                                            Utilizing a beguiling and enchanting array of patches, synths, DSP units and the latest computer technology to yield a decidedly humanoid (read: cybernetic) approach to modern commentary and body movement through sound; our trusty technician has once again proven why he's the go-to tastemaker across the dance music global village, whatever particular camp you chose to shake your boots in.

                                                                                                                                            Housed in a fractal-psychedelic sleeve which upon first inspection reveals very little, as the first utterances begin to emanate off the record it's clear Hebden is painting a multidimensional canvas of our current world. Musically and visually it resonates with current moods and emotions, especially as technology continues influence and interact with our daily lives.

                                                                                                                                            After a crystalline and atmospheric opening track, "Baby" rushes through our senses at 5G; a track so quintessentially Four Tet yet unfathomably beautiful you'll curse the producer for not gifting it to us sooner. "Teenage Birdsong", a previously released single relishes in its languid, BOC-esque downbeat electronica while "Romantics" closes off the opening side with a warped but elegant moment of transcendence.

                                                                                                                                            "Love Salad" smothers us delicate rhythmic glitches and morphed pianos, "Insect Near Piha Beach" deploys the mangled electro-acoustic palettes that garnered much of Hebden's early works while "ISTM"'s gentile flurries and ASDR-enveloped stimulation propels us off into dreamlike fantasy worlds unknown to our consciousness.

                                                                                                                                            Side C is a somewhat nocturnal and tranquil affair, with obvious stargazing references contrasted with the whispering fairylike lullabies beamed down from the heavens.

                                                                                                                                            After treating us to such a glorious three sides, Four Tet then leaves jaws floor bound by gifting to us an entire side of locked grooves straight from the stems of the album!!! - Honestly, this is some real treasure folks, ready to mined by Ableton heads, mixed and juggled by 3-deck wizards and used as DJ tools across other tracks; it's an unfathomably classy and fortunate touch that closes off one of the producer's most essential albums to date. 10 / fu**ing 10. Essential.


                                                                                                                                            STAFF COMMENTS

                                                                                                                                            Matt says: Arg! It's a decade since Keiran hinted at our Meta New World with "There Is Love In You"; and almost all of his predictions have metamorphosed into this hybrid sonic species for 2020. He's still predicting the evolution of electronic music with an almost Darwinian accuracy, setting the high watermarks for others to follow...

                                                                                                                                            FORMAT INFORMATION

                                                                                                                                            2xLtd LP Info: Gatefold Double Vinyl.
                                                                                                                                            Vinyl has been delayed due to a manufacturing error, we'll update the release date once we have more info.

                                                                                                                                            Circa Waves

                                                                                                                                            Sad Happy

                                                                                                                                              An album of our times, ‘Sad Happy’ is formed of two diametrically distinctive sides – the first half of the record contains the Happy tracks, the latter the Sad tracks. Lead single ‘Jacqueline’ is unveiled today as the first taste of ‘Sad Happy’. Listen here. An infectious, Soweto flavoured groove, ‘Jacqueline’ is another bold slice of bright, life-affirming pop from the pen of Kieran Shudall, who is establishing himself as one of Britain’s most prolific young songwriters. With it’s infectious chorus and refrain of ‘Good times are coming around the bend’, Jacqueline is at once instantly recognisable and also another bold sonic leap forward for Circa Waves. It’s a song that’ll sit effortlessly amongst a setlist already brimming with anthems.

                                                                                                                                              ‘Sad Happy’ was written and produced in full by Kieran Shudall, and mixed by Grammy winners Dan Grech-Marguerat and Matt Wiggins. Today’s album announcement comes a little over six months after the release of April’s Top Ten Charting UK Album ‘What’s It Like Over There’. The prolific nature of Kierans’ writing, coupled with Circa Waves relentless appetite for playing live and their own label imprint, are cementing the Liverpool four piece’s reputation as one of the UK’s most dynamic and exciting bands.

                                                                                                                                              FORMAT INFORMATION

                                                                                                                                              Coloured LP includes MP3 Download Code.

                                                                                                                                              LP includes MP3 Download Code.

                                                                                                                                              Hilary Woods

                                                                                                                                              Birthmarks

                                                                                                                                                Hilary Woods’ Birthmarks has been a labor of intensity and intuition, written over the course of two years. Recorded whilst heavily pregnant between Galway and Oslo in the winter of 2019, Woods explores the oscillating and volatile processes of selfhood and becoming, hidden gestational growth, and the birthing of the Self, amidst continuous social and personal change.

                                                                                                                                                Birthmarks is a record that hunts for ways in which to revisit and caress wounds left by the memory of their scars. In its mystery and attentiveness to the art of alchemy and the world of the unseen, it is a journey through textural fog and feral density that gives way to passages of voracious sonic exorcism and poetic healing. Its eight songs traverse planes of visceral physicality, stark tender space, and breathtaking introspective beauty.

                                                                                                                                                Spurred on and crafted by the impulse to create a more corporeal sonic tendon for her songs to inhabit, Woods took her vision and home recordings to Norwegian experimental noise producer and filmmaker Lasse Marhaug. The collaboration proved rare and fruitful and lies at the heart of this record. Field recordings, analogue bass synthesizers, hushed vocals, and the breath are underpinned with heavy noise processing, fierce and wide cello, rich percussion, sable saxophone, and electronics.

                                                                                                                                                Birthmarks is inspired and informed by ideas of inner transmutation in the face of anxiety, post-war Japanese and wet-plate photography, early music, the secret life of trees, wolves, drone, the drawings of Francis Bacon, the images of Francesca Woodman, the films of Chris Marker, the experiential collapse of community, and the power of the lone human voice. It is a deeply powerful and enigmatic record that ultimately transcends its disquiet roots. 


                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                Coloured LP Info: Dark red vinyl.

                                                                                                                                                Maria McKee

                                                                                                                                                La Vita Nuova

                                                                                                                                                  Maria McKee has been out of the proverbial spotlight for some time, her creative talents re-engaging with her first love of acting, performance and the musical tapestries that accompany such activities.

                                                                                                                                                  Candid and passionate, she’s, quite simply, had a beatific awakening and in a crescendo of prose, her new album ‘La Vita Nuova’ unlocks her story, sketching out her journey that started many moons ago when she sang in her bedroom with her older brother, the late, great musical innovator Bryan MacLean. Along the way she retooled punk and country in Lone Justice, released a string of evocative and eclectic solo records, wrote chart topping hits and touched millions of people before seemingly disappearing…

                                                                                                                                                  Some of the new album sounds like modern show tunes for musical extravaganzas that are still to be penned.

                                                                                                                                                  ‘Little Beast’ is almost Disney-esque and ‘I Should Have Looked Away’ has a real stagey feel to it. Title track ‘La Vita Nouva’ and ‘Let Me Forget’ are all beautifully written stories of relationships in various states of evolution or disrepair. And, ‘However Worn’ is like a slice of American gothic.

                                                                                                                                                  A homage to new life, the completion of ‘La Vita Nuova’ saw Maria’s life entirely change and illustrates an important period in the artist’s life.

                                                                                                                                                  “It’s a really personal record; all I can do is tell my story. People can find their own meaning in it, taking them deeper, perhaps, into something they need to experience, I think that’s what music and art does.”

                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                  2xColoured LP Info: Indie stores exclusive.
                                                                                                                                                  Ltd edition Double White Vinyl in Gatefold sleeve.

                                                                                                                                                  Deluxe CD Info: CD is Ltd Edition Bookback CD.

                                                                                                                                                  Ultraísta

                                                                                                                                                  Sister

                                                                                                                                                    Ultraísta are releasing their first new album since 2012's self-titled debut. "Tin King" is a collection that defies easy categorization, and one that proves that Ultraísta — Grammy-winning producer/engineer/musician Nigel Godrich, best known for his two decades helming Radiohead’s groundbreaking studio output; celebrated drummer Joey Waronker, who’s toured and recorded with everyone from R.E.M. and Beck to Roger Waters and Elliott Smith; and singer Laura Bettinson, an acclaimed solo artist whose work combines synth-driven electropop and dreamy vocal looping — is far more than just the sum of its remarkable parts.

                                                                                                                                                    CocoRosie

                                                                                                                                                    Put The Shine On

                                                                                                                                                      CocoRosie's 7th album—the aptly titled Put The Shine On—is a study in extremes, balancing some of the most pristine and adroit pop songs the band has ever crafted, while simultaneously exploring the most extreme states of human feeling and being—the result being an album that is both pristine and, at times, harrowing.

                                                                                                                                                      Put The Shine On is a record that luxuriates in extremes, reflecting the pain and confusion of mental and the anguish of unpacking trauma, while also gleefully celebrating the possibility of newness, of wildness, and the ever-present potential for transformation. Nearly two decades deep into a career marked by experimentation and bucking convention, the duo have made what is arguably their most well-considered, emotionally complicated, and sonically adventurous record of their career.

                                                                                                                                                      Cross-disciplinary performance artists and sisters, Bianca and Sierra Casady, aka CocoRosie. songs blend a myriad of styles and references, from hip-hop to folk and opera, shaping the most painful of experiences into memorable and evocative pop songs. They have released six albums to date: Heartache City (2015), Tales of a Grasswidow (2013), Grey Oceans (2010), The Adventures of Ghosthorse and Stillborn (2007), Noah's Ark (2005), and debut album La maison de mon rêve (2004).

                                                                                                                                                      Cited by The XX and Melanie Martinez as a major influence, they recently collaborated with Chance The Rapper on his 'The Big Day' album. Previous musical and artistic collaborations include ANOHNI, Devendra Banhart and experimental theatre director Robert Wilson.

                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                      Coloured LP Info: Turquoise coloured vinyl.

                                                                                                                                                      Gigi Masin

                                                                                                                                                      Calypso

                                                                                                                                                        A masterpiece of ambience and beyond – ‘Calypso’ – the stunning new album by Venetian maestro Gigi Masin. The LP is inspired by the mythical Greek island of Ogygia and its alleged real life counterpart Gavdos – also known unofficially as Calypso – a place of extreme beauty, which upon visiting had a profound effect on the musician.

                                                                                                                                                        “Gavdos gives you profound sensations in every corner, as here you can find enchantment, mystery, the getting lost to forget, to erase and drown the memories in a light and salty water. A place new and ancient, between cedars that have seen exiles, pestilences, blood and desperation, isolation and abandonment, it’s the absolute of a life that every heart in love seeks, desperately, in the arms of Calypso, divine among the goddesses. An infinite love, and the infinite horizon of our dreams”, says Masin, eloquently.

                                                                                                                                                        The aqueous and sky-filled vistas of his native Venice are deeply intrinsic, but the best and simplest way to describe ‘Calypso’s sound might simply be Aegean, as every track takes you directly and vividly there – to timeless Greek beauty, glistening seas, picturesque landscapes and the sun’s bright, balmy heat. But, much more than just pleasant dapples of twinkling of audio balm, ‘Calypso’ is music of the gods, goddesses and heroes, subliminally capturing all the celestial beauty, awe, romance and adventure of an epic saga.

                                                                                                                                                        ‘Calypso’ marks a new phase in Masin's musical evolution after re-releases and retrospectives on the Music From Memory label and new releases with the Gaussian Curve trio alongside Jonny Nash and Young Marco. Aptly released on Apollo, Masin joins a label who count other classics like Aphex Twin’s ‘Selected Ambient Works 85 - 92’, plus Biosphere’s ‘Microgravity’ and ‘Patashnik’ in its catalogue. Climbing in incremental steps to the pantheon’s summit, Masin now is close to reaching his rightful place alongside giants like Brian Eno, Laurie Spiegel, Ryuichi Sakamoto, Tangerine Dream and Midori Takada.

                                                                                                                                                        Nadia Reid

                                                                                                                                                        Out Of My Province

                                                                                                                                                          No one ever got anywhere by standing still. As an artist, you must move to grow. It’s a sentiment Nadia Reid knows well. Leaving her beloved New Zealand for America to record her third album with strangers, what she didn’t expect was a family awaiting her; teaming up with Spacebomb, her evocative travel tales push explorations of love, personal growth and deep reflection beyond boundaries she ever thought possible.

                                                                                                                                                          Out of My Province further marks Nadia’s wildly expanding trajectory, this time from outside her comfort zone. Nadia packed up for Spacebomb studios in Richmond, Virginia with long-term “musical rock” and guitarist Sam Taylor. They were joined by joined by the Spacebomb house band - Cameron Ralston (electric and upright bass), Brian Wolfe (drums) Daniel Clarke (organ, piano, and keys), and producer Trey Pollard, who would arrange strings, horns, piano and Rhodes to give the album a depth in sound Nadia had always imagined. “As an artist, progression is key. I want to always be changing, pushing boundaries, to feel growth. It’s good for us,” Reid says.

                                                                                                                                                          “Out of My Province is definitely a travelling album; they are road songs,” tells Nadia, written during a period of intensive touring following the release of her critically acclaimed LP, Preservation. “I felt inspired while I was moving and playing most nights. Sometimes good. Sometimes hard – there was this term I came up with called ‘digging for gold’ where some nights, you’d need to dig deeper for that feeling. During that time I felt really alive and useful.”

                                                                                                                                                          Completed back home in her hometown of Dunedin, first single “Best Thing” is a "song is about relationships, childhood and nostalgia. It is about intimate love and about the love between a mother and a daughter." The video was directed by Charlotte Evans and shot on film in locations around her neighbourhood including Tunnel Beach, the Railway Station and Botanic Gardens, starting at 6 AM in wintertime. "Dunedin is full of places that will flaw you with its natural beauty." reveals Reid, whose new songs act like postcards back to Port Chalmers.

                                                                                                                                                          The album takes its title from an interview with one of Nadia’s favourite New Zealand authors, the late Janet Frame, in which the interviewer asks if she has considered the supposition that she is one of the greatest writers of the twentieth century, to which Frame uncomfortably replies, "That question doesn't reach me. It's out of my province." Explains Nadia, “I was so moved by her response for some reason. I am enamoured by her books. I can re-read them at any time and take such comfort from them. So ever since... out of my province. That phrase has never left me.”


                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          Dinked Edition LP Info: Dinked Sticker.
                                                                                                                                                          Alternative outer artwork with pink back sleeve.
                                                                                                                                                          Pink with white edge splatter vinyl exclusive to Dinked.
                                                                                                                                                          Limited to 400.

                                                                                                                                                          Porches

                                                                                                                                                          Ricky Music

                                                                                                                                                            Porches, a.k.a. Aaron Maine, is back with a new album, Ricky Music. With contributions from Mitski, Zsela, and Dev Hynes, and with co-production by Jacob Portrait, Ricky Music expands on the Porches discography (The House, 2018; Pool, 2016; Slow Dance In The Cosmos, 2013) by delivering 11 emotionally open, cracked-glass pop songs.

                                                                                                                                                            About the album, Maine says: “My new album, Ricky Music, was written and recorded between Dec 2017 and the spring of 2019. Mostly in New York at my apartment, but some of it in Chicago, Los Angeles, and various cities while touring around Europe. This record is an account of the beauty, confusion, anger, joy and sadness I experienced during that time. I think I was as lost as I was madly in love. In these songs I hear myself sometimes desperate for clarity, and other times, having enough perspective to laugh at myself in some of my darkest moments. That’s sort of what this album is about, I hope you enjoy it.”

                                                                                                                                                            With the album announcement comes a new song – “Do U Wanna” – and a video for the song directed by prior Porches collaborator Nick Harwood. ““Do U Wanna” is a song about looking at yourself and realizing the disparity between how you’d like to act and how you actually act. The fun you vs. the isolated you. I feel like with the refrain I’m almost taunting myself to get up and do something.”

                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                            Indies Exclusive LP Info: Indies exclusive deluxe LP on black vinyl with bonus 7".

                                                                                                                                                            CD Info: Digipack.

                                                                                                                                                            The Blinders

                                                                                                                                                            Live At The Ritz

                                                                                                                                                              The Blinders: Live at The Ritz

                                                                                                                                                              Exclusive live recording of The Blinders from the Ritz Manchester on a limited edition double LP.


                                                                                                                                                              Grouplove

                                                                                                                                                              Healer

                                                                                                                                                                It starts like an alarm. 'Deleter' is the lead track from Grouplove's forthcoming fourth album Healer, and it is an emergency opener. It's fuelled by pounding keys, squalling guitar lines, and lightning drumming before the voice of Christian Zucconi questions everything around him: faith systems, his sense of belonging, communities, his own psyche. “All this time I thought you were a leader/It turns out you're only a deleter.” It could be interpreted as a political statement, but it's also highly personal. “All this time been burning with a fever / It turns out I've always been my healer,” is also switched in as a rhyming line, and in the end sees Zucconi and his collaborator, wife and frontwoman Hannah Hooper realizing that amid every progression and every regression you always come back to yourself for the answers. They're already within you

                                                                                                                                                                Today in a cafe in their LA neighborhood of Silver Lake, the pair sit down as two people who have experienced and borne witness to a great deal of change, trauma and growth in the past three years. You may associate the band as a beacon for positivity and optimism. They're still a five-piece – albeit with a new drummer in Ben Homola – and at their core, remain a vessel for looking at the glass half full. Hence their opening sentiment: a rallying cry for tearing down false idols and building anew

                                                                                                                                                                It's been almost ten years since Grouplove met on a commune in Greece and brought the idea of themselves being a band back to California. They'd never have anticipated making it this far. Healer represents a re-birth and one that almost comes full circle to their initial idealism. “When we all met in Greece, Christian and I were leaving New York at an all-time low. We just wanted to have a fun summer. We wanted to make art. And we're still doing that. We found that feeling again on this album, of hopelessness put into a medium of expression.”

                                                                                                                                                                “This album is us fighting for that feeling,” says Hannah.” There's a darkness that's real and everyone deals with it at a certain point in their life. “We’re addressing that life is hard. We understand and we are going through it with you.”


                                                                                                                                                                Juniore

                                                                                                                                                                Un Deux Trois

                                                                                                                                                                  The “yéyé noir” of Juniore has always been rooted in the cinematic as much as the musical. The Paris outfit’s blending of 1960s French pop, hazy psychedelia, seamless pop, surf grooves and lush orchestration feels as intertwined with big screen aesthetics as greatly as it does being found in the grooves of vinyl. So it makes perfect sense that the band would sooner or later find themselves appearing on more film and TV soundtracks, including the universally lauded drama Killing Eve.

                                                                                                                                                                  It marks a period of continuous upward trajectory and forward momentum for the band who, since the release of their acclaimed 2018 album Magnifique, have been exposed to more people all over the world via stages and screens. From playing huge venues to thousands of people opening for the likes of the Dandy Warhols, to “corners of dive bars with duct tape holding the stage together” the band have been solidifying their sound, approach and relationship by playing extensively. “We’ve become more connected and better musicians,” Says the band’s songwriter and singer Anna-Jean. “I think the new songs are full of that wonderful conversation we have with each other on stage.”

                                                                                                                                                                  It’s this sense of deeper understanding that the band have reached between one another that has allowed them to record an album that sounds as natural, graceful and seamless as this one. “We are now even more who we are than before,” she says of their musical and personal bonding. “And yet we still don’t really know who we'll become next. I know it sounds absurd but it's a very nice feeling.” It’s a feeling that is mirrored in the music too. There is a sense of familiarity, a retro pop flourish – filled with infectious rolling bass lines, razor-sharp guitar lines, dense atmospheres and immersive melodies – yet predicting where the album will go remains a constant impossibility.

                                                                                                                                                                  The album’s title Un, Deux, Trois is another nod to the tight unit of the group. Swanny Elzingre and Samy Osta make up the trio, with the former on drums and the latter sharing guitar and keys along with Anna-Jean. It was in Samy’s cosy Paris studio that the album was recorded. The finished tone of the album - recorded often live to a 16 track - sounds like an amalgamation of their favourite French 60's muses like Françoise Hardy, Brigitte Bardot and Anna Karina with the new wave spark of Devo and the B-52's. While that cross-pollination between sultry, sophisticated pop and good-time energy and vibrancy is certainly present, there’s also a wealth of other touching points that underpin the record. So much so that Anna-Jean says of the themes that run through the album: “It’s a mix of everything we have loved and watched and felt in the last few years. It's like a laboratory of feelings – not really my or our feelings but more universal feelings and emotions – it's like a nonsensical Frankenstein’s laboratory."

                                                                                                                                                                  However, as fun as this record is, much like its predecessor, there's an underlying lyrical message that remains a key part of the band’s identity as they push forward equality-based principles. “It's the same as we've been trying to state since the beginning,” Anna-Jean suggests. “The importance of being independent, of counterculture, humour and poetry. Of not taking ourselves seriously but being very serious about it and fighting against sexism, ageism, racism, consumerism – all the worthwhile fights.”


                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                  Dinked Edition LP Info: Unique alternative colourway sleeve.
                                                                                                                                                                  Heavyweight Vinyl.
                                                                                                                                                                  Numbered Edition of 500.
                                                                                                                                                                  Exclusive bonus 7”.
                                                                                                                                                                  Drinks Coaster / Beer Mat.
                                                                                                                                                                  Postcard.

                                                                                                                                                                  Sam Doores

                                                                                                                                                                  Sam Doores

                                                                                                                                                                    “Recording in a foreign environment like Berlin, I was inspired to experiment with more cinematic, psychedelic sounds,” says Sam Doores, “but my love for old-school New Orleans R&B, Memphis Soul & Rock n’ Roll, Detroit Motwon & Gospel, Doo-Wop, Early Blues & Folk music will probably always bleed into whatever I do. Recording this album was an opportunity to explore the space between these worlds.”

                                                                                                                                                                    With his captivating self-titled debut, Sam Doores has done precisely that. Written on-and-off over the course of several years, the collection is classic and contemporary all at once, blending traditional southern roots with adventurous sonic landscapes as it reckons with heartache and loss, love and gratitude, fresh starts and, ultimately, a whole lotta change. The performances are infectious in their ease, simple on the surface but built on foundations of deep emotional and harmonic complexity that belie their amiable exteriors.

                                                                                                                                                                    Joyfultalk

                                                                                                                                                                    A Separation Of Being

                                                                                                                                                                      Free-thinking Nova Scotia composer, musician and visual artist Jay Crocker (aka JOYFULTALK) channels Minimalism, Japanese environmental music, Maghrebian rhythmic modes and other numinous folkways to create his most focused, vibrant work to date. Based on a monumental, kaleidoscopic graphic score, A Separation Of Being is translated from two-dimensional page to trans-dimensional aural life using an array of homemade instruments, crowned with a majestic string arrangement written by Crocker and performed by Polaris and Juno winner Jesse Zubot (Tanya Tagaq, Destroyer). Visual scores often provoke ideas of openness, interpretation, improv and fluidity. JOYFULTALK's third album, and second for Constellation, is an altogether different beast.

                                                                                                                                                                      This three-part suite is airtight; interlocking arcs of polyrhythmic deep groove and new minimalism roll out in spellbinding propulsion, the music gathering its warmth from the strings and its peculiarities from Crocker's bespoke instrumentation and analog clockworks. The separation of being here is not division or rupture, but buoyant freedom through conduction of circulatory energies, marked by flowing melodic rondos of gyrating strings and sonic pointillism. A Separation Of Being is a systems music feast for the heart and mind. And lest we forget the eyes: Crocker began developing 'The Planetary Music System', his particular methodology for visualized composition, in 2012. The score for A Separation Of Being is the pinnacle of his system to date. Impressive in scale and scope, this stunning 5'x10' mural (acquired by Nova Scotia's provincial Art Bank in 2019) features geometric multi-directional cycles of brightly-coloured, finely-detailed sound notation.




                                                                                                                                                                      Human Impact

                                                                                                                                                                      Human Impact

                                                                                                                                                                        Human Impact, the New York-based outfit that features members of Unsane, Cop Shoot Cop and Swans are releasing their self-titled, debut album. Human Impact are Chris Spencer (Unsane) vocal, guitar, Chris Pravdica (Swans, Xiu Xiu) bass, Jim Coleman (Cop Shoot Cop) electronics, Phil Puleo (Cop Shoot Cop, Swans) drums.

                                                                                                                                                                        With a timeless sound that blends heavy soul and psych-rock, Monophonics have built a reputation over the past decade as one of the best live bands in the country. Led by singer Kelly Finnigan, the band has drawn on their colorful history - both their experiences as veteran touring performers and as individuals growing up in the Bay Area - to create "It's Only Us," their fourth release since 2012. A reflection of what they see as the current state of the world, the record touches on difficult subjects such as broken relationships, mental health issues, gun violence and power struggles, all with an underlying message of unity, resilience and acceptance. The band's signature style of arrangement has been expanded with top-notch production and creative instrumentation to round out the Monophonics' trademark soul sound, while Finnigan's vocals are more powerful than ever. At times these tracks can feel classic, as familiar as an old song you grew up with, while simultaneously raising questions about the state of music in 2020 and what the future might hold. "It's Only Us" is the sound of a group continuing to grow as songwriters, musicians, performers and people - reflecting on where they've been, and pushing the boundaries of what's possible in the years to come

                                                                                                                                                                        Back in the spotlight with a sublime new rhythm and blues record, James Hunter follows up six critically acclaimed albums with his latest recording, Nick of Time, set for release on Brooklyn’s renowned soul label Daptone Records.

                                                                                                                                                                        Nick of Time is a shining testament of how a master songsmith continually draws fresh water from a bottomless well. Recorded and produced by Bosco Mann, Nick of Time features one of today’s foremost soul singers at the top of his game performing with musicians who’ve backed some of the biggest contemporary music stars including Daptone artists Sharon Jones and Charles Bradley. Nick of Time will be internationally released on March 6, 2020.

                                                                                                                                                                        For Nick of Time, Hunter and Daptone co-founder Bosco Mann hunkered down in the label’s Penrose Studios in Riverside, California for what certainly will be one of 2020’s standout soul recordings. Unmistakably another stunning James Hunter album, Nick of Time is a voyage between beautiful, mid-tempo rumba recalling early King/Federal releases, while lush arrangements summon lost tracks from early '60s Burt Bacharach sessions. Nick of Time is steeped in an era when soul records were driven by earth-shattering vocal performances. James Hunter hands down ushers classic soul music into the 21st Century with a sense of timelessness that’s rare these days.

                                                                                                                                                                        James Hunter is an everlasting writer of compelling narratives sung with true grit while backed by an ace band of New York City’s finest musicians. Nick of Time finds Hunter in the company of Victor Axelrod (piano), Adam Scone (organ), Rudy Petschauer (drums), Myles Weeks (bass), Michael Buckley (baritone saxophone), and Freddy DeBoe (tenor saxophone). On the road for an extensive U.S., U.K., and European tour in support of Nick of Time, Matt Slocum (keyboards) takes the reins on keys for a hearty James Hunter Six ensemble ready to electrify soul music fans as they hit venerable stages in a city near you in spring 2020.


                                                                                                                                                                        The second in a series of compilations by Jura Soundsystem (label head Kevin Griffiths) brings together music never before released on Vinyl and some sought after out of print titles. The LP broadens the scope of the first Volume and touches upon a number of genres moving fluidly through Ambient, Electro, Dub House, Slow Disco and Library music before ending with some star gazing Esoteric cuts.

                                                                                                                                                                        ‘Transmission Two’ is bookended by Carl Craig, whose ‘C Beams Glitter’ has never before been released on Vinyl, and the actor Jeff Bridges, who provides a perfect finale with a message of personal empowerment set to the music of Ivor Novello winning soundtrack composer Keefus Ciancia. In between you’ll find Aphex Twin protégé Bochum Welt, John Rocca of Freeez and Pink Rhythm, Library Music aficionado’s Daniele Patucchi and David Arch, a Jura Soundsystem edit of Sapho, Hitman from the Philly World music stable, Hirini Melbourne (a Maori composer, poet and Author) and a beautiful previously unreleased song from Zann.

                                                                                                                                                                        This Double LP is a sketchbook of music picked up on digging adventures from the mind behind Isle Of Jura with artwork from long standing designer Bradley Pinkerton.

                                                                                                                                                                        Various Artists

                                                                                                                                                                        Bob Stanley & Pete Wiggs Present The Tears Of Technology

                                                                                                                                                                          At the turn of the 80s, a new generation of musicians appeared who saw synthesisers not as dehumanizing machines but as musical instruments that could be coaxed into creating modern, beautiful and decidedly emotional music. It was almost as if the musicians were intentionally creating this music to prove the doubters wrong. “The Tears Of Technology” celebrates an era of electronic melancholia, synthesized intimacies and insights – even Tomorrow’s World didn’t see that coming.

                                                                                                                                                                          Compiled by Saint Etienne’s Bob Stanley and Pete Wiggs, “The Tears Of Technology” celebrates this brief period when scruffy synth duos from the provinces broke through and took over British pop. Like mellotrons before them, synths could project a strange and deep emotion; listen to OMD’s ‘Sealand’, or the Human League’s ‘WXJL Tonight’, and it was clear that something in the wiring had an inherent melancholy.

                                                                                                                                                                          In the 60s and 70s, the synthesiser had mostly been regarded as either a novelty or a threat. Tomorrow’s World warned us that the cold, heartless synth would soon make orchestras redundant. But by 1980, Korgs, Moogs and Rolands were becoming affordable for all, and post-punk had created a safe place for new groups to experiment with these new toys.

                                                                                                                                                                          The influence of Kraftwerk – who had made a landmark appearance on Tomorrow’s World in 1975 – is all over this collection. Big names rub shoulders with obscurities by Turquoise Days, Electronic Circus and Illustration, all highly prized recordings among ‘cold wave’ and ‘minimal synth’ afficionados. There are pioneers like John Foxx and Thomas Leer, alongside unexpected synth sadness from Simple Minds and the Teardrop Explodes.

                                                                                                                                                                          Disq

                                                                                                                                                                          Collector

                                                                                                                                                                            Disq have assembled a razor-sharp, teetering-on-the-edge-of-chaos melange of sounds, experiences, memories, and influences. Collector ought to be taken literally—it is a place to explore and catalogue the Madison, Wisconsin band’s relationships to themselves, their pasts, and the world beyond the American Midwest as they careen from their teens into their 20s. This turbulence is backdropped by gnarled power pop, anxious post-punk, warm psych-folk, and hectic, formless, tongue-in-cheek indie rock.

                                                                                                                                                                            Collector, like the band itself, is defined and tightly-contoured by the ties between the five members. Raina Bock (bass/vocals) and Isaac deBroux-Slone (guitar/vocals) have known each other from infancy, growing up and into music together. Through gigging around Madison, they met and befriended Shannon Connor (guitar/keys/vocals), Logan Severson (guitar/vocals), and Brendan Manley (drums)—three equally dedicated and adventurous musicians committed to coaxing genre boundaries.

                                                                                                                                                                            Produced by Rob Schnapf, Collector is a set of songs largely pulled from each of the five members’ demo piles over the years. They’re organic representations of each moment in time, gathered together to tell a mixtape-story of growing up in 21st century America. The songs are marked by urgency, introspection, tongue-in-cheek nihilism, and a shrewd understanding of pop and rock structures and their corollaries—as well as a keen desire to dialogue with and upset them.


                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                            Barry says: While Disq have the gnarled, rough edges of a band who've been through the ringer, this brilliantly collated collection of post-grunge, snarling punk and grooving distortion, mixed with more subtle, measured acousticry is in fact their first release! Channeling the long history of US rock into a brilliantly modern, and undeniably addictive suite of stormers.

                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                            Coloured LP Info: Indies exclusive blue coloured vinyl, limited to 300 copies only.

                                                                                                                                                                            Stephen Malkmus

                                                                                                                                                                            Traditional Techniques

                                                                                                                                                                              Traditional Techniques, Malkmus’ third solo LP without the Jicks (or Pavement), is new phase folk music for new phase folks, with Malkmus as attuned as ever to the rhythms of the ever-evolving lingual slipstream. It’s packed with handmade arrangements, modern folklore, and 10 songs written and performed in his singular voice. An adventurous new album in an instantly familiar mode, Traditional Techniques creates a serendipitous trilogy with the loose fuzz of the Jicks’ Sparkle Hard (2018) and the solo bedroom experiments of Groove Denied (2019). Taken together, these three very different full-lengths in three years highlight an ever-curious songwriter committed to finding untouched territory.

                                                                                                                                                                              Malkmus took on Traditional Techniques as a kind of self-dare. Conceived while recording Sparkle Hard at Portland’s Halfling Studio, Malkmus had observed the variety of acoustic instruments available for use. The idea escalated within a matter of weeks into a full set of songs, and shortly thereafter into a realized and fully committed album. When he returned to Halfling, Malkmus drew from a whole new musical palette--including a variety of Afghani instruments - to support an ache both quizzical and contemporary. The resulting Traditional Techniques is expansive and thrilling. Alongside gorgeous folk music, there are also occasional bursts of flute-laced swagger, straight-up commune rock (“Xian Man”), and mind-bending fuzz.

                                                                                                                                                                              Centred around the songwriter’s 12-string acoustic guitar, and informed by a half-century of folk-rock reference points, Traditional Techniques is the product of Malkmus and Halfling engineer/arranger-in-residence Chris Funk (The Decemberists). Additionally, Matt Sweeney (Bonnie “Prince” Billy, Chavez) plays guitar throughout.

                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                              Barry says: Malkmus returns, bringing with him a healthy line-up of shimmering folky ballads and swooning angular acoustic guitar work. Ranging from hypnotic drones and soul-affirming melodicism to jaunty, swaggering grooves and all topped with Malkmus' unmistakeable vocals. Superb.

                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                              Coloured LP Info: Indies exclusive deluxe LP on red vinyl.

                                                                                                                                                                              Jonathan Wilson

                                                                                                                                                                              Dixie Blur

                                                                                                                                                                                Where do you go after making an album that the Guardian hailed as “a rich, ambitious triumph”, American Songwriter called “a strikingly original, complex and inspired work”, MOJO described as “a record you could lose yourself in for months”, and Billboard as a “most magnificent recording, one that is mandatory listening if you are in search of an immersive album rock experience in the 21st century”? It's a question Jonathan Wilson asked himself after his “maximalist” album Rare Birds was released in 2018 to glowing reviews. Not only did it earn him Album of the Year awards in Rolling Stone, France and Blitz in Portugal, it brought him his first national television appearances in the US, on Conan and CBS Saturday Morning.

                                                                                                                                                                                Rare Birds had been the culmination of three solo albums in seven years that the singer, songwriter, multi-instrumentalist and producer released to widespread acclaim. His first, 2011's Gentle Spirit, a beautiful California dream of an album, is a classic by now and won him the admiration and friendship of Graham Nash, David Crosby, Elvis Costello and Jackson Browne. His follow-up, Fanfare, was also well-received with Uncut calling it “a lavish musical epic, the work of a dedicated and stone cold studioholic.” But now Wilson was looking for something completely new.

                                                                                                                                                                                In 2019 he appeared on the celebratednationally-syndicated live music radio show eTown. “It was sort of bluegrass-based”, Wilson says, “and on this particular show I was playing with Steve Earle. Next thing you know, I'm talking with Steve about recording.” Earle advised Wilson that, if he had a bunch of songs written, he ought to take them to Nashville and make the record blind, since Nashville's crawling with studios and top-notch session players. “And that's how I got into the idea of going to Nashville and tapping into that sound,” says Wilson. “The sound of my home.”

                                                                                                                                                                                Wilson was born in a small town in North Carolina. As a child he was raised on a mix of Beatles, 60’s and 70’s rock, country, and bluegrass.His uncle played in bluegrass legend Bill Monroe's band. His father had a rock band, but he would often jam with local friends who could “moonlight on banjo and mandolin and do gospel harmonies that would knock you out. I would sit there and strum along,” says Wilson, “There’s this astute southern rhythm and musicality in western NC… Then there’s this crazy three finger banjo style that you have to be really good at it because you’re from the place where Earl Scruggs is from. One of my father’s best pals was the music director at the Caroleean gospel church where my grandfather was a preacher and on the side he could pick the shit out of a mandolin. So, I was exposed to something super-authentic that I was soaking up. In hindsight, it doesn’t get more authentic than that.”

                                                                                                                                                                                A musical prodigy himself, Wilson wrote his first song at three. He was also a musical polymath, playing drums, horns, woodwind, piano and guitar. He joined an R&B band at 14; left high school to study jazz with some old masters, and joined a rock band, Muscadine. He also became a noted luthier and a record producer. Among the artists he has produced albums for are Father John Misty, American band Dawes, British folk legend Roy Harper and Conor Oberst. In 2017-18 Rogers Waters asked Wilson to join him on his US+THEM tour on guitar and as musical director. Wilson also sang all the David Gilmour vocal parts. On that two-year tour, Wilson would sometimes find himself thinking about his Southern home. “Stuck out there in a hotel in Latvia, it's a long way from anything that feels like home or family. I felt I was subconsciously being led back to my roots.” In the new song '69 Corvette' he sings, I still think of Carolina sometimes. I miss the family. I miss that feeling. I miss home.

                                                                                                                                                                                Those feelings were still fresh in his mind during that conversation with Steve Earle. Making his next album live in the studio with a Nashville band, instead of building them alone, piece by piece in his L.A studio, seemed like a good way to go back while simultaneously moving forward. An example of that is Wilson's new take on “Korean Tea”, an old song he had done with his ‘90’s band Muscadine. “That is a song about having a shining musical gift to share with the world. My brother says that’s one of the prettiest melodies I’ve written, so I decided to bring it back into the world”. “Heaven Making Love” is a song Wilson wrote for Rare Birds but abandoned; “I tried but I could never really get it, it had that locomotive polka thing sorta so I guess it was waiting for an album like this to join!”

                                                                                                                                                                                With Wilson's longtime friend Pat Sansone of Wilco producing, Wilson and the band recorded in Studio A at the Sound Emporium, the late country maverick Cowboy Jack Clement's studio. The musicians included Nashville’s premier session players including bass player Dennis Crouch, Russ Pahl on pedal steel, multi-instrumentalist Jim Hoke, and world renowned Fiddle master Mark O’Connor. “I was thinking about fiddle as being an integral part of the record, and I needed to find the best. In my mind the best of the best was Mark O'Connor. So I decided to reach out to him. I said, ‘Hey man, I'm doing a session, would you like to come down and play fiddle?’ and he's like, ‘Thank you, but I haven't done a session since 1990.’ So, he didn't say no and he didn't say yes! Over time, he eventually said, ‘Maybe, but my only stipulation is it's got to be with the band, no overdubs. That's what drove me out of the session business.’ That was a big deal to all of us. Mark truly elevates the record and he shines as the most brilliant fiddler on Earth, I thank him for his beautiful melodies on this album.”

                                                                                                                                                                                Working with this Nashville band gave Wilson the same kind of feeling he had as a kid, strumming along with those bluegrass bands. “There's something about this level of musicianship, they've been in so many sessions. It was fun to play some of the more stoner Canyon-ey tunes for this crack session band and watch them write up their special Nashville charts with their numbers, symbols and diamonds… they call it ‘hillbilly arithmetic’ over there…. The album was cut in only six days. “It was so fast it was a blur.” Hence the title, Dixie Blur. “And there really is a magic that occurs when musicians play together in a room and create that one consistent thing in time, something is created by the collective energy that is impossible to recreate otherwise,” says Wilson.

                                                                                                                                                                                “It feels like another side, you know? Sort of like a personal, unplugged, just got off the road feeling. I think it's the most down to earth and emotional both musically and lyrically that I've ever been.”


                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                Barry says: Jonathan Wilson has had a stellar career as a songwriter and musician, following on from his equally stellar career as a producer and session muso, and 'Dixie Blur' just goes to show exactly why he's so in demand. Gorgeous melodies, flawless songwriting and a good dose of classic rock whimsy and downbeat ballad bliss.

                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                Coloured LP Info: Mint Green Vinyl

                                                                                                                                                                                Handle

                                                                                                                                                                                In Threes

                                                                                                                                                                                  Incorporating a diverse range of influences, from samba to no wave, Handle, a three-piece from Manchester (now based between Manchester / London / Brussels) made up of Giulio Erasmus and Nirvana Heire former members of D.U.D.S (the first British band to sign to Castle Face) and Leo Hermitt, a genderqueer multidisciplinary artist, renowned for their challenging, thought-provoking work on the city’s arts and literary scenes. The group mesh politics with a trans experience of time and a vibrant, avant-garde freedom of approach.

                                                                                                                                                                                  Handle make a uniquely minimal sound, buoyed by poetic, urgent vocals. Each instrument (bass, drums, keyboard and voice) is permitted its own space, yet somehow the result is a brilliantly unified yet understated sonic experience that demands then commands your attention.

                                                                                                                                                                                  Powered by looping, hypnotic synth lines, quaking flexes of bass, clattering tribal percussion and expeditious, often agitated vocals that cordially sprint, Handle's songs – all of which clock in around the two minute mark – owe as much to performance poetry as they do to the vibrancy of post-punk and new wave. In these times of anxiety and confusion, Handle provide a much-needed dose of musical catharsis, albeit disorientating at times, pre-empting sense from the shards of sound they gather about themselves. 'Life’s Work' begins with isolated swells of pitch before driving full throttle into an exuberant rhythmic workout. 'Sunday Morning' shares this elasticated feel for melody and communication, twisting about itself in rubbery fashion. 'Coagulate' is more disembodied from the pulse, but similarly retains a boldness of vision.

                                                                                                                                                                                  'Step By Step' showcases what Handle excel at, it's a clangorous leviathan of beat-forward dance punk, peppered with Leo's fluid vocal inertia. It's dizzying yet divinely exuberant. 'Punctured Time' evokes the same cascading flow "Punctured time, bicycle wheel, what if I told you that your lips were like venus, lips were like what? Lips were like venus and that my tongue was a trampoline?" sings Leo amid undulating bass, toppling drums and jabs of keyboard ambience.

                                                                                                                                                                                  Handle make music occupied by dark shapes that move beneath a roiling surface. Jolting, shattering, cracking, smoothed, bounded, punctuated. Handle's debut album ‘In Threes’ is a collection of frenetic sounds for frenzied forms. 'In Threes' was recorded and mixed by Robin Williams and follows on from the band's previous EP 'Demonstrations', released through their own imprint Absolute Fiction. 


                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                  Barry says: 'In Threes' is a brilliantly diverse, oddball suite of clashing grooves and jagged melodies. Sonically interesting, thematically consistent and ram-packed with influences from all over the musical spectrum. What a trip.

                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                  Ltd LP Info: Limited 180g black vinyl 500 Only .

                                                                                                                                                                                  CD Info: Digipak CD 500 Only.

                                                                                                                                                                                  U.S. Girls

                                                                                                                                                                                  Heavy Light

                                                                                                                                                                                  Heavy Light is the highly anticipated seventh album by U.S. Girls, the protean musical enterprise of multi-disciplinary artist Meg Remy. While Remy has been widely acclaimed for a panoply of closely observed character studies, on Heavy Light she turns inward, recounting personal narratives to create a deeply introspective about-face. The songs are an inquest into the melancholy flavour of hindsight, both personal and cultural. Remy makes this notion formally explicit with the inclusion of three re-worked, previously released songs: ‘Statehouse (It’s A Man’s World)’, ‘Red Ford Radio’, and ‘Overtime’, the latter of which is released today as Heavy Light’s lead single. Its companion video, which stars Andrea Nann of the Dreamwalker Dance Company, was created by Remy.

                                                                                                                                                                                  Heavy Light follows 2018’s internationally critically-acclaimed breakout album In A Poem Unlimited. Recently named one of the best albums of the decade by Pitchfork, it was lauded across the pond by the likes of The Guardian, The Sunday Times, Crack and Q magazine for being Remy’s most accessible record in her then decade-long career. Heavy Light is produced by Remy and was recorded live with 20 session musicians - including E Street Band saxophonist Jake Clemons - in Montreal’s acclaimed Hotel 2 Tango studio. Remy worked with co-writers Basia Bulat and Rich Morel to develop the core of Heavy Light, a set of songs conceived as a balance between orchestral percussion (as richly arranged by percussionist Ed Squires) and the human voice (conducted by Kritty Uranowski). The resulting album finds Remy casting herself as lead voice among a harmonious multitude, the singers of which lend not only their voices, but also share reflections on childhood experiences that are collaged into moving spoken word interludes throughout the album. The album is mixed by long-time collaborators Maximilian ‘Twig’ Turnbull, Steve Chahley and Tony Price.

                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                  Barry says: Grooving, psychedelic riffs clash headfirst with Remy's singular vocal brilliance, soaring wonderfully atop thumping percussion and flickering synths. 'Heavy Light' tackles political matters and worldly experiences in a moving and enthralling way. Brilliant stuff.

                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                  Coloured LP Info: White and purple splatter vinyl.

                                                                                                                                                                                  Cornershop

                                                                                                                                                                                  England Is A Garden

                                                                                                                                                                                    “A Stones-gone-Purple riff forged in up-to-the-minute desperation and an empowering memory of the heavy music that soundtracked Midlands life when Singh and Ayres first connected at college in Preston, Lancashire.” David Fricke, Rolling Stone, USA

                                                                                                                                                                                    In the latest of a series of albums that have mirrored the exceptional story of the band itself, Cornershop return with a new album ‘England Is A Garden’ on March 6th 2020 on Ample Play Records. It is an album that strides in an upbeat fashion, to deliver a full listening experience, bringing songs of experience, empire, protest and humour, steeped in the way only Tjinder Singh would come with.

                                                                                                                                                                                    Listen to a first taste of the album now, ‘No Rock: Save In Roll’, that is to say that there is not one without the other, that rock, for all its focus on death is the saviour of life.

                                                                                                                                                                                    The anvil here is music itself, and a celebration of Tjinder’s birth place - The Black Country, which also gave birth to heavy metal that has gone on to influence the world to dirty rock, whether the streets are lined with pylons or palm trees, the Black Country has allowed us to see things differently.

                                                                                                                                                                                    So the sound here goes back to Englands’ Midlands with two thumbs up to the feeling of hearing heavy metal from the back of a stage, as we all ride on and await the female backing vocals of our song to come in.

                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                    Barry says: Yep, Cornershop definitely did that one tune about the brimfulls of Asha, but they've also led a fruitful and prolific life of record making outside of that one tune. 'England Is a Garden' continues their run of making immensely enjoyable, easy going psychedelic pop with brilliantly written hooks and a wry smile. A great listen, and bloody good fun.

                                                                                                                                                                                    Take it away Ariel...

                                                                                                                                                                                    "In 2018 I landed in Amsterdam to start a Europe Tour. The venue could not find a hotel for me, so I asked Gilbert, who invited me to stay in his guest room. I felt at home when I saw what was on Gilbert's table/mind. The book 'Shantaram', a double reed flute photo, Saravah... (as a friend of Pierre Barouh, I had visited Saravah where I met Jacques Higelin in the 70s). Gilbert and I exchanged many ideas, and I invited him to record at my place in Australia. He did, and here is the result! I am thrilled that the words issued from my Head Voices are highlighted by the arrangements co-created with Gilbert - also the sheer genius of I:Cube to polish our gems has a lot to do with that!

                                                                                                                                                                                    Enjoy your listening experience!"


                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                    Patrick says: A meeting of kindred spirits if ever I've seen one, this is the mind expanding, hair raising deep space collaboration between Versatile boss Gilb'r and experimental / new age hero Ariel Kalma. Imagine Kalma's cosmic meditations merged with Gilb'r's clubby chug - sounds pretty dope to me.

                                                                                                                                                                                    Anna Calvi

                                                                                                                                                                                    Hunted

                                                                                                                                                                                      In the summer of 2018, Anna Calvi released her third album Hunter. On the album, she explored sexuality and breaking the laws of gender conformity. Following a stellar 18 months, which saw Calvi write her first television score (for Peaky Blinders) and receive her third consecutive Mercury Prize nomination (the first solo artist to achieve this feat), Calvi has now crafted a stunning reworking of Hunter into Hunted. Revisiting her first recordings for Hunter, Calvi found they offered an intimate and private view of the songs’ initial intentions. Distilled to their bare essence on Hunted: her masterful guitar playing and formidable vocals, Calvi then asked Courtney Barnett, Joe Talbot (IDLES), Charlotte Gainsbourg and Julia Holter to collaborate with her and further transform the songs.

                                                                                                                                                                                      On Hunted, Calvi said, “During a break from touring I went back and listened to the first recordings I ever made of ‘Hunter’. These recordings capture the very moment I first wrote these songs, and recorded them on my own, in my attic studio. I find something especially intimate about sharing these most private recordings with my favourite singers and asking them to lend their voices and artistic sensibility. Courtney Barnett is an amazing artist. Her voice and guitar playing together are mind blowing. Her ability to connect the profound to the smallest moments of human experience is the unique talent of a true artist.”

                                                                                                                                                                                      On working together, Barnett said, “Anna is a completely awe-inspiring performer, it’s impossible to take your eyes off her onstage. I love her songwriting for its beautiful and perfect balance between aggression and tenderness.” More raw-sounding than their original incarnations, the tracks on Hunted shine under the light of a different lens, one that brings the innate fragility of the compositions to the forefront and exquisitely melds together the dichotomy of the hunter and the hunted, the primal and the beautiful, the vulnerable and the strong.

                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                      Barry says: The superb turnaround of Anna Calvi's 2018 LP 'Hunter' into 'Hunted' sees Calvi collaborating with a selection of some of the greatest names in modern indie music, and adds futher gravitas to the stunningly written and brilliantly performed pieces on show. Deep and soulful, swimming with gothcic drive and singularly enchanting, this is a perfect companion or a wonderful listen on it's own.

                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                      Coloured LP Info: Indies exclusive red vinyl.

                                                                                                                                                                                      Pantha Du Prince

                                                                                                                                                                                      Conference Of Trees

                                                                                                                                                                                        Hendrik Weber aka Pantha Du Prince (‘a fantasy character...a poetic transporter for the concept behind the music’) has carved a niche for a style of techno he calls, ‘layered and cinematographic.’ He released the “Diamond Daze” (2004) and “This Bliss” (2007) albums on Berlin dance label Dial before signing to Rough Trade and widening his audience with “Black Noise” (2010) and “The Element of Light” (2013). On “Conference of Trees”, Pantha Du Prince explores the communication of trees and creates a sound concept based on it. What we experience here is a break through recording of experimental music, visual poetry, club culture and speculative science.

                                                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                                                        Sil says: I find myself as I get older enjoying releases like this more and more. Considered, well thought out and dynamic; it tells a story from beginning to end rather than just rely on delivering peak time bangers. One for my headphones.

                                                                                                                                                                                        Golden Bug

                                                                                                                                                                                        V.I.C.T.O.R

                                                                                                                                                                                        After some stunning singles, Golden Bug is back with a fantastic new album, ‘V.I.C.T.O.R’. Conceived, recorded and produced in his studio in Gracia, Barcelona, the 13 track album features a series of collaborations with Julienne Dessagne, Anna Jean, Moscoman, Yan Wagner and Pajaro Sunrise.  La Belle boss Golden Bug hails from Paris and is a record producer, label owner, DJ, groove sculptor and metal sculptor who has had great solo success with singles on Gomma and has a passion for real hardware toys. His first album in 2008 got huge support from the likes of Erol Alkan and Prins Thomas, his live performances always leave audiences astounded and this new LP will surely do the same.

                                                                                                                                                                                        Say the label about this new album, which showcases Golden Bug’s disco-fried, muscular techno style, “V.I.C.T.O.R is a robot now living in Barcelona, being more intelligent than humans and just generally having a really good time. He might look cute on that cover, but he’s DEAD serious. He’s going to break your heart big time with his second album.” And that certainly is true right from the off, because after the emotive piano opener, ‘Black Soul’ slips into a churning, menacing yet inviting groove that is deep cut and spaced out. Yan Wagner lends his vocal talents to the chunky corrugated disco of ‘Wild Boys’, ’Amazonia' pairs grubby guitars with psyched out synth squeals and previous single, the deliciously deep and dreamy ‘Accroché à moi’, features Julienne Dessagne’s wonderfully whispery vocals.

                                                                                                                                                                                        Switching up moods and grooves but always staying within a coherent robo-disco- techno framework, ‘Krokodil’ is sci-fi and freaky, ‘L’Horloge’ is another wild and frazzled, mechanical and analogue affair and ‘Dos Palillos’ is a brilliantly weird track with didgeridoo sounds and scuttling beetles scurrying into your brain. Anna Jean’s guest turn on ‘The Face of Another’ makes it an irresistibly indie licked slow burner and the final trio of tracks touch on emotive and heartbroken vocals, sliding middle eastern disco funk and the blissed out but off kilter charm of ‘Dance Macabre’ with Moscoman. With a live show as stunning as this eclectic and essential album, Golden Bug is once again leading from the front with his unique and attractive techno sound.


                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                        LP Info: Comes with CD.

                                                                                                                                                                                        Pink Gloves

                                                                                                                                                                                        Los Angeles

                                                                                                                                                                                          ‘…In The City Of Lights Where Nothing Is Grey…’

                                                                                                                                                                                          In the City Of Angels by way of Prague, Pink Gloves channels classic Italo disco on their Italians Do It Better debut. Petr Pliska weaves a tale of introspection on the neon soaked streets of Los Angeles.

                                                                                                                                                                                          Act 1 – Downtown. The title track is a hypnotic journey to the city center over a symphony of synthesis. He laments that he ‘Never wanted to come… never wanted to stay… in the city of lights where nothing is grey’. It’s a place where nothing ever changes & fantasy greets us in every direction. Beneath the sedated vocals, the synthesizers strike deep & dissolve quickly into a haze blanketing the strut of the heavy backbeat. The stage is set.

                                                                                                                                                                                          Act 2 – The Dancefloor. “Dancing on My Own” infuses Robyn’s four on the floor classic with its own cocktail of ethereal melodies & a rhythm section ala Ultravox. In the face of the Narrator’s lament, a mirror ball shimmers reflections of resilience.

                                                                                                                                                                                          Act 3 – The Highway. The downtempo “Wilderness” haunts us, bursting with silken synthesizers & spectral electronics reverberating like the ghosts of last night’s party. The tempered cinematic landscape blends with a mesmerizing sorcery as we drive into the unknown.

                                                                                                                                                                                          Act 4 – End Credits. Suddenly, the film is over. We hear the sunrise straight out of an ‘80s John Hughes film & the beautiful grit of Power, Corruption & Lies.


                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                          Barry says: IDIB are back for the 3rd (4th?) week in a row with 'Los Angeles' by Pink Gloves. This time we get the wonderfully wistful arpeggiated thump and octaved throbs of trad Italo all topped with hazy, longing vocals and retrofitted with perfectly modern production tricks.

                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                          Coloured LP Info: Pink champagne coloured vinyl.

                                                                                                                                                                                          Trees Speak

                                                                                                                                                                                          Ohms

                                                                                                                                                                                            When the band Trees Speak, coming out of nowhere, released an exclusive one-off 100-pressing white label 45, described as Can/Neu! meets Liquid Liquid, it sold out so quickly (in less than 30 minutes) that Soul Jazz Records decided to release their album almost immediately. Soul Jazz Records rarely release new music but found the music of Trees Speak’s album ‘Ohms’ so stunning and to have so many elements of music that they admired that they felt compelled to release it. The group Trees Speak are from Tucson, Arizona and create new music that sounds like German Krautrock meets no wave/post-punk and psych rock - music for fans of Cluster, Tangerine Dream, Can, Neu!, Silver Apples and early Kraftwerk.

                                                                                                                                                                                            The album ‘Ohms’ sounds at times like a tripped out and moody John Carpenter/Goblin/Morricone soundtrack that seamlessly segues into propulsive, ‘motorik’ Krautrock instrumentals loaded with fuzzy, hypnotic mellotron, synths and analogue effects, as well as elements of Art Ensemble free jazz, and all at times reaching a kind of post-rave psychedelia. More recent comparisons would include Beak> and Ghost Box who draw upon similar themes and styles. Trees Speak are Daniel Martin Diaz and Damian Diaz plus musicians from the Tucson, Arizona scene such as Giant Sand, XIXA and James Hunter. ‘Trees Speak’ relates to the idea of future technologies storing information and data in trees and plants - using them as ha

                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            Barry says: A very rare 'New Album' outing from the venerable Soul Jazz here with the thumping, krautrock majesty of 'Ohms'. Like if Kraftwerk got off those bloody podiums long enough to rail a significant slug of ketamine and break the cones on their amplifiers. ACE.

                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                            LP Info: Comes with bonus 45 single.

                                                                                                                                                                                            LP includes MP3 Download Code.

                                                                                                                                                                                            Islet

                                                                                                                                                                                            Eyelet

                                                                                                                                                                                              A Powys trio whose free-spirited invention and exuberant intensity flows through experimental pop: hypnotic, exhilarating and defiantly unique. The Welsh band Islet return with the release of their long-awaited new album.

                                                                                                                                                                                              Eyelet was recorded at home tucked away in the hills of rural Mid Wales. It took form the months following the birth of band members Emma and Mark Daman Thomas’ second child and the death of fellow band member Alex Williams’ mother. Alex came to live with Emma and Mark, and the band enlisted Rob Jones (Pictish Trail, Charles Watson) to produce.

                                                                                                                                                                                              ‘Caterpillar’ described by Emma as “a song for my unborn child”. It's followed by syncopated lullaby ‘Good Grief’ with its haunting keyboard hook and icy percussion thawed by Emma’s yearning vocals about the quiet strength of generations of women. With nods towards Arthur Russell and Jenny Hval, ‘Geese’ is a mini symphony of driven electronica inspired by Welsh cultural theorist Raymond Williams’ novel People Of The Black Mountains.

                                                                                                                                                                                              Young Fathers inflected rhythm can be heard on ‘Radel 10’ that accompanies the multi-tracked variations of Emma and defiant lyrics that were inspired in part by The Good Immigrant - the landmark anthology of essays on race and immigration by BAME writers.

                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                              Barry says: Islet were one of the first bands I saw play when I moved to Wales, and remained a mainstay on my shelves since that day. Whilst their groove has morphed, and the frenetic energy has both waxed and waned, the output has remained undeniably brilliant. 'Eyelet' is on the more relaxing side, but absolutely glimmers with astoundingly written pop songs and immersive, soaring heft. Their greatest work to date, in a catalogue of gold.

                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                              Coloured LP Info: LP is Ltd edition DIE CUT Sleeve, NEON ORANGE Vinyl with download.

                                                                                                                                                                                              Honey Harper

                                                                                                                                                                                              Starmaker

                                                                                                                                                                                                Born William Fussell in 1989 in Adel, Georgia (a small town near the Okefenokee Swamp) Harper’s family quickly relocated to Hollywood, Florida where he immersed himself in the arts more readily available in southern Florida: disco and country music. His father was an Elvis impersonator who introduced him to Waylon Jennings, Patsy Cline and Hank Williams and his mother watched ‘Grease’ with him every month introducing him to his lifelong style icon, Olivia Newton John. At the age of 10, Harper’s family returned to Georgia, this time to the suburbs of Atlanta, where he would spend his teenage years performing in both church choirs and punk bands. On the day of his eighteenth birthday, Harper left home, beginning his journey to become the Starmaker celebrated in his album’s title.

                                                                                                                                                                                                The name ‘Starmaker’ is inspired by the Joni Mitchell classic ‘Free Man in Paris’, which is an ode to the stresses of having to play the game of the music industry. Co- written with his wife, Alana Pagnutti, the album is not a commentary on Mitchell’s words but it explores similar ideas about fame, fortune and failure. “I'm the starmaker,” he offers. “These songs are primarily about my journey to create them. The album as a whole, is about my relationship with my wife and loved ones in the search of this success and fame.”

                                                                                                                                                                                                The majority of songs on ‘Starmaker’ embrace contradictions and dichotomies in both subject matter and style. Love and sadness, melancholia and happiness, success and failure, come in and out of focus. ‘Something Relative’ is an elegantly simple ballad about a friend of Harper’s that died of an overdose. The sparse picked guitar contrasts the flowing, melodic strings as Harper hopefully sings about his lost friend. ‘Tomorrow Never Comes’, a Big Star meets The Eagles turned Krautrock instant classic, speaks to the early days of Harper and his wife’s long-distance relationship; the happiness of finding someone you love tarnished by the eventuality of having to say goodbye. In Dido Building Carthage, a tragic story of love and suicide is contrasted with the hope of building a new empire. The juxtaposition is mirrored in the surface of Tuner’s painting where classically-painted figures appear and simultaneously fade into a looser, more abstract handling of the landscape.

                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                Coloured LP Info: LP pressed on 140g clear vinyl with poster insert and digital download code.

                                                                                                                                                                                                Jimi Tenor

                                                                                                                                                                                                NY, HEL, BARCA

                                                                                                                                                                                                  Finnish composer and multi-instrumentalist Jimi Tenor has joined forces with Bureau B to release "NY, Hel, Barca" - a retrospective compilation spanning the years 1994 - 2001. The double LP features early works and selected tracks from his first six albums, long since deleted. The 20 tracks on "NY, Hel, Barca" document key stages of Jimi Tenor's remarkable creative path, underlining the prolific and varied nature of his artistic output. Then as now, he shines like a satellite hovering over the European pop landscape. 

                                                                                                                                                                                                  The satin-voiced songwriter’s latest is No Beginning No End 2 - a sequel to his 2013 album that resurrects the bold eclecticism we first fell in love with, while taking us on a journey through both celebration and introspection.

                                                                                                                                                                                                  This is his first set of new music on his own label/collective, Rainbow Blonde Records. The album is chock-full of collaborators who are auteurs in their own right - Laura Mvula, Aloe Blacc, Ledisi, Erik Truffaz, and Hindi Zahra, to name a few - appearing in unexpected sonic contexts. With the backing of a wildly good band held down by rhythm sections in Los Angeles and Brooklyn (befitting Rainbow Blonde’s bicoastal status) the songs are warmer and more defined than ever, balancing classic songwriting against immersive vibe

                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                  Millie says: Soulful vocals that can make your knees weak, Jose Jones new album is warming and beautiful and worth the eight year wait. A mixture between Soul, Nu Jazz and slow R&B is the perfect combination.

                                                                                                                                                                                                  DJ Raff

                                                                                                                                                                                                  Resistencia Remixes EP

                                                                                                                                                                                                  DJ Raff’s creative sampling and ability to seamlessly blend hypnotic beats with traditional Chilean and Latin sounds have earned him a place among Latin America’s most highly regarded DJs and producers. Over the years he has played his distinct sounds at events such as Sonar, Mutek, Lolapalooza, mentored at RBMA Bass Academy in Chile and had his “Latino & Proud” track used as the theme tune on Comedy Central’s award winning series ‘Broad City’ and much more.

                                                                                                                                                                                                  DJ Raff's “Resistencia EP” won strong support by tastemakers like Tom Ravenscroft on BBC 6 Music who called it ‘his best record ever’ and as well as interviewing DJ Raff he also featured a guest mix on his show. Further support included Worldwide FM as “Resistencia” was selected as one of ‘This Week’s Essential Tracks’ and featured in Resident Advisor’s ‘New Tracks’.

                                                                                                                                                                                                  Big In Japan now release a selection of hot remixes of “Resistencia” alongside tracks off the original EP.

                                                                                                                                                                                                  Hot off the heels of releasing their latest album Peruvian duo Dengue Dengue Dengue take the reins on remixing title track “Resistencia” and focusing on the drums and bass they have turned it into a heavy 2am hypnotic banger.

                                                                                                                                                                                                  El Buho, renowned for his beautifully textured production blending Latin sounds with electronic beats, has given “Memoria” a bouncing bassline, shuffling beat and textured with strings. The result in an infectious track you can’t help but move to.

                                                                                                                                                                                                  Argentinian producer Kaleema (who has previously worked with Chancha Via Circuito) played a version of her DJ Raff remix on a live session at Worldwide FM earlier this year. She has taken “Mundo Paralello” and with added synths and strings turned it into a down-tempo dreamscape.

                                                                                                                                                                                                  A really accomplished set of remixes that only look to bolster the net worth of the original tracks. Recommended!


                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                  Matt says: It's very possible, that DJ Raff has taken our (self-coined) shamanic house blueprint to the masses, garnering as he has support from 6Music's Tom Ravenscroft and Worldwide FM. Fair play, it's a seductive outing from the get go here as with a veritable coven of sound witches hauled in for remix sorcery; dancefloor voodoo is afoot folks!

                                                                                                                                                                                                  Holden & Zimpel

                                                                                                                                                                                                  Long Weekend EP

                                                                                                                                                                                                    UK synth wizard James Holden teams up with Polish clarinet guru Waclaw Zimpel for a four track mini album of deliciously Krauty improvisations, recorded back in the summer of 2018 when Zimpel (and, on "Tuesday" and "Wednesday", his longtime collaborator guitarist Jakub Ziolek) joined Holden in his London studio for a series of musical experiments; with the goal of completing one track per day. The resultant "Long Weekend EP" is a captivating, in-the-moment lyrical conversation between alto clarinet and modular synth, judiciously supplemented by guitar, organ, voice and assorted percussion and glued together with atmospheric syrupy tape overdubs. A meeting of two like-minded masters of their instrument, whose disparate musical journeys now converge in a shared love of all things hypnotic and trancey. 

                                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                                    Matt says: A well trodden path but none the less arresting when done proper; the merger of advanced synthesis and organic instrumentation can yield dazzling results - perfectly demonstrated here by two master craftsmen.

                                                                                                                                                                                                    Following their first 7" in 2018 Budabeats Records is proud the release the debut LP of pioneering Hungarian Afrobeat supergroup, the Mabon Dawud Republic.

                                                                                                                                                                                                    The band started out as the Fela Kuti tribute band for the very first Felabration event in Budapest.
                                                                                                                                                                                                    In the past two years they created an impressive repertoire of their own tunes. The rawness you can hear on their early recordings transformed into a more mature and sophisticated sound, still deeply rooted in the traditions of West-African music.
                                                                                                                                                                                                    They even toured in Ghana where they had the chance to record with highlife legend Pat Thomas, as you can hear on 'Gyae Abrabi'.
                                                                                                                                                                                                    On 'Na Lie' they are joined by Fela's original Egypt 80 band member, keyboard player and singer Dele Sosimi.
                                                                                                                                                                                                    Other guest performances include Ghanaian vocalist and kologo player Stevo Atambire (on 'Mawadioh' and 'Talk to Me') and vocalist Abate Berihun (on 'Nanu Nanu Neye').

                                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                                    Sil says: Sizzling Afrobeat from Hungary's Mabon Dawud Republic featuring legendary guests Pat Thomas and Dele Sosimi. Remember there are no boundaries to great music, and these guys are the ambassadors of the next generation of Afrobeat musicians.

                                                                                                                                                                                                    Part 3 of the Melody As Truth Studio vinyl documents lands in store, gently wrapping us in ambient ecstasy as Jonny Nash and Suzanne Kraft embark on a pair of improv experiments. On the A-side "Crushing Indifference" drifts through subtle percussion, fractal voices, radiostatic and swelling keys, all bathed in a haze of delay and reverb. While B-side "An Inn For Those Not Permitted" takes a decidedly experimental and mangled approach to saxaphone, sampling and guitar.

                                                                                                                                                                                                    Paul Heaton & Jacqui Abbott

                                                                                                                                                                                                    Manchester Calling

                                                                                                                                                                                                      ‘Manchester Calling’ boasts all the hallmarks of Heaton’s beautifully bittersweet songwriting – effortlessly catchy melodies allied with an everyman’s biting exasperation at the modern world alongside some truly heartfelt love songs. Produced by long time collaborator John Williams who produced both Housemartins albums and the previous three Paul Heaton & Jacqui Abbott albums - ‘What Have We Become’ (’14), ‘Wisdom, Laughter & Lines’ (’15), and ‘Crooked Calypso’ (’17) - the record was recorded at Blueprint Studios in Salford, Manchester. As is Paul Heaton’s habit the lyrics were written in various locations in North Holland and Belgium while the music was composed in a hotel in Puerto Rico, Gran Canaria and in Limburg An Der Lahn in Germany.

                                                                                                                                                                                                      Says Paul: “I've lived in Manchester for 17 years now and recording an album here for the first time, was looking forward to cycling to work. That was never possible as Manchester is now being turned into a business centre for the rich, which I can't stand. If there's a theme to the record, it's anti growth, anti greed, against the continuous tearing down of old buildings and sticking up soulless offices, and the disappearance of local accents on TV, along with the creeping spread of Americanese. So, some curmudgeonly moans, plus some hopefully uplifting love songs. Originally it was set up to be a double LP like 'London Calling' but alas the double album has also become a victim of time."

                                                                                                                                                                                                      Says Jacqui: “I’m so pleased and excited about the new album, it was wonderful to work on new songs and even more so that we did double what we have done for the last few records. It’ll be a joy to see others react to something we took such pleasure out of making.”

                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                      2xLP Info: Black vinyl, gatefold sleeve.

                                                                                                                                                                                                      The Saxophones

                                                                                                                                                                                                      Eternity Bay

                                                                                                                                                                                                        ‘It's so easy to stay where we are; it's a miracle anything ever changes.’ Words you might not expect from somebody who has recently welcomed not just a second album but a second child into their world. Then again, change and movement come quite naturally to The Saxophones: this is a band who wrote their first album on board a boat, and who have called their second album Eternity Bay, fusing physical place with a spiritual sense of time. The Saxophones’ band name, however, started out as a half-joke for the song-writing project of Alexi Erenkov, then a disillusioned jazz student who’d recently ditched the instrument. Jazz didn’t offer the room for self-expression that he sought. To song-writing he turned, its straightforward, limber form a liberation from the complex musical arrangements of his university studies. The solo project became a band when Alexi’s wife Alison joined the ranks on percussion. Their debut album, Songs of the Saxophones, pitched up just before the birth of their first son in 2018. Written aboard the boat they lived on together, amid the incessant rain of a northern Californian winter, the record established The Saxophones’ style. Drawing from fifties exotica, west coast jazz, and seventies Italian lyricism, drama seeps into their deceptively simple sound, transforming dreamy surf pop into thoughtfully textured pieces, with a spaciousness at their core. But where Songs of the Saxophones interrogates the nooks of interpersonal relationships, Eternity Bay’s gaze is wider, as hinted by the album’s title.

                                                                                                                                                                                                        ‘My music has always grappled with mortality and the meaning of existence,’ says Alexi, ‘but the birth of our first son and the imminent arrival of our second has greatly heightened my sensitivity to these themes.’ Eternity Bay began to take shape just after the arrival of their first son, who shook up Alexi’s writing routine far more than choppy boat waters ever did. But Alexi soon noticed that the forced fragmentation of his hours, writing under inky late-night skies and through the liminal glimmer of dawn, brought to the surface new qualities in his songs. He began to dwell on ‘the human appetite for novelty, for throwing out all that came before, whether good or bad. Always starting over. Maybe this time I'll write the song that finishes all songs.’ Perhaps it was working during these hours of transition that drew Alexi to musical influences that carry the listener to other places and times. 

                                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                                        Coloured LP Info: Indies exclusive orange vinyl.

                                                                                                                                                                                                        Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                        Various Artists

                                                                                                                                                                                                        TWIN PEAKS - Music From The Limited Event Series

                                                                                                                                                                                                          Come join us on our final journey to the town of Twin Peaks, take a seat at the Roadhouse, grab a drink and witness some of the finest musical performances any dive bar in America has ever seen. This double LP features tracks by NIN, Eddie Vedder, The Chromatics, Otis Redding, Lissie and of course Julee Cruise and Angelo Badalamenti. An incredible dive into the musical mind of series creator David Lynch; this really is an incredible document of the artists that visited Twin Peaks during the Limited Event Series. Once again our release has been mastered by Mike Bozzi at Bernie Grundman Mastering, cut by Bernie Grundman himself with pressing duties being handled by QRP (Quality Record Pressings) in Kansas. Sounding superb, this is sure to transport you back to your favorite series. You can taste the whiskey and cigarette smoke the minute you drop the needle on the record.


                                                                                                                                                                                                          Mutual Intentions' first compilation Mutual Friends Compilation which is an absolute hit. The compilation is put to life by Stian Stu from Mutual Intentions and features top notch, jazzy hiphop beats from producers such as FloFilz, Bluestaeb, Fredfades, Elaquent, Ol' Burger Beats, SRAW, 10.4 ROG, Yogisoul and many more. Artwork by Boiler Room's own Joe Prytherch.




                                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                                          Millie says: Jazz paired with Hip Hop beats will always be the key to my heart and this compilation does just that. My favourite of the album is STRAW Feat. Kristoffer Eikrem is lively animated Jazz with an underlying Dilla-esque beat while the rest of the album continues to impress with chilled slow rhythms.

                                                                                                                                                                                                          Various Artists

                                                                                                                                                                                                          Al Kent Presents: Disco Demands Part 6

                                                                                                                                                                                                            Al Kent, Scotland's foremost disco aficionado and founder of the Million Dollar Orchestra, returns to BBE Music with a 6th volume of his famed “Disco Demands” compilation series. Volume 6 sees another incredible selection of obscure dancefloor soul selected and edited by Al Kent, fully licensed from the original artists, remastered and ready for a new generation of fans to discover. Recorded during the late 70s and early 80s, the records chosen for Part Six may be hard to find, but don't be confused: they have been selected solely for maximum dancefloor enjoyment. Al's love of powerful string arrangements and bassline led grooves are evident not only in his picks, but also in his subtle edits; removing a hint of cheese here, extending a particularly effective instrumental section there.

                                                                                                                                                                                                            ‘Most of the tracks I’ve chosen for this album have been with me for some time - I’ve played them on and off as a DJ for years. And though that might seem like a lazy or selfish option when compiling an album, it also fits nicely with the concept that the album is primarily aimed at DJs and dancers. I’ve seen firsthand how a crowd reacts to these choices. I’ve bought the records, rearranged the best bits and tested them on a room full of dancing drunks so you can confidently do the same...’ - Al Kent, 2019


                                                                                                                                                                                                            Various Artists

                                                                                                                                                                                                            Whiskey Preachin' Volume 1

                                                                                                                                                                                                              Whiskey Preachin Records selects prime cuts from the underbelly of America, serving up platters of 21st Century music rooted in the sounds of decades past. Volume 1 - 21st Century Honky Tonk for the Outlaw Dancefloor, a one-of a kind compilation of the very best of today’s outlaw country underground. Compiled by Whiskey Preachin founder Shamblin Sexton, expect a raucous rodeo of roadhouse rockers and backwoods barn burners. Full of dangerous ideas and intent on disrupting your musical comfort zone, Whiskey Preachin will then bring you albums from artists we know you won’t want to miss.

                                                                                                                                                                                                              Make sure you’re the first to know what’s going down at the Whiskey Preachin ranch, baby! Whiskey Preachin’ is run by WP-founder Tony Sexton with an office in Brighton UK and Reinhard Holstein, owner of Stag-O-Lee and founder and ex-owner of Glitterhouse Records based in rural Germany.

                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                              Coloured LP Info: Gatefold sleeve with liner-notes and artist information.

                                                                                                                                                                                                              The Orielles

                                                                                                                                                                                                              Disco Volador - Piccadilly Records Exclusive Bonus Disc Edition

                                                                                                                                                                                                              Defiant in the face of existential dread, The Orielles were always going to approach their second album with nothing but stellar levels of intent. Disco Volador sees the 4-piece push their sonic horizon to its outer limits as astral travellers, hitching a ride on the melodic skyway to evade the space-time continuum through a sharp collection of progressive strato-pop symphonies.

                                                                                                                                                                                                              “Its literal interpretation from Spanish means flying disc but everyone experiences things differently. Disco Volador could be a frisbee, a UFO, an alien nightclub or how you feel when you fly; what happens to your body physically or that euphoric buzz from a great party,” suggests bassist and singer, Esme. “But it is an album of escape; if I went to space, I might not come back.”

                                                                                                                                                                                                              Voyaging through cinematic samba, 70s disco, deep funk boogies, danceable grooves and even tripping on 90s acid house, Disco Volador is set to propel The Orielles spinning into a higher zero-gravity orbit. Written and recorded in just 12 months, it captures the warp-speed momentum of their post-Silver Dollar Moment debut album success; an unforgettable summer touring, playing festivals like Green Man and bluedot, and deepening their bond whilst witnessing the sets of their heroes Stereolab, Mogwai, and Four Tet. Disco Volador’s library catalogue vibes stem from a band lapping up and widening their pool of musical discovery whether nodding to Italian film score maestros Sandro Brugnolini and Piero Umiliani, or the Middle Eastern tones of Khruangbin and Altin Gün. “All the influences we had when writing this record were present when we recorded it, so we completely understood what we wanted this album to feel like and could bring that to fruition,” tells drummer, Sid. “This is the sound of where we are at, right now.”

                                                                                                                                                                                                              Returning to Stockport’s Eve studios where the band cooked together, went swimming, took walks, and relaxed in the soundwaves of an occasional gong bath, Henry, Sid and Esme called a family reunion under the watchful whisker-twitching of studio cat, Adam (“He was probably a producer in a past life,” they say). With keysman Alex now adding texture through his classically trained know-how, they re-joined engineer Joel, and producer Marta Salogni (Liars, Björk, The Moonlandingz) whose vast expertise of drones, delays and mad effects were so intrinsic to their Disco Volador vision – sketched out by the band in Sharpie doodles on the studio wall. “Marta is so positive, she has a great way of getting the best out of us,” guitarist, Henry tells. “Marta is the 5th Orielle,” affirms Sid. “Because we’d worked together before, we were even tighter; it’s a shared mind-set.” For Marta, the feeling is mutual; “It’s sonic tidying really, the band just do their thing and I work with that.”

                                                                                                                                                                                                              Built from instrumentals around the concept of “boogie to space, space to boogie,” Disco Volador’s energy comes from the melodic fission of tension and release. Recurring motifs explore space, not only of earth’s celestial atmosphere, but also what happens within the gaps and how sound manipulation has the power to carry, or displace, its listener. “We like throwing in wide curveballs by taking the music somewhere different then figuring our way back… like jumping off,” says Henry. “Jez from ACR taught us about pauses and that’s massive on this record; space can be the most beautiful part of a song.” In fact, by unleashing the tension with their own smattering of esoteric noise through delay pedal fuckery, the layered poetics on ‘Whilst The Flowers Look’ and ‘Memoirs of Miso’s saxophone stylistics (loaned by Glasgow band Lylo’s Iain McCall), filling voids is exactly what gives the album its magic. “Those unplanned moments are great,” Sid says, “mistakes can become something special. For these next shows we’ll have to change our tech spec up so much!”

                                                                                                                                                                                                              At times haunting and unsettling, Disco Volador’s film-like structure flows from fact to fiction. Its tales are culled from waking life as easily as they become a soundtrack for lucid dream sequences. Watching Foley-inspired 70s thriller Berberian Sound Studio whilst recording may account for the album’s dynamic sound effects – created with Eve’s array of instruments plus Henry’s flexatone - a Secret Santa gift from Esme. Lynchian outros capture the album’s thematic dread as they spiral into infinity and pave the way for potential loops, imitating the fades between the songs of the band’s summer DJ sets. Brian Eno-inspired dreams about a rocket-fuelled mission may or may not have inspired ‘Rapid’ or ‘Come Down On Jupiter’ after ideas sunk deeper into their subconscious. “I’d been reading about phenomenology and Czechoslovakian writer Milan Kundera’s ideas about existence; the weight of your own body, what you feel and how that interacts with your surroundings,” hints Esme, at possible inspiration behind the lyrics.

                                                                                                                                                                                                              Whilst the future of the world and its current cosmic wasteland might be up in the air, The Orielles’ new album has its feet beating out a much-needed four to the dancefloor. Welcome to Disco Volador; time really does fly when you’re having this much fun.

                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                              Barry says: The Orielles return for the follow-up to their hugely popular 'Silver Dollar Moment' with a more refined, thematically diverse suite of jangling indie numbers, ranging from trimmed-down funk to soaring, wide-eyed psychedelia without sacrificing any of the melodic brilliance that made their debut so appealing. Stunning stuff all round, and our exclusive mix CD should make this one a no-brainer!

                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                              Coloured LP Info: Transparent orange vinyl with green blob centre.
                                                                                                                                                                                                              Initial quantities include "The Universe Is Blue" bonus 'mixtape' on CD.

                                                                                                                                                                                                              Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                              CD Info: Initial quantities include "The Universe Is Blue" bonus 'mixtape' on CD.

                                                                                                                                                                                                              In 2014 Dan Snaith aka Caribou released "Our Love" to overwhelming critical acclaim and massive fan support. Now Caribou returns with his seventh studio album "Suddenly", an album about family and the changes we go though as those relationships evolve. "Suddenly" is the most surprising and unpredictable Caribou album to date. Though it retains the trademark Caribou warmth and technicolour, this album is littered with swerves and left turns, and amazes with its yet unheard nuances, samples and hooks. As Snaith puts it, “these albums are like photo albums for me – when I look back at the old ones, they’re a snapshot of my life at that time, full of people who are close to you”. This is the drive to continue to make Caribou albums. Full bodies of work where Snaith is able to evaluate things, look at those around him and celebrate them. As his passion and joy in music making remains as fresh as ever, "Suddenly" is the purest example of this yet.

                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                              Patrick says: Exciting times! Dan Snaith is back in the Piccadilly house with a brand new Caribou LP, infusing hook-heavy house jams, hip hop curveballs and sweet synthpoppers with the signature warmth and space of his previous work. I would imagine festival goers of all ages will enjoy losing their proverbials to this in the coming months.

                                                                                                                                                                                                              Ty Segall and Brian Chippendale (Lightning Bolt) are Wasted Shirt. Their debut, collaborative album, Fungus II, is out February 28th on Famous Class Records.

                                                                                                                                                                                                              Read below for Henry Rollins’ words on the project.

                                                                                                                                                                                                              “Ty's 2019 album, First Taste, and the new Lighting Bolt album, Sonic Citadel, are easily some of the best material either entity has ever released so if these two happened to find themselves in the same recording studio, a fan just might entertain elevated expectation levels. In fact, some might actually show signs of enthusiasm, even excitement at the fact that from July 5 -13, 2018, in the air-conditioning free environs of Ty's home studio, the duo, eventually calling themselves Wasted Shirt, wrecked the joint as thoroughly as you hoped they would.

                                                                                                                                                                                                              The album is exploding euphoria from start to finish. The more you play it, the better it kabongs you upside your head. Hectic doesn't even begin to describe it. Brian and Ty, two mere particles in the grand scheme, collide at high speed, the technicians dive for cover, the reaction is recorded. Mutation is achieved. This is Freedom Rock. Turn up the volume. Hasten your emancipation. Sonic joy awaits.”

                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                              Barry says: We all know what Ty Segall sound like, and i'm pretty sure we know what Lightning Bolt sound like but this, 'Wasted Shirt' is the perfect example of the outcome sometimes being more than the sum of it's already considerable parts. Heavy af, brilliantly produced and absolutely ram-packed with groove, 'Fungus II' will be blowing minds for some time to come.

                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                              Coloured LP Info: Indie stores exclusive on orange coloured vinyl, 500 only.
                                                                                                                                                                                                              Comes with an 8 page Risograph lyric zine by Brian Chippendale.

                                                                                                                                                                                                              LP Info: Black vinyl edition.
                                                                                                                                                                                                              Comes with a 8 page Risograph lyric zine by Brian Chippendale.

                                                                                                                                                                                                              For Sophie Allison, aka Soccer Mommy, 'Color Theory' is a distillation of hard-won catharsis. The album confronts the ongoing mental health and familial trials that have plagued the 22-year-old artist since pre-pubescence, presenting listeners with an uncompromisingly honest self-portrait, and reminding us exactly why her critically-acclaimed debut, 2018’s 'Clean', made her a hero to many. Wise beyond her years, Allison is a songwriter capable of capturing the fleeting moments of bliss that make an embattled existence temporarily beautiful. With 'Color Theory', Allison’s fraught past becomes a lens through which we might begin to understand what it means to be resilient.

                                                                                                                                                                                                              'Color Theory' investigates a traumatic past in exacting detail; in doing so, Allison finds inroads for healing through self-acceptance, and occasionally, humor. (“I’m the princess of screwing up!” she declares at one point.) This isn’t a quest to uncover some long-since forgotten happiness so much as it is an effort to stare-down the turmoil of adolescence that can haunt a person well into adulthood. Allison is a gifted storyteller, one who is able to take personal experience and project it to universal scale. On 'Color Theory', she beckons in outsiders, rejects, and anyone who has ever felt desperately alone in this world, lending them a place to unburden themselves and be momentarily free.


                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                              Barry says: A beautiful mixture of nostalgic, hazy pop and brilliantly written vocal melodies coalesce into the most heart-wrenching and thematically consistent outing for Allison yet. Shimmering, ambient pieces like 'Night Swimming' fit perfectly alongside the more direct pieces, 'Circle The Drain' being one of my favourite tunes i've heard for quite some time. Genuinely gorgeous stuff.

                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                              Coloured LP Info: Indies exclusive coloured vinyl.
                                                                                                                                                                                                              Random colour selection: Blue, Grey or Yellow.

                                                                                                                                                                                                              The brand new album delivers the band’s most inspired and self-aware set of songs to date, created over the course of a year at upstate New York’s Marcata Sound. Following his work on 2011’s Days, engineer Kevin McMahon returns as producer, and, for the first time ever, Real Estate have brought in outside instrumentalists and special guests like Sylvan Esso, whose vocalist Amelia Meath features on first single, “Paper Cup.”

                                                                                                                                                                                                              Across the album’s 13 interrogative tracks – as full of depth, strangeness, and contradictions as they are lifting hooks – the band balances existential, environmental, and political anxieties with fatherly sentiments, self-satirizing lyrics, forever-lively guitar lines, and shimmering strings.

                                                                                                                                                                                                              The Main Thing arrives with a fresh commitment the members of Real Estate - Alex Bleeker (bass), Martin Courtney (vocals, guitar), Matthew Kallman (keyboards), Julian Lynch (guitar, vocals), and Jackson Pollis (drums and drum programming) - have made to each other, 10 years and 5 full-length LPs into a career spent crafting unmistakable and influential palettes of sound. The band underwent a collaborative evolution for this album, which saw each member experimenting in new roles, and alongside Sylvan Esso’s Amelia Meath, Matt Barrick of The Walkmen, Aaron Johnston of Brazilian Girls and a string quartet all play on the record.

                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                              Barry says: Real estate have always held a special place in our hearts, and certainly our racks, and 'The Main Thing' is just further unnecessary evidence that they will remain just as beloved for years to come. Soaring, hazy guitars and shimmering psychedelic progressions make the perfect backdrop for Courtney's longing vocals, forming a cohesive and immersive blanket to keep you warm. Lovely.

                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                              2xDeluxe LP Info: Deluxe double LP (tip-on gatefold jacket with Bjorn Copeland’s collage piece mounted on the front cover).

                                                                                                                                                                                                              For the last 30 years, Greg Dulli, frontman of The Afghan Whigs and The Twilight Singers, has been the poet laureate of the bizarre whims and cruel tangents of desire. A foremost authority on the sell-your-soul rewards of carnal lust, the high voltage epiphanies of chemical enhancement, and the serotonin lows left in their wake.Therein lies Random Desire, the first solo album under Dulli’s own name.

                                                                                                                                                                                                              Random Desire started in the aftermath of the last Whigs record, 2017’s In Spades, which Pitchfork named one of the best rock records of the year, hailing it as a “heavy, menacing work of indie rock majesty…thrilling and unsettling.” Drummer Patrick Keeler was about to take a short sabbatical to record and tour with his other band, The Raconteurs. Dulli’s longtime collaborator, bassist John Curley went back to school, and there was the tragic death of the band’s guitarist, Dave Rosser.

                                                                                                                                                                                                              In response, Dulli returned to his teenage bedroom roots, finding musical inspiration via the model of one-man-band visionaries Prince and Todd Rundgren. The Los Angeles-by-way-of-Hamilton Ohio native wrote nearly every part of the record from piano lines to drums to bass riffs. As always, the music came first and the lyrics were completed later. Recording and writing way stations included his home in Silver Lake, the village of Crestline high up in the mountains above San Bernardino, and New Orleans. But the bulk was finished amidst the arid beauty and stark isolation of Joshua Tree (at the studio of engineer Christopher Thorne). Dulli handled most instrumentation, but an all-star cast of characters appear across the track-listing including The Whigs’ guitarist Jon Skibic and multi-instrumentalist Rick G. Nelson, Mathias Schneeberger (Twilight Singers), pedal steel wizard, upright bassist, and physician Dr. Stephen Patt, and drummer Jon Theodore (Queens of the Stone Age, The Mars Volta).

                                                                                                                                                                                                              Clocking in at a lean 37 minutes, Random Desire is a clinic put on by a veteran master operating at the height of his powers, offering evidence of the hard-fought and weary wisdom learned from setbacks and victories alike. A lucid, confident and self-assured document of the songs of experience, the perils of existence, and the possibilities that offer themselves anew with each breath. Another death and rebirth from an outlaw who has seen it all and somehow lived to tell.

                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                              Barry says: A wonderfully immersive mix of rich, hearty synths, industrial percussion and the heartfelt vocal outpourings of the great Greg Dulli. Veering from post-rock instrumentals and electronic percussion into more longing stadium rock pieces, this is a perfectly balanced and enthralling listen from one of the UK's most beloved guitarists. Superb.

                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                              Coloured LP Info: RSD stores exclusive coloured vinyl.

                                                                                                                                                                                                              "To Cy & Lee: Instrumentals Vol. 1" has a suitably individual genesis. Alabaster DePlume was working for Ordinary Lifestyles, a charity in North Manchester UK which supports people with disabilities to live in their own homes and to live fulfilling lives. Specifically, he was working with the titular Cy and Lee. His job was to get the guys socializing and he did this by making up songs with them. They’d make up melodies together, humming tunes in the house when they needed something calm, or when they were haring round the city in a battered car. DePlume would record these impromptu sessions in his phone, then go to the studio and use the material as starting points for songs. He also ran music sessions for Cy, Lee and their friends. “People would focus on a central point, tuning in to one another. There are things we can’t put into words, which can be expressed with sound and music. These guys have fewer words than us, some of them have none. When we put some feelings into a music expression – that’s liberation.” It’s a method he uses in live shows wherever possible, placing himself and the musicians in the round. The aim is to maximize the creative benefits that a community of players and listeners can bring to the music. It’s a collectivist and humanist approach to making music that sits underneath everything he does. This is music made for a reason. “I like the idea that we’re not just doing frivolous decoration. We’re doing work for society. I like to listen for what needs to be said.”

                                                                                                                                                                                                              Alabaster DePlume is a Manchester UK-born, London-based bandleader, composer, saxophonist, activist and orator. He’s a resident at the legendary London creative hub Total Refreshment Centre, a recording artist for the off-grid Scottish Hebridean island label Lost Map, and now the latest arrival into Chicago-based International Anthem’s growing family of progressive musical explorationists. Whilst much of his music contains vocals – often whispered imperatives – this is a collection of instrumentals. The music of To Cy & Lee… contains naturally elegant orchestration wrapped around something visceral and primordial. The music is filled with space, inspired, he says, by computer games and Japanese animation, particularly Joe Hisaishi’s soundtrack for Castle In The Sky. The record combines new compositions alongside bygone instrumentals and under-stated lullabies that feel like they’ve been picked from between the cracks of civilization. DePlume purposefully brings together players of different skill levels and different backgrounds so they have to interact differently, placing them in unusual situations in which to record. “I wanted to destroy the idea of correct so we were playing it different ways for fun. We had a very magical time playing the tunes.” This is activism expressed through gorgeous music that breaks down barriers by encouraging that most powerful emotion: connectedness.


                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                              Barry says: A gorgeous collection of heady ambient ballads, flickering guitar and brilliantly crafted jazzy turns, all imbued with the fluid, understated vibe that Alabaster DePlume has become known for. Instrumentally rich, and a wonderfully crafted journey.

                                                                                                                                                                                                              Russian DJ, music producer, & singer Nina Kraviz collaborates on an album full of songs from Annie’s (St.Vincent) 2018 Grammy-winning album "Masseducation". Taking the project management role for this grand design, she invites a hand picked selection of production talent from various dancefloor sectors to snap St Vincent's art pop masterpiece into their own style. Presumeably restored after her hair-related cancellation, Nina unwinds "New York" around a skeletal beat, opening the set with a stripped back and spectral version high on reverse reverb. From there, Emika Allegiance, JLIN and Pearson Sound weigh in, cloaking Annie's vocals in electronics, chamber juke and UK Funky respectively. Shots fired, the B-side brings the noise of EOD, Batu, Laurel Halo and Mala, rounding out an on trend combo of critically acclaimed tackle.

                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                              Matt says: An upfront selection of remixers tackle St. Vincent's acclaimed "Masseduction" LP. The results are bafflingly good!

                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                              Coloured LP Info: Crystal clear vinyl.

                                                                                                                                                                                                              The Secret Sisters

                                                                                                                                                                                                              Saturn Return

                                                                                                                                                                                                                Grammy-nominated The Secret Sisters’ new album ‘Saturn Return’, produced by Brandi Carlile, Tim Hanseroth and Phil Hanseroth.

                                                                                                                                                                                                                “As we age, we face obstacles that are beyond our control. Some forces are internal: insecurity, anxiety, fear. Some are external: the loss of loved ones, an unjust system and the fragility of time. Yet the mark of maturity is how you respond when you realize you’re not in control. Where do you find your resilience?

                                                                                                                                                                                                                “This album is a reflection of us coming to terms with how to find our power in the face of an unfair world. These songs lead listeners past ‘where happy man searches, to a place only mad women know.’ We question our purpose, our relationships, our faith. Trading the fears of our youth for the dread that rages within us as mature women.

                                                                                                                                                                                                                “With ‘Saturn Return’, our hope is that women can feel less alone in their journey through the modern world. We need each other more than we ever have; the less competition and the more inclusiveness and understanding, the better. We are southern women in the 21st century, convicted by our beliefs.” - The Secret Sisters

                                                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                                                Barry says: The Secret Sisters are a bastion of folky calm in an otherwise chaotic world, sent to relieve stress with their soaring harmonies and elegant combination of stadium country-rock drive and touching acoustic bliss.

                                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                                Coloured LP Info: Indies exclusive 'saturn splatter' coloured vinyl.

                                                                                                                                                                                                                As a new decade dawns, it can be reassuring to be mindful of the manner in which a random discovery in the bargain bins of a second-hand record store or a charity shop can set off sparks of inspiration and untold fascination. Rare though it is to come across a new record in 2020 which conjures up the same sense of ‘other’ as such battered cryptic artefacts that have haunted the cult regions of yore. it seems that one is on the verge of crossing our transom; ‘Och’ - Swedish for ‘and’ - are poised to release their first album for Rocket Recordings.

                                                                                                                                                                                                                This trio - of whom little is known other than a kinship to their labelmates Flowers Must Die - have created eight exploratory journeys in which the listener can plot out a psychic course that traverses the likes of the meditative trance-states of vintage Popol Vuh, the chemically-altered mania of Guru Guru. synth-driven propulsion akin to French iconoclasts Heldon and Lard Free, and naturally the bucolic raptures of the band’s erstwhile national forebears such as Trad Gras Och Stenar and Älgarnas Trädgård, not to mention more recent exponents of the same lineage such as Hills and Dungen, Yet the entire vision the band conveys on this delirious travelogue is both timeless and paradoxically fresh. Just as their name invokes an ampersand, so this record is no less than a gateway who knows where; proof positive that audial dimensions beyond the everyday - at the hands of Och - are as accessible in 2020 as ever they were, not to mention still more potent. 

                                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                                Coloured LP Info: Fluorescent Yellow/Black Splatter.

                                                                                                                                                                                                                'Legendary genre-bending, multiple Grammy and Emmy-winning artist and producer Robert Glasper releases his newest project, Fuck Yo Feelings. It is the result of a 2-day session in which Glasper invited musician friends to stop by the studio and organically create together, the final result being this mixtape which sonically documents the lost art of improv and on the spot collaborations that can only come from authentic relationships and true artistry. 

                                                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                                                Patrick says: Unstoppable jazz gee Robert Glasper makes expert use of his stacked Rolodex here, inviting a whole load of talented MFs for a two day session of improv action. Rather than sounding rushed or unfinished, this double LP is vital, immediate and punchy AF, traversing jazz, hip hop and broken beat with ease.

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

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

                                                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                                                Barry says: These psychedelic jams and heady, funked-out percussive groovers have found the perfect home on Invazion, with more than a nod to classic hip-hop, but imbued with the psyhedelic spirit and lysergic air of a 70's outdoor gathering. Jazzy, funky and fun throughout

                                                                                                                                                                                                                "On I Think I'm Good", the second full-length from Seattle-raised, Brooklyn-based drummer and composer, Kassa Overall, the fast-rising musician masterfully dissolves the barriers between hip hop and jazz music. Taking cues from Karriem Riggins, Madlib and Flying Lotus, Overall matches jazz improvisation with beatmaker ingenuity. He’s ambitious as much as he is accomplished, dicing with serious subject matter as he leaps between the record’s soulful, kaleidoscope trip of ideas. The record features a cadre of New York’s brightest up and comers, including Joel Ross and Morgan Guerin, as well as some of its big hitters, such as Brandee Younger and Theo Croker. It even features an especially recorded cameo from legendary activist and author Dr. Angela Davis.

                                                                                                                                                                                                                It’s an album that speaks to the contemporary state of America. Overall wrestles with the abhorrent American prison system, the ebbs and flows of romantic relationships, and his experiences of grappling with mental health and hospitalisation. I Think I'm Good conveys a singular feeling of intimacy, a byproduct of Overall’s indie hustle and uncanny at-home and on-the-fly production methods. It’s the perfect vehicle for Overall’s delicate meditations, weighing up emotions of despair, but never drowning out the feeling of a fragile but vital hope.


                                                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                                                Barry says: A rich jazzy foundation for soulful vocals and nigh-spoken word, given the space to breathe and slowly groove around rolling basslines and modern percussive elements. Enchanting, uplifting and dreamy.

                                                                                                                                                                                                                Cult electronix mystery label 12th Isle returns with Parisian artist D.K and his concern for the nostalgia-tinged electronica of 90s Britain. Back room IDM, comedown session ambience or simply the soundtrack to doing the dishes as your stare across Princess Parkway, the six untitled canvasses here effortlessly draw you into an evocative and picturesque place.

                                                                                                                                                                                                                At times reminiscent of Huerco S' dub-techno echoes - synths rippling slowly across crystalline sound lakes, grain delayed fragments ricocheting off cushion pads - and at others, the future-exotica worlds of Don't DJ or Sued with their electronically manipulated perx and completely otherworldly atmospheres.

                                                                                                                                                                                                                Recorded live at the intimate South Korean venue The Edge, this limited 12" boasts, at once, fleeting moments of propulsive rhythmic tension, heavy doses of reverb and a glassy, cavernous sound design across the whole album which gives an infinite amount to space to what's on offer. A feast for the ears and highly recommended by us all here.


                                                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                                                Matt says: Superb dreamy ambience conjured up with a firm grip on electronic trickery; more magic from the 12th Isle camp!

                                                                                                                                                                                                                Tycho

                                                                                                                                                                                                                Simulcast

                                                                                                                                                                                                                  Tycho are the double Grammy nominated, electronic music project led by Scott Hansen as primary composer, songwriter and producer. This release follows their fifth studio album ‘Weather’ and features highly anticipated, bespoke instrumental reworkings of ‘Weather’ album tracks, previously vocal-led by singer-songwriter Saint Sinner. Tycho have taken the essence of the originals and recorded new, alternative versions of those recordings, creating new material from those much-loved tracks, while stepping into their classic sound. This is an unmissable release for any Tycho fan.

                                                                                                                                                                                                                  For fans of Boards Of Canada, Bibio, Bonobo, Jon Hopkins, Mark Pritchard, Com Truise, Ulrich Schnauss.

                                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                                  Barry says: I've always been a big fan of Tycho, but I think this might be the best thing he's done since 2014's 'Awake' (has it really been that long?!), with the saturated, delayed guitar and shimmering synth echoes being highly reminiscent of his superb 'Dive' LP, whilst retaining the technical production and gorgeous swimming instrumentals he's become so loved for.

                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                  LP Info: 180g vinyl.

                                                                                                                                                                                                                  Wajatta

                                                                                                                                                                                                                  Don’t Let Get You Down

                                                                                                                                                                                                                    Wajatta (pronounced wa-HA-ta) - aka Reggie Watts and John Tejada - return on Flying Lotus’ Brainfeeder imprint. Coming from different worlds but sharing a passion for the rich history of electronic music, beat-boxer / comedian / musician Watts and electronic music artist / DJ / producer Tejada bring out the best in each other’s formidable skill sets. Exploring the intersection between influences and innovation, the two describe Wajatta’s music as ‘electronic dance music with its roots in Detroit techno, Chicago house, ‘70s funk and New York hip hop.’ It’s a sound that is both familiar and wholly original and, like all great dance music, ultimately life-affirming. As a result, the 11 tracks on “Don’t Let Get You Down” crackle with the energy of fresh ideas captured at the moment of inspiration. It’s electronic music made organically, from two masters at the top of their respective games.

                                                                                                                                                                                                                    For fans of HNNY, Caribou, Ross From Friends, Jacques Greene, Channel Tres.


                                                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                                                    Barry says: It would be hard for anything to get you down after listening to the title track of this killer collaboration, and the rest of the album only continues in the same vein. Owing as much to early instrumental hip-hop as it does modern soul and electronica, this is a rich and varied outing and one you have to hear to believe. Grooves for DAYS.

                                                                                                                                                                                                                    Athens of the north is not just here to release great music but to support our artist development and experimentation, to this end we always try to bring good people together to work on new music. This LP fuses two massive talents, for the first time to AOTN we introduce House and Techno legend Linkwood, joining him is one of the |UKs most respected Jazz Artists Greg Foat, who will need no introduction to AOTN fans

                                                                                                                                                                                                                    'Linkwood & Foat' is the first LP to be recorded in the new 'Athens of the North Studio', which was designed and built specifically for our artists so that they can create without the time pressures or expenses of studio hire elsewhere. With no fixed plans, no rules or expectations, the pair relaxed in the new studio and started making music. The result is very special indeed

                                                                                                                                                                                                                    Linkwood had just returned from walking in the wilds of an Ibiza summer and Greg had similarly been immersed on the sun drenched south coast of the Isle of wight. This freedom and sense of space saturates the grooves of the LP juxtapositioned against a deeper late night basement club feel they both love so much, the pull between nightlife and the freedom of nature. It's extroversion and introversion, the freedom and escapism of the two seemingly opposing environments permeates this recording.

                                                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                                                    Matt says: I mean, was it ever gonna yield anything other than truly amazing results? The prolific Greg Foat, whose previously provided various projects with his jazzy, neo-library multi-instrumentalism; and Edinburgh's Linkwood (aka Nick Moore), founder of groundbreaking and pioneering Firecracker Recordings which has peppered the dance music world with top drawer, boutique releases for 16 years. Together, their parts exponentially multiple for a fully immersive electro-psychedelic-jazz journey that no-one can rival.

                                                                                                                                                                                                                    Daniel Davies

                                                                                                                                                                                                                    Signals

                                                                                                                                                                                                                      Whether scoring a film or making a solo album, Daniel Davies thinks cinematically. Images and story – on a movie screen, on a canvas, or flashing through his mind – inform the shape of his compositions and the sounds he uses to bring them to life. For Signals, his first solo record for Sacred Bones, the inspiration for his musical narration was a collaboration with visual artist Jesse Draxler, whose otherworldly mixed media works grace the cover and the booklet.

                                                                                                                                                                                                                      “I had an instant connection to Jesse’s art,” Davies explains. “One of the main concepts for this album was working with the feeling of uncertainty. Jesse’s art illustrates that perfectly with his disruptive shapes. At first, they are foreign to the landscapes they live in, but over time we become used to them, we adjust. The foreign objects force us to evolve, to accept and live with the uncertainty they create.”

                                                                                                                                                                                                                      Using Draxler’s images as his jumping off point, Davies created eight richly textured compositions that created a soundtrack for the unsettling world of the artwork. “Musically, I wanted to capture that same contrast — melodies evolving out of drones, haunting beds of tension with beautiful shimmering melodies laid above. What were once conflicting emotions became harmonious.”

                                                                                                                                                                                                                      As the songs move through the landscape, Davies calls on whatever instrumentation he needs to serve their journey. He utilizes the warbling synths and slicing guitar that have characterized his soundtrack work, but he’s also preternaturally at ease when he busts out a harpsichord and a vocal synth on lead single “Phantom Waltz.” On “Destructive Field,” he leaves space for his Halloween collaborator John Carpenter to lay down his signature sound. With the exception of that passage, all the music on the record is recorded by Davies himself.

                                                                                                                                                                                                                      While the results indeed feel cinematic, Davies is liberated by the absence of a film to score: “While scoring a movie, I serve the director’s vision and focus on telling a specific story. When working on an album, I’m free to create my own narrative and be more experimental.”


                                                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                                                      Barry says: It's a bit of a spooky affair this, with the Arrival-esque oddities of the cover art being perfectly matched to the swirling instrumentals and Carpenter-esque unease in the music itself. Part ambient, part soundtrack, part gothic waltz and ALL brilliant, this is a triumph in concept and execution and a superb listen for a cold winter night.

                                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                                      Coloured LP Info: Smoke coloured vinyl.

                                                                                                                                                                                                                      Cold Beat

                                                                                                                                                                                                                      Mother

                                                                                                                                                                                                                        San Francisco band Cold Beat make their DFA debut with Mother, a collection of ten pop transmissions from Earth. Wound tight with an energy that ricochets from one song into the next, Mother was made while frontperson Hannah Lew (formerly of indie trio Grass Widow) was pregnant and considering the chaotic conditions of the world she was bringing a new human into. If we consider Mother an artistic style guide through space and time, the framework Cold Beat provide is overcast by design but focused in execution; locked-in drums and synths with choir-like melodies high above it all.

                                                                                                                                                                                                                        “I found myself trying to describe our earth to a new human who had never been here,” says Lew. “It was a bleak year to be pregnant, but I was simultaneously filled with so much love and hope at the same time. I remember feeling a sense of wanting to show my whole range of self to this new person I was about to meet. In past albums, I sometimes held my artistic self in an ethereal place, but I found myself wanting to be very much on this earth and grounded during the creation of this record.”

                                                                                                                                                                                                                        The A-side of Mother presents the facts as we perceive them, while the B-side accelerates into the uncertain. Each of the first five track titles is one evocative word: the synths on ‘Prism’ slide against the motorik guitar riffs and the plaintive saxophone on ‘Paper’ casts the Leonard Cohen-esque melody in a melancholy shadow; ‘Gloves’ is a real mood, all drive. Everything begins to unfurl from there. “Will it be over if there’s no sound?” Lew wonders on album standout ‘Double Sided Mirror,’ and then ruminates, “it won’t be long until you find me in the beyond” on the more upbeat ‘Crimes.’ The early architects of these sonic settings—Eurythmics, The Human League, Depeche Mode—act as touchstones and inspiration.

                                                                                                                                                                                                                        One of the most prescient things Mother teaches is that existence will not be, and has not ever been, a solitary experience. “It's really the first album where the project felt more like a band,” Lew says. “In a lot of ways, it feels like our first album.” And though four LPs (released on Dark Entries and Lew’s own label Crime On The Moon) precede this one, Mother is Cold Beat at their most concentrated and crystalline. It’s an honest, forgiving, and ultimately optimistic team effort from a band busy being born, re-born and giving life.

                                                                                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                                                                                        Barry says: Brilliantly melodic synthy business on the newest outing for indie scene stalwarts DFA here from Cold Beat. 'Mother' mixes in all the best bits of Joy Division, 80's synthpop and the more modern filmic sensibilites of Italians Do It Better into a sonically crystalline, richy evocative tapestry. Huge swathes of strings and growing pads soar beneath insistent, momentous guitars and hazy vocal streams.

                                                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                                                        LP includes MP3 Download Code.

                                                                                                                                                                                                                        Wrangler

                                                                                                                                                                                                                        A Situation

                                                                                                                                                                                                                          When Wrangler first formed like Voltron a decade ago, they had a very simple modus operandi. The clue was in their name. Ben ‘Benge’ Edwards (The Maths), Stephen ‘Mal’ Mallinder (Cabaret Voltaire) and Phil ‘Phil’ Winter (Tuung) would get together with a very select kit list of careworn analog synthesizers and vintage digital sequencers. Their task? To wrangle new music from the ancient equipment. These self-imposed restrictions helped produced two classic long players: LA Spark (2014) and White Glue (2016).

                                                                                                                                                                                                                          However the times have changed and so have Wrangler. The coming decade, which looks set to be dubbed the Terrible Twenties, may be the last time that bands actually get to release albums. Ecological collapse, climate crisis, food shortages and the disintegration of the fabric of society will mean that the slow devolution of the music industry isn’t even one of the main things that musicians (or anyone else) should be worrying about. So the trio have thrown everything into their third (but hopefully not their last) album. The result - A Situation out this month on Bella Union - is simultaneously their bleakest and funkiest release to date.

                                                                                                                                                                                                                          This collection of warm, reverberant, amped up tracks, that land somewhere between future music, synth pop, industrial dance, classic techno and rigid electro, captures the ambiguities of the group perfectly. Just as they use the ageing outmoded equipment that other people once chose to throw away in order to make tomorrow’s music, they are the paranoid group who (just about) dare to hope that things still might turn out OK. They cast a doleful eye across the hellscape of 2019 and state, if the end is truly nigh, then it’s never been more important to celebrate the little time we have left. And if a revolution to save ourselves is possible then we’re all in need of a revolutionary party, with a revolutionary soundtrack to match.

                                                                                                                                                                                                                          Even though their first two albums were released on Benge’s own MemeTune label he was unsure that he had the time and energy to release A Situation. The solution was staring them in the face however. In 2018 the members of Wrangler along with revered American musician, John Grant released Mr Dynamite on Bella Union, their debut as Creep Show. Label boss Simon Raymonde heard the tracks and loved them: Wrangler now had a new home.

                                                                                                                                                                                                                          For Mal it almost feels like a family affair: “I was best friends with Robin [Guthrie] and Liz [Fraser] of Cocteau Twins and when Simon joined the group I got to know him really well. I was more from a club music background but I loved what the Cocteaus did.” Phil adds that there’s no real need for them to define the difference between Wrangler and Creep Show, as the chemistry is completely different: “It’s not just John’s vocals but the way he plays synths and programmes rhythms is unique, so that music can’t help but have its own character. It’s the result of a four way democracy instead of a three way democracy.”

                                                                                                                                                                                                                          The album title A Situation is purposefully ambiguous perhaps referring to a job that needs doing or a nettle that needs to be grasped; perhaps referring to an unspecified event that is potentially either an opportunity or a threat. The mood is set by ‘Anthropocene’ which concerns the collapse and fall of human civilisation. As Mal points out: “If a future archaeologist digs down into the rocks they probably won’t find any human fossils, just a very thin layer of plastic and some rust patches. There’s an inevitability because the wheels have already been set in motion but that doesn’t mean we should ignore what’s going on, we should be taking care of things regardless. So this is about reaching out to other people before it’s too late rather than building walls.They’re the first fucking things that are going to fall down in the Anthropocene!”

                                                                                                                                                                                                                          ‘How To Start A Revolution’ contains a different kind of warning. Mal says: “There was originally a little bit of irony in this track but if anything the world has become even scarier in the last two years. If you keep on pushing people there will come a tipping point and it will come back to bite you. There’s no irony left any more.” ‘Machines Designed (To Eat You Up)’ is about the fully-automated AI state surveillance that threatens us all. It looks like the future that Cabaret Voltaire warned us about over four decades ago is now finally here. Mal says: “It’s not my fault! I take no satisfaction at all in this stuff coming true. If it felt dystopian then, it feels more dystopian now. Wrangler are still questioning power but some of the tools of power have changed. I’m now fearful of Google in the same way I was fearful of Thatcher in the 80s.” Phill adds: “In the 70s and 80s if you wanted to have a go you could any weekend of the year but nowadays it’s harder to see who the enemy is and where they are. Come on out and have a go. Where are you hiding?” Benge concludes: “People are aware of the problems with Google, Facebook, 5g, social media, etc. but they’re woven into everything we do, so impossible to deal with.” Addressing the multiple failures of the internet ‘Mess’ originally had the more prosaic title ‘It’s A Fucking Mess’ which just about says it all. ‘White Noise’ is perhaps the bleakest track of all, based round a spoken word piece by Mal, inspired by a reflection on JG Ballard’s notorious and transgressive experimental novel The Atrocity Exhibition.

                                                                                                                                                                                                                          But Wrangler refuse to ignore the possibility of hope. The mirror image of ‘Mess’ comes in the shape of the copper-bottomed Kraftwerkian techno pop banger, ‘Rhizomatic’. In 1980, French philosophers Félix Guattari and Gilles Deleuze came up with the idea of complex connectivity between “nodes” which eerily predicted the way the internet would work. As Mal says: “It’s an uplifting song, simply because the decentralisation of technology is the one aspect of the internet that might save us.” On the track ‘Anarchy Of Sound’ the group call up perhaps their most unlikely influence to date: the ancient Greek mathematician Euclid Of Athens. Benge explains: “We’ve built weird things into this track called Euclid patterns.” Mal, who studied the history of rhythm for his PhD concludes: “They’ve been part of culture for millennia and explain African drumming as much as Elvis Presley.” But perhaps the most positive aspect of the album is hardwired into the DNA of the track ‘Slide’ simply because it stands on a continuum with the most uplifting of jacking Chicago house and the most utopian of New York garage.

                                                                                                                                                                                                                          Both sides of the coin - the dystopian and the utopian - are necessary for Wrangler to work. Phil sums it up the most succinctly when he says: “The heavier things get, the more I just want to jump around and have some fun.”


                                                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                                                          Barry says: It's almost like Wrangler were my answer to 'Who Would Your Supergroup Dream Team Be?', with some of the greatest musicians from 3 of the most diverse acts around electronic music today. 'A Situation' is yet more evidence of their right to inclusion, a thumping, synthy fever dream.

                                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                                          2xLP includes MP3 Download Code.

                                                                                                                                                                                                                          Proper Ornaments

                                                                                                                                                                                                                          Mission Bells

                                                                                                                                                                                                                            9 months since the release of 'Six Lenins', THE PROPER ORNAMENTS are back with 'Mission Bells', a sombre but uplifting record that began its life while they were on tour earlier this year, when new ideas emerged in different soundchecks around Europe.

                                                                                                                                                                                                                            James Hoare, Bobby Syme and Max Oscarnold, the founders of the group, recruited Nathalie Bruno as a bassist for the tour, and then the four.piece began recording in the summer at Hoare's home studio in Finsbury Park, London, using the same 16 track Studer tape machine as on their previous record, but this time they incorporated a moog sequencer and other electronics instruments.

                                                                                                                                                                                                                            On these recordings, meticulous attention to detail is never deployed as an end in itself but always with the song and sound in mind. As the 'Mission Bells' sing, echoes of black albums Velvets, Swell Maps, Spiritualized and Cluster might reach inside your brain, but the truth is that it's hard to pinpoint influences on an album that is the fifth in the life of this band, as they have been becoming more and more themselves, not needing to look elsewhere for inspiration.

                                                                                                                                                                                                                            This is not a retro band, they just happened to like playing guitar, a preference that began, at least for James Hoare and Max Oscarnold, when they were 9 years old. Whoever is familiar with their previous records might agree that 'Mission Bells' has a lot of the innocent elements (drum machines underneath simple songs) of their first record, 'Waiting For The Summer', the melancholy of 'Foxhole' and their heavy live sounds, as drummer Bobby Syme points out. But it's the lyrical maturity that is the real achievement on this record. The words can be read as a William Burroughs cut up experiment on what it is to live in these Dystopian times.

                                                                                                                                                                                                                            'Mission Bells' is a majestic achievement, a musical maelstrom, its harmonies drawing the inclined listener into an irreversible somnambulant state, caught between dreamland and waking hours. The beauty of it is, you won't want to escape, even though the door is flung open as your postmodern life awaits you outside...

                                                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                                                            Coloured LP Info: Indies exclusive clear vinyl edition.

                                                                                                                                                                                                                            After starting to build a reputation featuring on different compilations like the Sofa Elsewhere LVI, shelTer, Risks Issues Opportunities and at first the punkish electronic Danzas Electricas Vol.2, Houschyar is on to deliver his debut album on Macadam Mambo.
                                                                                                                                                                                                                            Originally from Dresden (DE) and now based in Istanbul, Marius (his real name) has made his experience in different places in East Europe, studying Fine Art and developing his skills and senses for music, to let emerge a singuliar style influenced by special electronic genres like Minimal-Synth, Berlin School, Krautrock, Electro and never too far from Punk.
                                                                                                                                                                                                                            Produced in his living room in Ömer Hayyam - Tarlabasi, « Temmuz » must be taken as the soundtrack of a night ride through Istanbul by a warm summer night. Houschyar succeed to catch with brio the intriguing vibe of the turkish city, developing tension and mystery in a deep immersion full of rhythms, synthetizers and guitar effects. Probably one of the highlights of 2020, don’t miss!

                                                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                                                            Patrick says: Macadam Mambo can't stop themselves right now, continuing the string of must have madness with this T-R-I-P from Houschyar. Berlin school, tribal electronics and wormhole crunchers ensure a far out time.

                                                                                                                                                                                                                            Antinote and Dizonord present STUDIOLO - Belfiore, Veneto, 1447. Birth of the first "Studiolo" or cabinet of curiosities, these rooms where "rare, new, and singular things", often exotic, were stored and exhibited. A practice that would spread throughout Europe during the Renaissance.

                                                                                                                                                                                                                            Northeastern Italy, at the beginning of the 1980s, an entire local scene gathered around a handful of DJs who put their dancefloors in a trance to the sounds of "rare, new, and singular" music, under the strong influence of ethnic and world music. Mixes where German Kosmische clashes with space disco, along with the most experimental side of British new wave, industrial music, creepy funk, deviant rock and pop. All this mixed with Brazilian and Afro music, reggae, ragga, percussions and bhangra... A kind of mixing in total rupture with that of a dying disco for which it is intended as an alternative. A way of playing songs often at the wrong speeds, at 33RPM instead of 45RPM and vice versa, and always the obsession of a slow tempo, between 95 and 110 BPM, while the cruising speed of disco mixes goes up to 125/130 BPM... A haunting rhythm, accelerated or slowed down voices, with experimental and ethnic approaches... the sets by Moz-Art, Ebreo, Roberto Lodola, TBC, Meo, Fabrizio Fattori... are endowed with a baroque, quasi)mystical dimension. Without forgetting the enemy brothers, at the origin of this fusion of styles, Daniele Baldelli, resident of the Cosmic Club in Rimini, who called it Cosmic Style, and Beppe Loda, resident of the Typhoon in Gambara (a small town not far from Belfiore, unsurprisingly) and who referred to his mixing as "Afro Style". "Afro", the name that will be adopted by this scene and especially by its fans, recognizable by their post-hippy style, their Citroën DS or 2CV, with car radios fully powered by mixtape cassettes recorded in the clubs by these DJs, then sold in the parking lot of what was still called "the discotheque" at that time. This "Afro" wave mainly involved 3 regions in Italy (Lombardy, Emilia Romagna, and Veneto) and the young Austrians and Germans who would go there on holiday. Among them, Stefan Egger, a young DJ from Innsbruck, received a monumental shock while listening to a set by Daniele Baldelli during his holidays in Rimini. Therefore, he decided to make his Austrian dancefloor resonate to the sound of the Cosmic Style.

                                                                                                                                                                                                                            While the official history of underground dance music has very quickly and rightly retained the contribution of DJs from Chicago and New York, it was not until the early 2000s that interest in the Afro/Cosmic scene was finally shown. Since then, a lot has been said on this scene, its DJs, their completely crazy and obscure tracklists, while Daniele Baldelli and Beppe Loda are playing Boiler Room sets as well as Europan and Japanese gigs one after the other. But few have shown interest in the moment in time when, at the end of the 80s, these DJs became producers and started creating songs that sounded like their sets, where all their influences would collide, often naively, sometimes with genius, always without filters. Nor to how this scene changed at the beginning of the 90s with a marginal approach to trance and progressive house, when the Italian, Austrian and German DJs of this second Afro period played these trance and progressive records at 33+8, as their elders did with synth wave or post-punk records, always staying within this 100/110 BPM tempo. It is in this last period that this compilation will immerse you, through 8 tracks from the Italian, German and Austrian scenes.

                                                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                                                            Patrick says: After furnishing the superior selectors with cross genre musical magic for much of the past decade, Antinote need no introduction, and here they team up with Dizonord, the revolutionary Saint-Ouen shop and label launched by Vincent Prive, and king compiler Ygal Ohayon to give us an ace insight into the early 90s evolution of the Afro-cosmic scene. Perfectly timed with the current revival in slow trance and progressive sounds, these hypnotic and tribal productions, flecked with ethnic sounds could put any dancer in a trance.

                                                                                                                                                                                                                            Founded back in 1990 – celebrating their 30th birthday in 2020 – Z Records has amassed plentiful collection of singles, albums & compilations. Run by Dave Lee aka Joey Negro, the label has enjoyed success through his unique ability to foster the principles of underground dance music whilst also remaining mindful of commercial appeal. Through his many compilations, Mr. Lee has delved deep into the heart of a specific genre or era and selected lesser-known tracks that give a real insight into the spirit & energy that made that point in time so special. Whether it's GoGo, Brit Funk, Boogie, Italo house or straight up Disco, he has delved deep into his extensive bank of influences and also enlisted the help of some of his most clued-up comrades in offering unforgettable collections of classics.

                                                                                                                                                                                                                            This time he’s been joined by Neil Pierce as co-compiler for this second collection of their favourite moments across a definitive decade for House & Garage: the 90’s. Volume 2 includes material from Satoshi Tomiie, UFO, Slam Mode, Joi Cardwell and Alexander Hope as well as remixes from Kings of Tomorrow, Kerri Chandler, Marshall Jefferson, Tommy Musto and Smack Productions. The compilation is packed with sultry vocal lines and the sort of slick, irresistible grooves that defined the era.

                                                                                                                                                                                                                            Dave and Neil have dug out music that may have previously ‘slipped under the radar’ meaning a lot of the tracks included here are being digitised for the very first time. In searching deeper & wider than the average compilation, the package provides a thorough insight into why this was such a fertile period for production. It gives a nod to the sort of drum patterns, sampling techniques and vocal lines that have inspired the likes of Bicep, Brawther and Huxley amongst many more.

                                                                                                                                                                                                                            “If there is one person who links all these songs together it’s Paul “Trouble” Anderson. Though the tunes are mainly American the sound is very much the type of soulful house that Paul played and was popular in clubs here. There are so many classic songs from the 90s I heard for the first time either at his club or on Paul’s radio show. He absolutely loved his music and clubs, that was his life and he lived that life to the full. This album is dedicated to you Paul R.I.P.”-  Dave Lee

                                                                                                                                                                                                                            “It was Paul that gave me my first ever break in this industry and was a dear friend to me right up until his passing. I'll forever be grateful for the opportunities he gave to me and the musical lessons he taught me throughout the years. We finished the track listing on this compilation way before Paul's passing but if you look through the playlist it could have been an out and out tribute album to the legend such is his influence over myself and Dave. So therefore I'd like to dedicate my selection to the one and only "Trouble" RIP.” Neil Pierce


                                                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                                                            Matt says: Frequenters of our shop and website will know too well my love of Mr. Lee. Another one of his sterling house compilations mining the ever-fruitful period of the 1990s. From the tough and bumpety to sublime and deep; house music's golden era extensively dug and packaged up for your enjoyment!

                                                                                                                                                                                                                            After Nu Guinea’s LP, Nuova Napoli, and Napoli Segreta first compilation, NG Records follows up with an exploration into the unknown groovy side of Naples by releasing "Napoli Segreta Vol.2".

                                                                                                                                                                                                                            Famiglia Discocristiana, DNApoli and Nu Guinea team up again selecting more tracks from their archives, for a new compilation containing 9 mysterious Neapolitan tracks, found in the most hidden corners of remote flea markets around the Vesuvius.

                                                                                                                                                                                                                            But forget classical Neapolitan songs, "'O Sole Mio" or "Luna Rossa"... Forget about what you expect to find once you land in town… oh and also forget about Google maps. Take a dodgy local guide, keep your eyes open, and follow it to enter the secret downtown, the underground, the routes that no satellite can detect, but beware there is no easy way out.

                                                                                                                                                                                                                            Napoli Segreta Vol.2 is a musical journey into the sonic landscapes of Naples that you have never heard of before. A variety of genres merging soul, disco, funk, blues, new wave, afro-beat and boogie, including lyrics in Neapolitan urban slang, instrumental tracks with progressive flavour, and also some unexpected covers!

                                                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                                                            Patrick says: We're back in Naples with Nu Guinea here, taking a tour through the late night funk, sleazy disco strutters and Mediterranean boogie bombs found hiding in plain sight amongst the Italo maxis and Roman artefacts. If you copped volume 1, you know exactly what sort of heat to expect!

                                                                                                                                                                                                                            Various Artists

                                                                                                                                                                                                                            The Sound Of The Suburbs

                                                                                                                                                                                                                              'Exclusively on vinyl, come 17 hugely influential artists and tracks that exploded from the punk phenomenon of the late 1970’s. Essential punk classics from Siouxsie & The Banshees, Iggy Pop, The Ruts and The Members (whose anthem gives this compilation its title) are here alongside legendary new-wave tracks from The Buzzcocks, Blondie, The Skids and The Only Ones as well as the #1 ‘Rat Trap’ from The Boomtown Rats. This period produced many amazing songwriters and interpreters which are included, namely Elvis Costello, Joe Jackson, Squeeze and Patti Smith’s performance of the Bruce Springsteen penned ‘Because The Night’. As the ‘70s ended, The Jam and The Clash produced some of their most seminal work and the next wave of new wave artists emerged with both Adam & The Ants and The Cure completing this journey through a selection of bone-fide essential tracks that every vinyl collection should contain.

                                                                                                                                                                                                                              Bold, weird, wild, wired, sonically luxurious yet never losing touch with its DIY-‘til-I-die roots, Thumb World is a voyage to the outer rings of Pictish Trail’s mind at its darkest, funniest and most inventive – a plugged-in, fuzzed-out, fucked-up contemplation on, as he puts it, “life repeating and gradually degrading, the inevitable cyclical nature of things, and the sense of their ultimately being no escape.”

                                                                                                                                                                                                                              Expect alien abductions, thumping beats, Trump-haired pigs, paternal panic, astronaut sex, bad acid trips, worse hangovers, lashings of distortion and a lot of anthropomorphic thumbs. “Our opposable thumbs are the things that separate us from most other animals on Earth,” Pictish explains, of the fat digit symbolism, “they are also the things that we use to swipe on screens, to separate ourselves from our normal lives, but which in turn trap us within an artificial reality.”

                                                                                                                                                                                                                              Produced and mixed by Rob Jones, featuring string arrangements from Kim Moore and drumming from Alex Thomas (Squarepusher, Anna Calvi, Air), Thumb World is Pictish Trail’s most collaborative album to date.

                                                                                                                                                                                                                              An audio-visual dialogue with Swatpaz, AKA Scottish artist Davey Ferguson – the man behind the Turbo Fantasy series and an entire episode of cult TV phenomenon Adventure Time – furnished Johnny with not just a graphic aesthetic for the album, but even helped him to shape the sound of the finished record. “I sent Davey a work-in-progress mix of the album,” Johnny says, “he came back with sketches in which he had reimagined Thumb World as an 80’s arcade game. Some of the songs are centered around specific visual images, inspired by Davey’s sketches.”

                                                                                                                                                                                                                              Due for release on Fire Records on February 21, 2020. Four years in the making, Thumb World is the much-anticipated follow-up to his critically acclaimed Scottish Album of the Year Award public vote winner Future Echoes.

                                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                                              Barry says: This definitely falls solidly within my realm of interests,

                                                                                                                                                                                                                              videogame aesthetic [x]
                                                                                                                                                                                                                              superb production [x]
                                                                                                                                                                                                                              brilliantly written tunes [x]

                                                                                                                                                                                                                              It's got it all, and only goes to show how the super talented Johnny Lynch keeps smashing it out of the park. Ace stuff.

                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                              Coloured LP Info: Deluxe LP Arcade Edition is on PINK vinyl, Spot Gloss Gatefold sleeve + Sticker Sheet.

                                                                                                                                                                                                                              Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                                              For almost a decade, Agnes Obel has been one of the most independent and original artists in contemporary music. Now she has returned with new music, releasing the enchanting single “Island Of Doom”, ahead of the release of her highly anticipated new album Myopia–through Deutsche Grammophon, Universal Music Group’s prestigious Yellow Label, and Blue Note in North America.

                                                                                                                                                                                                                              Following the same principles as with her previous albums (Philharmonics, Aventine and CitizenOfGlass), which she completed as a one-woman project in her own Berlin home studio, Obel has been under self-imposed creative isolation with the removal of all outside influences and distraction in the writing, recording and mixing process. “The albums I’ve worked on have all required that I build a bubble of some kind in which everything becomes about the album.”

                                                                                                                                                                                                                              “For me the production is intertwined with the lyrics and story behind the songs,” says Obel. This is precisely what makes her music so compelling and the same is true with Myopia. “Paradoxically, for me I need to create my own myopia to make music.” Obel was experimenting with techniques of recording processing, warping and pitching down vocals, strings, piano, celesta and lutheal piano, finding ways to melt these elements together to become one and twisting them in a way that you feel at home within the sound she conjures throughout the record.

                                                                                                                                                                                                                              Although Obel’s music can often curate a monologue of modern-day dystopian-esque news stories that we are all now subject to, the contents of “Island Of Doom” are much more personal, as she explains: “The song is made up of pitched-down piano and cello pizzicato and vocals, all choirs are pitched down and up… In my experience when someone close to you dies it is simply impossible to comprehend that you can’t ever talk to them or reach them somehow ever again. They are in many ways still alive because in your consciousness nothing has changed, they’re still there with everyone else you know.

                                                                                                                                                                                                                              “For me Myopia is an album about trust and doubt. Can you trust yourself or not? Can you trust your own judgments? Can you trust that you will do the right thing? Can you trust your instincts and what you are feeling? Or are your feelings skewed?” – Obel.

                                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                                              Barry says: Obel's latest opus challenges the backdrop of beautifully played modern classical instrumentation and meditative, soaring strings with a decidedly modern focus on vocal manipulation and production trickery, crafting a delightfully immersive and stunningly beautiful whole.

                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                              Coloured LP Info: Blue vinyl.

                                                                                                                                                                                                                              mis·an·thrope /ˈmis(ə)nˌTHrōp,ˈmiz(ə)nˌTHrōp/, noun : a person who dislikes humankind and avoids human society.

                                                                                                                                                                                                                              An·thro·po·cene /ˈanTHrəpəˌsēn/ , noun : the current geological age, viewed as the period during which human activity has been the dominant influence on climate and the environment.

                                                                                                                                                                                                                              Miss Anthropocene : The Goddess of Climate Crisis An album by Grimes.

                                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                                              Barry says: Some of the more propulsive pieces on Grimes' latest outing could easily have been on Art Angels or Visions, being wrapped in the same optimistic bounce that we've become used to, but the majority of the LP is a much more measured and sombre affair, rich with dark, trappy beats and (understandably), politically charged vitriol. A brilliant development for Grimes, and a great listen.

                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                              Coloured LP Info: Indies exclusive translucent pink vinyl.

                                                                                                                                                                                                                              After two feverishly received albums as King Krule, plus another low-key outing under his own name, this extraordinarily gifted 25-year-old from Peckham in South London adds further depth and substance to his oeuvre with another wondrous long-player called ‘Man Alive!’. It arrives packed full of his trademark sonic ambition and compositional skill, as well as the now-familiar corrosive lyricism and lurid social observation.


                                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                                              Barry says: Following on from his riotously well received LP's, and equally desirable solo album, Marshall returns with his darkest and most clashing outing yet. Snappy percussion and jazzy breaks work their way skilfully below the shadowy vocals and post-punk distortion. Experimental but cohesive, this is definitely the best Krule album yet.

                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                              Coloured LP Info: Limited white vinyl.

                                                                                                                                                                                                                              Any botanist will extol the virtues of cross-pollination, and musical hybrids are a Growing Bin speciality. For the latest release Parisian outfit Maât splice jazz with Balearic, dub, house and Afro to create a free thinking LP dedicated to world fusion fore-runners Codona.

                                                                                                                                                                                                                              If Singu found calm amongst the chaos of Tokyo for ’Siku’ (GBR017), then Maât map out a Sunday stroll through the sun dappled streets of the Parisian banlieue on ’Solar Mantra’. Humming reeds converge into a pre-dawn chorus before dewy sequences and drifting syncopation signal sunrise over La Vilette, a perfect place to start ‘The Walk’. Skirting the Périphérique, the Parisian ensemble pick out a street percussionist by Boulevard d’Algérie then detour to Pré-Satint-Gervais to draw a bassline out of the Metro Area, adding an Environ cool to the uptempo ‘Jaki & Bryn’. With icy bells, brooding guitars and melancholic vocals, ‘Feuglace’ transports Miko’s garten to the 20th arrondissement while the polyrhythmic patter and micro-tuned guitars of ‘Solar Mantra’ see out the A-side with a fourth world hymn.

                                                                                                                                                                                                                              Chakras cleansed and ready for a B-side rebirth, Maât take us dancing through Père Lachaise via organic house bomb ‘Quetzal Pacino’, an emotive exploration of rhythmic mallets, dreamy pads and propulsive bass, which moves like the Innerzone Orchestra re-arranged by Jon Hassell. Rest comes with the soothing pianos and swelling sine waves of the pastoral ‘Clarière’, a hazy homage to the noon sun on a clearing. Circular motifs, limber grooves and dubby bass mean we’re on the move again, slipping into Montreuil with the echo-drenched scat and firm back beats of ‘Mount Beuvray’, before ‘Llomé Dub’ takes us home in time for a cool beer and much needed smoke on the balcony. Acoustic guitar, lilting piano and a gorgeous female vocal ride the punchy bass and clattering drums to perfection, keeping us company until the day fades into a contented haze.

                                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                                              Patrick says: Parisian ensemble Maat get green fingered with a debut LP on Growing Bin, fusing Balearic, dub, afro, acid and jazz into the gorgeous "Solar Mantra". Taking inspiration from the endless discoveries of the local digging scene, as well as the feeling of freedom as you put the city in your rear-view, these accomplished newcomers deliver the perfect soundtrack to an imminent spring.

                                                                                                                                                                                                                              On October 22nd 2019 Courtney Barnett performed a unique and special show at the invitation of MTV in her hometown of Melbourne.

                                                                                                                                                                                                                              The “Unplugged” performance features Barnett as you’ve never heard her before, warm, vulnerable and emotional, performing a stirring set of eight songs to an intimate audience including “Depreston”, “Avant Gardner” and “Sunday Roast”.

                                                                                                                                                                                                                              Joined by her usual band Dave Mudie and Bones Sloane, she also enlisted cellist Lucy Waldron.

                                                                                                                                                                                                                              Barnett made the night even more iconic by inviting some of her favourite musicians to collaborate including legendary songwriter Paul Kelly, angelically-voiced New Zealander Marlon Williams and Milk! Records label-mate Evelyn Ida Morris.

                                                                                                                                                                                                                              The performances include covers of Leonard Cohen, Archie Roach and Seeker Lover Keeper as well as a never-before-heard original track from Courtney herself titled "Play It On Repeat".



                                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                                              Barry says: This MTV unplugged session shows another side to the charismatic rock and or roll of Barnett and team, opting instead for a more meditative and contemplative suite of 'acoustic' numbers (as good as it is, acoustic is a bit of a stretch) all topped with Barnett's unmistakeable vocal prowess. Great stuff.

                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                              Coloured LP Info: Aqua blue vinyl.

                                                                                                                                                                                                                              English songsmith Douglas Dare returns with his third and most stripped back studio album to date, "Milkteeth". Produced by Mike Lindsay - founding member of Tunng and one half of LUMP with Laura Marling - in his studio in Margate in just twelve days, "Milkteeth" sees Douglas become confident and comfortable enough with his own identity to reflect on both the joys and pains of youth. In doing so, he has established himself as a serious 21st century singer-songwriter with an enduring lyrical poise and elegant minimalist sound.

                                                                                                                                                                                                                              Douglas Dare grew up on a farm as the youngest member of a large extended family, where he was often found in his own private world, dancing in his mother’s pink ballet dress. 'Only now do I feel free to express my inner child again, and am giving myself permission to play dress up,' says Dare of Milkteeth’s cover shot, in which he wears soft makeup and is draped with layers of white linen, acting the part of a Greek muse. 'I never felt like I fit in. I was different, odd. I wanted to dance and sing and dress up and on a small farm in rural Dorset that really stuck out.'

                                                                                                                                                                                                                              Where previously he has been known as a piano player, for "Milkteeth" Dare picked up a new instrument, the autoharp, and as soon as he sat down with it, songs poured out – he wrote the album’s first single "Silly Games", in under an hour. 'Instinctual feelings about childhood and innocence were the catalyst,' he explains. 'Then with the autoharp, it all just clicked – I could see the album laid out ahead of me.'

                                                                                                                                                                                                                              Dare’s music speaks of his own experiences of universal themes like love, loss, and childhood. Perhaps most importantly, his music gives a voice and a sanctuary to anyone who’s ever felt unusual or out of place. Whether he’s singing of the pain of those in the Magdalene Laundries as on Whelm, describing coming out to his parents on Aforger, or processing his own childhood isolation on Milkteeth, Dare has a graceful honesty and an abiding clarity of vision in his simple and distinctive sound.


                                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                                              Barry says: Tender ballads of loss and hope, brittle instrumentation and Dare's rich syrupy vocals combine into an atmospherically rich but instrumentally minimalistic suite of heartfelt ballads and hypnotic, swimming bliss.

                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                              Dinked Edition LP Info: Limited to 300 copies.
                                                                                                                                                                                                                              Alternative cover art.
                                                                                                                                                                                                                              Numbered.
                                                                                                                                                                                                                              Coloured Vinyl.

                                                                                                                                                                                                                              Indies Exclusive LP Info: Ltd 500 indies only clear vinyl.

                                                                                                                                                                                                                              California’s Best Coast - comprised of Bethany Cosentino (guitar, vocals) and Bobb Bruno (guitar) - will release their fourth studio album, Always Tomorrow, produced by Carlos de la Garza with additional production by Justin Meldal-Johnsen (Paramore, M83). Always Tomorrow band’s first album of new studio material since their acclaimed 2015 record California Nights. The band previewed a new song from Always Tomorrow, entitled “For The First Time,” to an incredible response this past fall and have also shared “Everything Has Changed,” whose video, directed by Ryan Baxley, features a number of people from one of Bethany’s favorite shows, Vanderpump Rules.

                                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                                              Barry says: Best coast have always encompassed the spirit of californian pop-punk but with a knowing nod to stadium rock, with huge guitar riffs and trebly distortion ringing out beneath Consentino's confident and perfectly suited vox.

                                                                                                                                                                                                                              A brave step forward, Hyacinth is an album full of poetry, light and warmth of heart, and presents a band holding nothing back. It registers a number of changes for the group since their debut LP Permo in 2017: personnel changes, geographical changes, a new context, an ever-changing world outside. The quartet both lost and gained a member, with Cal Donnelly exiting the group, and Rachel Taylor joining. Rachel and Sean Armstrong have relocated, leaving Glasgow for Berlin – Rachel, from Canada, had no choice but to leave the UK, and Sean followed her. “I think if anything the change has brought us closer as a band,” Rachel reflects, “and made it clear to us that we wanted to continue making music together".

                                                                                                                                                                                                                              Throughout Hyacinth, there is joy in spades, but also melancholy, and a checked fury, threading the group’s political vision through their reflections on the personal and the interpersonal. Jack explains that the new songs “are about the need for love in an often very unloving world. Trying to find a balance of some kind between feelings of apathy, negativity, detachment and action, positivity and oneness.” Whilst Mellin’s songs were more pointedly political on Permo, here he has built more complexity into his writing. Elsewhere, Rachel contributes her first song to a Spinning Coin release, in the form of the beautiful “Black Cat”.

                                                                                                                                                                                                                              Hyacinth was recorded during a few days, by Peter Deimel at Black Box Studios in France, while the group were on a summertime tour. It was an idyll, a restorative respite. That carries through to the album, there’s a sense of society and collectivism at the heart of these pop songs, and a commentary on the optimism of the will, no matter how bleak things can get. Ultimately, on Hyacinth, the Spinning Coin ethos stays true to itself, as Sean expands about the experiences and the motivations behind the new music: “It’s trying to connect with other people on a human level, doing something that we love, and trying to embrace the unknown.”

                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                              Coloured LP Info: Deluxe coloured vinyl edition.

                                                                                                                                                                                                                              Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                                              LP includes MP3 Download Code.

                                                                                                                                                                                                                              “If you live long enough, you see a lot of people drift in and out of your life,” says Lee Ranaldo, explaining one of the loose themes linking the adventurous pieces that compose his and collaborator RaülRefree’s electrifying new album: that of the ineffable course of time, and the lives that pass in and out of one’s own.

                                                                                                                                                                                                                              In a remarkable career that has seen him flourish as a songwriter, a singer, a guitarist, a noisemaker, a poet, a visual artist, a producer, and more, Ranaldo has seen many fellow quixotics – from his bandmates in Sonic Youth to this most recent collaboration with RaülRefree, whose restless career had taken him from hard-core bands in his youth, to the vanguard of a new movement redefining flamenco. One of the most renowned producers in southern Europe, his collaboration with Rosalíaon her debut album has shaped both the modern sound of flamenco and her new found stardom.

                                                                                                                                                                                                                              Following their collaborative work on 2017’s Electric Trim which saw Refree in the guise of producer and the subsequent tours supporting that album, they went back into the studio but the duo quickly realised they weren’t recording a new Lee Ranaldo solo album, but rather their first as Lee Ranaldo and Raul Refree – “the beginning of a new partnership, a new configuration’”, Ranaldo says. “We’re a two-headed machine,” adds Refree. “We’re both talking about everything. We don’t always agree on everything, but every song, every piece, every sound you hear comes from two people talking about it.”


                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                              Coloured LP Info: Indies exclusive white vinyl.

                                                                                                                                                                                                                              Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                                              LP includes MP3 Download Code.

                                                                                                                                                                                                                              The Hanging Stars

                                                                                                                                                                                                                              A New Kind Of Sky

                                                                                                                                                                                                                                Carrying on their exploration of transatlantic psychedelic folk and cosmic country, the new Hanging Stars album, 'A New Kind Of Sky' blends twelve-string, harmony-laden lullabies with soft rock anthems to create a guilded box of bucolic folk-rock. As well as the band’s signature wistful pastoral escapism, there are lyrical concerns about the recent past; the systematic division of people, values, facts and humanity in The West in general - and the UK in particular. The band weave the same thread they have always woven but this time with a more unified vision, creating a kaleidoscopic poncho for these times.

                                                                                                                                                                                                                                The Hanging Stars comprise songwriter, singer and guitarist Richard Olson, Sam Ferman on bass, Paulie Cobra on drums, Patrick Ralla on guitars, keys and vocals, and renowned pedal steel player Joe HarveyWhyte. Returning guest Collin Hegna from Brian Jonestown Massacre plays an instrument called a Marxophone on “Choir of Criers”. They also welcome Sean Read of The Rockingbirds and Dexy's Midnight Runners, who adds horns to “Three Rolling Hills” and “I Was A Stone”. The main bulk of the recording for the new album was done live in the studio at Echozoo in Eastbourne with Dave Lynch. For the first time, the band decided to dive straight in to the recording studio following their German tour in 2018.

                                                                                                                                                                                                                                Having lived in each other’s pockets and playing their new songs every night, the band were as tight and primed as they could possibly be. There ensued a few, very long, days of recording, capturing the essence of the band in their element. The songwriting process was even more collaborative for this album, with the usual co-writes between Richard Olson, Sam Ferman and Patrick Ralla enhanced by Joe Harvey-White’s arrangements and Paulie Cobra’s harmonies. The biggest difference is that Sam Ferman sings lead on the first single “‘(I’ve Seen) The Summer in Her Eyes”, a song about lost love and self doubt channeled through two and a half minutes of garage pastoralism. The album’s title track “A New Kind of Sky” tells a story from the point of view of somebody who idealises a past that never existed. The band go glam-rock on the stand-out track “I Will Please You”, a tale of a cult leader/world leader and his irresistible (for some) charm from the point-of-view of his most recent victim and “Heavy Blue” is a country music tale of drunken debauchery seen through the eyes of an inexperienced young man.


                                                                                                                                                                                                                                The triumphant trumpet-driven song “These Rolling Hills” is a minor-key tale of a journey into the hills of Marin County, California undertaken by Paulie and Richard to visit friends Asteroid No. 4, with a most interesting outcome. The Hanging Stars released their debut album Over the Silvery Lake in 2016, which received plaudits from broadsheets such as The Times, who described it as; "An album with enough of a hazy, sun-dappled charm to make the capital's dreariest weather bearable”, as well as The Guardian, who said; “Mersey-laced harmonies and just a whiff of the Gun Club.” They picked up a good amount of support at 6 Music and “The House on the Hill” scored a much-coveted 10/10 by John Robb on Steve Lamacq’s Roundtable.

                                                                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                                                                Barry says: With an equal focus on shimmering 60's psychedelia and more propulsive folk rock harmonies, The Hanging Stars present their newest offering, toeing the line excellently between more meditative folky offerings and a more dynamic, propulsive approach. A brilliant follow up to the already superb 'Songs For somewhere Else'. About time too!

                                                                                                                                                                                                                                Lanterns On The Lake

                                                                                                                                                                                                                                Spook The Herd

                                                                                                                                                                                                                                  It’s strange – not to mention fundamentally disconcerting - to live through turbulent times. Yet as many feel like the world is slipping out of control, artists are enlivened as they seek to make sense of the shifting sands. Hazel Wilde of Lanterns on the Lake is now a songwriter necessarily emboldened. On Spook the Herd, the band’s fourth record, her voice and preoccupations rise to the fore like never before. In tandem, the band break new ground on a set of songs that are direct and crucial.

                                                                                                                                                                                                                                  Wilde does nothing less than dive headlong into the existential crises of our times. Beginning with the record’s title - a pointed comment at the dangerously manipulative tactics of ideologues - its nine songs turn the microscope to issues including our hopelessly polarized politics, social media, addiction, grief and the climate crisis.

                                                                                                                                                                                                                                  The world is brought into focus, but Wilde’s style is not declarative. She also proves herself a songwriter possessed of a rare talent for finding the personal contours to contemporary issues, fully inhabiting them to make them real. Recorded as live where possible, the band’s natural touchstones of gauzy dream-pop and monumental post rock still float in the air, but listening to Lanterns on the Lake now feels like actually sitting in the corner of the room as they play. As guitarist and producer Paul Gregory says of approaching their fourth album, “There was a sense of release in terms of what kind of music we felt we could make. The idea of what kind of band you’re supposed to be really disappeared. It was great; you felt you could do whatever you like.”

                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                  LP Info: 180g black vinyl housed in a gatefold sleeve.

                                                                                                                                                                                                                                  LP includes MP3 Download Code.

                                                                                                                                                                                                                                  Califone

                                                                                                                                                                                                                                  Echo Mine

                                                                                                                                                                                                                                    Echo Mine is Califone’s score to Robyn Mineko Williams’ dance. The movement and the music started together and grew together, like two clear entities. At times totally intertwined and at other times bouncing off one another, sort of like reflections. But, somehow, always connected and listening. Ben Massarella, Brian Deck and I worked in a way that felt like a return to home; Brian handling the engineering, electronics, drums and overall sound of the piece, Ben adding percussion, feel, essential textures and colors. I felt like my job was to hover over all of it like a moth. Find melody in everything. Leave openings for everyone to work at the top of their creativity. We made our album, Roomsound, in much the same way (almost 20 years ago). Three of us in the studio ‘ Be humans. Play together as much as possible. A good feel beats perfection every time. Add other musicians to add other voices and other colors, to do the things we can’t do.

                                                                                                                                                                                                                                    Guided By Voices

                                                                                                                                                                                                                                    Surrender Your Poppy Field

                                                                                                                                                                                                                                      Starting off the year with a 100-song marathon in Los Angeles on New Year’s Eve, Robert Pollard is setting a mighty high bar for Guided By Voices in 2020. Following three acclaimed and stylistically distinct full-length albums in 2019, Surrender Your Poppy Field, is a headspinning tour de force: a bit of everything... plus more! And hands down the most adventurous GBV album ever. There are lo-fi four-track tape recordings, there are songs recorded with a single microphone in a basement, there are big studio fullyproduced hook-laden pop songs, and there is a lot in between. Seemingly, the guiding concept of Surrender Your Poppy Field was to make the songs sound as different from one another as possible: sudden shifts in mood, tempo and rhythm, unexpected chord progressions, false endings and codas, string orchestrations, mysterious voices... It’s an exhilarating and dizzying trip to an inventive world of strange characters: Andre the Hawk, Queen Parking Lot, the Cul-de-Sac Kids, the Hard Hitter, the Steely Dodger, the Stone Cold Moron, A Man Called Physician, A Man Called Blunder... Not content with their usual mastery of the 4 P’s (punk, pop, prog, psych) Professor Pollard pushes the envelope on Poppy Field, and continues to redefine GBV from a myriad of angles. Anyone who thinks that he’s gotten complacent after 104 albums hasn’t been paying attention! Don’t miss out.

                                                                                                                                                                                                                                      "Continuation" is a remarkable work in which the interplay of emotional experience and life motion experienced by band leader Tamar Osborn (AKA Tamar Collocutor) is channeled and explored by Collocutor. The band’s third LP assuredly strides forward following the critical acclaim awarded to "The Search" from 2017 from the likes of The Wire, Vinyl Factory and Gilles Peterson. "Continuation" is an album about coping with grief and loss / bereavement. The music charts the many (and sometimes surprising) emotional states encountered, moving from acknowledgement, trying to keep ‘normal’ life going, the need to sometimes put a pause button on the world / existence and let the waves of feelings crash and roll, sudden anger & confusion, finally to moving (perhaps with uncertainty) forward.

                                                                                                                                                                                                                                      Tamar Osborn has led Collocutor through a line-up shift from septet to quintet for "Continuation". The modified line-up creates space for the musicians to express themselves through the shadows of "Continuation"'s movement. The quintet allows for more group improvisation, based on just a few motifs and thereby giving the musicians more space to converse. The tracks "Lost & Found" and in particular the album’s title track, "Continuation" (the only piece with 3 horns) hark back to the intricate arrangements of "The Search". It’s a deeply personal album, the writing of which acted as Tamar's way of processing and understanding experience and the need to channel feeling. In listening truly "Continuation" bares that rare and precious gift of a morsel of the human experience being illuminated by artistic genius.


                                                                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                                                                      Millie says: Improvisational jazz at it’s best, ‘Continuation’ is a deeply emotive album exploring themes of coping with grief and loss. Instrumental jazz that captures the soul is powerful and revealing.

                                                                                                                                                                                                                                      Peggy Sue

                                                                                                                                                                                                                                      Vices

                                                                                                                                                                                                                                        London-based duo Peggy Sue, made up of Katy Young & Rosa Slade, are back with their new album Vices. It has taken Peggy Sue four years to work through all of their Vices. The London band’s fourth album is their first full-length release since 2014’s Choir Of Echoes. Its ten tracks are bittersweet tales of love and distraction, as simple as they are powerful, and irresistible in their combination of tender harmonies and stark, cautiously optimistic guitars. Vices borrows from the perfectly constructed pop songs of the 1960s, and the understated, noisy anthems of nineties bands like Blur and the Breeders, and it is a self-assured return to the very essence of Peggy Sue

                                                                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                                                                        Coloured LP Info: Indies exclusive white coloured vinyl.

                                                                                                                                                                                                                                        Helicon

                                                                                                                                                                                                                                        This Can Only Lead To Chaos

                                                                                                                                                                                                                                          Glaswegian psychedelic heavyweights Helicon are soon set to release their second album, the aptly- titled ‘This Can Only Lead to Chaos.’  it follows on from their 2017 self-titled debut and a recent three-track ‘Zero Fucks’ EP, released earlier this year. A 9-track effort, it sees the band delve even deeper into their self-confessed “evil psych rock with smatterings of sentient sitar” - coming out of the other end with something more raw and heavy, and far closer to the all-consuming live show that they’ve spent the last decade frying minds with. As angry and acerbic as ever, vocalist and guitarist John-Paul Hughes says of the themes explored on the album: “We are living in unprecedented times.

                                                                                                                                                                                                                                          This age of greed, individualism, fear, ignorance and manipulation of the masses has brought us to the point we are electing predatory liars and con men who bully and discriminate, then wear it as a badge of honour. They encourage and embolden others to follow suit then wash their hands of the consequences like some fucking modern-day Pontius Pilate and his privileged prick pals. We live in a society that denies climate change. We make stupid people famous. The Sun is the best-selling newspaper. Ed Sheeran is named ‘artist of the decade’. There are more food banks than McDonalds in the UK. The whole shit house is going up in flames whilst fuckwits watch Love Island and flick through which filter to apply to their latest selfie.”

                                                                                                                                                                                                                                          As such, JP says the album – made at Glasgow’s Anchor Lane Studio with Luigi Pasquini (The Cosmic Dead, Trembling Bells, Acid Cannibals) – is inspired by “the rejection of mediocrity and mundanity. A shared spirit of rebellion that things can be better and the fucking balls to make it happen.” So, how do Helicon go about sticking a finger to the mediocre? Through a shape-shifting blast of transcendental sitar, oscillating synths, motorik basslines, echo-soaked vocals and huge walls of guitar thick with phaser and fuzz, cranked all the way up to 11. On their new album, Helicon have emerged with a record that sees them at their most forthright and ambitious and–delivered with the kind of wit only five disgruntled Glasweigians could muster–it couldn’t have arrived at a better time

                                                                                                                                                                                                                                          Six Organs Of Admittance

                                                                                                                                                                                                                                          Companion Rises

                                                                                                                                                                                                                                            Six Organs of Admittance is back after 3 years with a new record, new techniques in sound generation, and a new attitude. Companion Rises has a driving force only hinted at with previous releases. Manipulating the rhythmic DNA from songs such as the bass-dominated “Taken by Ascent” (on his last record, Burning the Threshold), Ben Chasny has grown a new sound creature in his lab that is as welcoming as it is terrifying and as fun to listen to as it provocative and intriguing.

                                                                                                                                                                                                                                            Methodologically, Companion Rises sometimes recalls the early-mid low-fi work of Six Organs, with modern techniques swapping digital processes in for the analog techniques of those early days, and algorithmic programs creating the rhythms rather than Ben’s overdubbed hand percussion. Also like those early records, Companion Rises has Ben creating all the sounds, doing all the recording and mixing the entire record himself. But do not mistake this as some sort of return to an older sound. One listen and it is obvious that this Six Organs of Admittance release is all in the present. One thinks of Octavio Paz’s oft used metaphor of the concentric circle, as Companion Rises returns to a similar place but is much farther out from the center.

                                                                                                                                                                                                                                            Sonically, Ben’s songs are bursting with ideas, harmonically rich, gorgeously arranged; often presenting two versions at once, overlaying electric and acoustic treatments that interlock like two shards that form a single key. Companion Rises plays like a mutant joining of avant and