MAGIC MIX

STAFF PICKS

PRESALES

Here's this week's 'staff picked' selection of forthcoming releases including oodles of limited editions, indie shops exclusives and coloured vinyl!!

For our latest all-genre presales click here

Seahawks

Eyes Of The Moon - Piccadilly Exclusive Violet Coloured Vinyl

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

    FORMAT INFORMATION

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

    Aldous Harding

    Designer

      Aldous Harding releases her third album, Designer. Designer finds the New Zealander hitting her creative stride. After the sleeper success of the internationally lauded Party, Harding came off a 100-date tour last summer and went straight into the studio with a collection of songs written on the road.

      Reuniting with John Parish, producer of Party, Harding spent 15 days recording and 10 days mixing at Rockfield Studios, Monmouth and Bristol’s J&J Studio and Playpen. From the bold strokes of opening track ‘Fixture Picture’, there is an overriding sense of an artist confident in their work, with contributions from Huw Evans (H. Hawkline), Stephen Black (Sweet Baboo), drummer Gwion Llewelyn and violinist Clare Mactaggart broadening and complimenting Harding’s rich and timeless songwriting.

      FORMAT INFORMATION

      Coloured LP Info: Limited gold vinyl, one pressing only, indies only.

      Coloured LP includes MP3 Download Code.

      LP includes MP3 Download Code.

      W.H. Lung

      Incidental Music

        W. H. Lung’s arrival at their debut album has been less conventional than most. A trait shared with the music they make, which weaves between shimmering synth pop and the infectious grooves of 70’s Berlin. The band never had any intention of playing live when forming, aiming instead to be a primarily studio-based project.

        That approach was challenged when they released their debut 10” ('Inspiration!/Nothing Is') in 2017, which meant that they were quickly in demand. Booking requests started to flood in and W. H. Lung found themselves cutting their teeth on festival stages that summer. Though whilst some new bands may have let that interest change the course of the project, W. H. Lung stayed true to their original reticence and worked mainly as a studio band with their formidable live shows kept sporadic.

        W. H. Lung have allowed this album to naturally gestate over the course of two years . The result is a remarkably considered debut - the production is crisp and pristine but not over-polished, the synths and electronics radiate and hum with a golden aura and the vocals weave between tender delivery and forceful eruptions. There is a palpable energy to the songs, as experienced in 10 glorious minutes of opening statement 'Simpatico People'.
        “I think it’s important to erase the distinction between ‘high’ and ‘low’ culture,” states Joseph E. This colliding of worlds not only exists in the potent mix between whip-smart arrangements, lyrics and seamlessly danceable music but also in the fact that they are named after a cash and carry in Manchester. As Tom P. explains, “I thought it was funny juxtaposing those kind of austere associations with W. H. Auden and other initialed poets, writers, artists, etc. with the fact that it’s really just a Chinese supermarket.”


        FORMAT INFORMATION

        2xDinked Edition LP Info: 180g Double LP in Gatefold Jacket.
        Pressed on Bone coloured vinyl.
        Includes an exclusive 260gsm Art Print.
        Printed On The Rough Side of 350gsm Card.
        Limited to just 400 copies.
        Includes Download Code.
        Hand Signed and Numbered By The Band.

        2xDinked Edition LP includes MP3 Download Code.

        2xLP Info: Black 180g double LP in gatefold jacket.

        2xLP includes MP3 Download Code.

        CD Info: CD In Card Wallet.

        Fontaines D.C.

        Fontaines D.C.



          FORMAT INFORMATION

          Coloured LP Info: Transparent yellow vinyl.

          Flamingods

          Levitation

            International psych explorers Flamingods are back with brand new album ‘Levitation’ coming out on via Moshi Moshi Records.

            Inspired largely by the disco, funk and psychedelic sounds coming out of the Middle East and South Asia in the 70s, the album channels these influences through a vision soaked in mysticism, positivity and sun-drenched imagery.

            During the process of writing and recording ‘Levitation’, Flamingods for the first time in four years found themselves living in the same continent, it’s this new unified feel that defines the confident and eclectic sound of the album.

            ‘Levitation’ is the follow-up to Flamingods’ breakthrough 2016 album ‘Majesty’ and follows their ‘Kewali’ EP release for Moshi Moshi in 2017 and a one-off release with Dan Carey for his Speedy Wunderground singles club. During this time they’ve performed live sessions at 6Music (with Gilles Peterson & Lauren Laverne), KEXP, Boiler Room and have been travelling the globe spreading their exotic psychedelia to the masses and getting people dancing from Austin to Amsterdam. 


            FORMAT INFORMATION

            Dinked Edition LP Info: Exclusive glitter gold vinyl.
            Exclusive Embossed sleeve.
            Signed & numbered 12 x 12 art print.
            Very limited 400 pressing.

            Karen O & Danger Mouse

            Lux Prima

              Icons Karen O and Danger Mouse unveil their debut recording as a duo, “Lux Prima,”. The song is the first to be released from a forthcoming joint album.

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


              FORMAT INFORMATION

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

              Coloured LP includes MP3 Download Code.

              LP includes MP3 Download Code.

              Brian Jonestown Massacre

              Brian Jonestown Massacre

                Brian Jonestown Massacre burst into 2019 with the release of their 18th full-length album, just 7 months after their last one. The self-titled 9-track album is released on Anton Newcombe’s A Recordings on 15th March 2019. It was recorded and produced at Anton’s Cobra Studio in Berlin.

                The album was originally going to be released in September, but due to a hugely successful global tour – taking in USA, Canada, Australia, New Zealand and Europe the release was delayed.

                Recorded this time last year, the album features Sara Neidorf on drums, Heike Marie Radeker (LeVent) on bass, Hakon Adalsteinsson (BJM / Third Sound & Gunman & Holy Ghost) on guitar and Anton Newcombe on multiple instruments. Also making a guest vocal appearance on ‘Tombes Oubliées’ is Rike Bienert who has sung on previous BJM albums. The band performed songs from the album throughout the European leg of the 2018 tour.


                STAFF COMMENTS

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

                FORMAT INFORMATION

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

                Foals

                Everything Not Saved Will Be Lost Part 1

                  From playing chaotic house parties in their home city of Oxford to becoming major festival headliners across Europe, Foals’ trajectory has been remarkable. They’ve earned critical acclaim (NME and Q Award wins, plus Mercury Prize, Ivor Novello and BRIT Award nominations) and fan devotion (1.7 million sales of their four Gold-certified albums) in equal measure. And while the majority of contemporaries have fallen by the wayside, Foals continue to hit new peaks.

                  After more than a decade in the game, Foals again embrace that love for the unconventional with the bravest and most ambitious project of their career: not one, but two astonishing new albums: ‘Everything Not Saved Will Be Lost’. A pair of releases, separate but related, they share a title, themes and artwork. ‘Part 1’ will be released on March 8th, with ‘Part 2’ following later in the year.

                  “They’re two halves of the same locket,” frontman Yannis Philippakis explains. “They can be listened to and appreciated individually, but fundamentally, they are companion pieces.”

                  Fundamentally tethered but possessing their own personalities, the two bodies capture the most compelling, ambitious and cohesive creations they’ve ever produced. Eager to break the traditional pop song structure which they felt they were becoming increasingly tapered to, the 20 tracks defy expectation. There are exploratory, progressive-tinged tracks alongside atmospheric segues which make the music an experience rather than a mere collection of songs. Yet the band’s renowned ability to wield relentless grooves with striking power and skyscraper hooks also reaches new heights.

                  The album’s lead single ‘Exits’ is a case in point, featuring Philippakis conjuring the image of a disorienting world via a contagious vocal melody. It’s a fresh anthem for Foals’ formidable arsenal, but also an ominous forecast.

                  “There's a definite idea about the world being no longer habitable in the way that it was,” says Yannis. “A kind of perilousness lack of predictability and a feeling of being overwhelmed by the magnitudes of the problems we face. What's the response? And what’s the purpose of any response that one individual can have?”

                  ‘Exits’ signposts what to expect thematically from both instalments of ‘Everything Not Saved Will Be Lost’. The title is a warning that anything – from the tiniest fleeting moment of inspiration through to the planet’s own biological diversity – can be under threat of being irrevocably erased.

                  It’s a theme that permeates throughout the album’s material, as Foal mirror the public neuroses that have been provoked by our current cultural climate. Paranoia of state surveillance? Fear of environmental collapse? Anxiety over Trump’s next potentially cataclysmic move? It’s all there in these apocalyptic songs.

                  “Lyrically, there are resonances with what's going on in the world at the moment,” summarises Yannis. “I just feel like, what’s the utility of being a musician these days, if you can’t engage with at least some of this stuff? These songs are white flags, or they’re SOSs, or they’re cries for help… each in a different way.”
                  The new albums’ journeys began as the ‘What Went Down’ era ended. Founding bassist Walter Gervers departed on amicable terms after playing the Festival Paredes de Coura in Portugal in August 2017. Foals felt that he couldn’t be replaced – a decision that ushered in a period of recalibration, reorganisation and, ultimately, rejuvenation.

                  After taking a little time out, Foals – completed by Jimmy Smith (guitar), Jack Bevan (drums) and Edwin Congreave (keys) reconvened – with Yannis on production duties, who, together with Edwin, also covered the bass parts. They began by writing in a rehearsal space before exporting those sketches into the recording phase at 123 Studios, Peckham, with the assistance of engineer Brett Shaw. They’d repeat the cycle between the two spaces, effectively creating an ongoing feedback loop as they sought to push every new idea to the finish line.


                  FORMAT INFORMATION

                  LP Info: black vinyl 180 gram and gatefold sleeve.

                  The Chemical Brothers

                  No Geography

                    No Geography features the previously released tracks Free Yourself and MAH (“a short & bloody ride into our modern media psychosis” The Guardian) and the forthcoming single Got To Keep On. Several of the tracks on No Geography feature vocals by Norwegian singer/songwriter Aurora who wrote and recorded parts in the band’s studio in close collaboration with the band. Japanese rapper Nene features on Eve of Destruction.

                    No Geography is the follow up to 2015’s Grammy nominated album Born In The Echoes (their sixth consecutive UK No 1 album).

                    FORMAT INFORMATION

                    2xLP Info: Double black heavyweight vinyl, wide spined sleeve, printed inners.

                    CD Info: Mintpack with 16 page booklet.

                    Sleaford Mods

                    Eton Alive

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


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

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

                      FORMAT INFORMATION

                      Coloured LP Info: Indies Only Blue Vinyl.

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

                      The Cinematic Orchestra

                      To Believe

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

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

                        FORMAT INFORMATION

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

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

                        Snapped Ankles

                        Stunning Luxury

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

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

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


                          FORMAT INFORMATION

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

                          Vinyl comes with CD version of the album enclosed.

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

                          Vinyl comes with CD version of the album enclosed.

                          LP Info: Black vinyl edition.

                          Vinyl comes with CD version of the album enclosed.

                          Rozi Plain

                          What A Boost

                            Rozi Plain announces her new album ‘What a Boost’, released on new label home Memphis Industries. The ten track album was self-produced with the help of a long list of musical friends including Kate Stables, Jamie Whitby Coles, Neil Smith (all This is the Kit), Chris Cohen, Joel Wästberg (Sir Was) and Sam Amidon.

                            Rozi Plain has been making music since her brother taught her a few chords on the guitar aged 13. Raised in Winchester, she spent a few years studying art and painting boats in Bristol, where she began collaborating with long-term friends Kate Stables (This Is The Kit) and Rachael Dadd among many others on a thriving local scene. It was there that Rozi made her first two albums, 2008’s Inside Over Here and 2012’s Joined Sometimes Unjoined, each works of deliciously sad and beautiful pop full of heart-wrenching harmonies dotted with unexpected instrumental flourishes. Released in April 2015 on Lost Map and featuring contributions from Hot Chip’s Alexis Taylor among others her last album Friend was a deeply meaningful and wonderfully measured ode to memory, place, companionship and music’s remarkable power as an emotional salve. A companion album of remixes, unreleased tracks and radio sessions, Friend Of A Friend, was released in 2016.


                            FORMAT INFORMATION

                            Dinked Edition LP Info: Glow in the dark vinyl (same colour as indies-only version).
                            Exclusive alternate glow in the dark screen-printed cover.
                            Numbered.
                            Signed.
                            Very limited 300 pressing.

                            Dinked Edition LP includes MP3 Download Code.

                            Coloured LP Info: Glow in the dark vinyl.

                            Coloured LP includes MP3 Download Code.

                            LP includes MP3 Download Code.

                            Pip Blom

                            Boat

                              Something special happened to Pip Blom at the tail end of last year. It was a busy twelve months that saw the release of her frenetic EP ‘Paycheck’, two A-Listed singles at 6 Music and support slots to the likes of The Breeders, Franz Ferdinand and Garbage. Capping that off, though, moments before stepping onstage at a sold out Lexington – the London stop-off on her debut UK headline tour – the band put pen to paper and signed to Heavenly Recordings.

                              Now, Pip announces her first release for the label – her debut album ‘Boat’, out 31st May 2019.

                              Signing to Heavenly was another item crossed off Pip’s to-do list, fulfilment of one of the things she dreamed of since first picking up a guitar and the culmination of a storming 2018 that propelled Pip Blom as one of the year’s most exciting rising guitar bands.

                              Growing up intensely shy, it was an uncharacteristic plunge into the limelight during her teens that first kicked off Pip Blom’s musical passage: in the form of answering an advertisement for a songwriting competition.

                              Pip earnestly set about writing songs on a Loog guitar, a three-stringed children’s line of the instrument that aids learning, cultivating a 20-minute set and performing for the first time in front of an audience - eventually reaching the semi-finals of said competition. As you have gathered, the story didn’t end there and failing to win was anything but a deterrent.

                              Neither was struggling to find band members post-competition. Pip simply ploughed on as she always has, finding a way to make things work with the resources around her. Programming drums on a computer and writing and recording both bass and guitar parts, Pip decided to start self-releasing songs on the internet and it didn’t take long for people to start taking notice.

                              Today, that same plucky, head-on attitude characterises everything she does and it’s an absolute joy to behold - whether that’s witnessing her band’s powerfully impressive live show or listening to her honest, heart-on-sleeve approach to writing songs on record.

                              And ‘Boat’ is emblematic of that – an open book of Pip Blom, delivered via her undeniable knack for writing a hook-laden, 3-4 minute song; planting it in your head and making it stay there looping days after first hearing it.

                              There’s the kinetic combination of guitars from herself and brother Tender Blom, the effortlessly captivating vocal range which can be authoritative and intent like in the driving album opener ‘Daddy Issues’, or soothing and warm as heard in melodic middle track ‘Bedhead’. Then there are the choruses that seem to stop songs in their tracks and lift them into a different stratosphere.

                              The album’s earworm quality is something that has been connecting across the waters from her home country of the Netherlands, aside from the aforementioned 6 Music playlists, landing an impressive amount of spins across US college radio and a spot on the coveted Triple J playlist in Australia.

                              Listening through, it’s not hard to understand why. The album is wrapped up in a certain energy that, while evident the band put everything into recording it, would indicate they had a blast doing so – its infectious and, most importantly, wholeheartedly believable.

                              Dave McCracken bottled up that energy while overseeing the recording at Big Jelly studios in Margate, with the album then mixed by Dillip Harris in a shipping container on the banks of the Thames in East London. Its result is ten songs that, alluding to the album’s title, ferry you through Pip’s headspace via expertly crafted songs gelled together through their unassuming depth.

                              Pip Blom are: Pip Blom (vocals, guitar), Tender Blom (vocals, guitar), Darek Mercks (bass), Gini Cameron (drums)

                              Ibibio Sound Machine

                              Doko Mien

                                Eno Williams, frontwoman of Ibibio Sound Machine, uses both English and the Nigerian language from which her band’s name is derived for the dazzling new album Doko Mien. Long lauded for jubilant, explosive live shows, Ibibio Sound Machine fully capture that energy on Doko Mien, the followup to their Merge debut Uyai. In a glowing piece in the New York Times, those songs were praised for following “in the tradition of much African music, [making] themselves the conscience of a community.”

                                By pulsing the mystic shapes of Williams’ lines through further inventive, glittering collages of genre, Ibibio Sound Machine crack apart the horizon separating cultures, between nature and technology, between joy and pain, between tradition and future. That propensity for duality and paradox seems common in people whose lives span continents. Williams was born in the UK, but grew up in Nigeria, always steeped in her family heritage. She obsessed over West African electronic music, highlife, and the like, but was equally empowered by Western genres such as post-punk, disco, and funk.

                                The London octet have enveloped themselves in that maximalist quilt proudly since their 2013 formation. Though it can often bring with it news of stress and uncertainty, the modern world further brings all these disparate traditions into connection. “Everyone has everything now,” says multi-instrumentalist Max Grunhard. “Everyone has immediate access to every genre, picking things up from everywhere—like magpies.” And while they haven’t suddenly left their African roots behind, Doko Mien does find increased representation of English lyrics in the ratio. By sharing more directly with more universal lyrics, the record feels more anthemic, reaching for grander heights. “We wanted to give people a reason to sing along, to find their soundtrack every day,” Williams says. “We wanted everyone to feel as if they’re part of the music as well.” Late album highlight “Guess We Found a Way” addresses the change with a coy smile. “Guess we found a way to speak to you/ Guess we found a way to say what’s true/ To say what’s real,” Williams coos over glistening chains of reverberant synth and diamond dust percussion, before returning to Ibibio in the chorus. Perhaps the best example of the group’s ability to convey meaning across language and tradition, to blend past and future into a singular present comes on “She Work Very Hard”.

                                The traditional Ibibio folk tale bobs over the waves of tuned percussion, chunky synth, and pinprick highlife-esque guitar, while Jose Joyette’s drums and Derrick McIntyre’s bass funk groove bring everyone to the dance floor. “These stories won’t be forgotten. Feel the music: it speaks to everybody,” Williams says. “We can travel back in time together, while convening on a futuristic, present tense. We hope that we can give people that reason to wake up, that one song to sing and dance and be happy.” Doko Mien: Tell me everything. On their new album, Ibibio Sound Machine provide the perfect companion, ready to digest as much as possible and then further unfurl beauty and hope. They remember and honor the past and charge forward toward the future, all while intensely expanding the present.

                                FORMAT INFORMATION

                                Coloured LP Info: Limited LP is matte & gloss gatefold + white vinyl (1500 only worldwide), this is for Indie stores only.

                                LP includes MP3 Download Code.

                                These New Puritans

                                Inside The Rose

                                  These New Puritans, the great heretics of British music, return with Into The Fire, their first new studio recording since 2013’s critically acclaimed album Field of Reeds.

                                  The Into The Fire artwork is a collaboration between George Barnett and the award winning photographer and director Harley Weir.

                                  Jenny Lewis

                                  On The Line

                                    Jenny Lewis returns with her fourth solo album, On The Line - the follow up to 2014’s critically acclaimed The Voyager.

                                    The 11 all new original songs were written by Lewis and recorded at Capitol Records’ Studio B, and feature a backing band of legendary talent including Beck, Benmont Tench, Don Was, Jim Keltner, Ringo Starr and Ryan Adams. 


                                    FORMAT INFORMATION

                                    Coloured LP Info: Indie Exclusive Blue Vinyl.

                                    David Bowie

                                    Spying Through A Keyhole

                                      With 2019 marking 50 years since David Bowie’s first hit, Space Oddity, Parlophone is set to release a 7" vinyl singles box set of nine previously unreleased recordings* from the era during which Space Oddity was first conceived.

                                      The title ‘Spying Through A Keyhole’ is a lyric taken from the previously unknown song, Love All Around, and though most of the other titles are known, these versions have never been officially released until late last year. Most of the recordings are solo vocal and acoustic home demo performances, unless otherwise stated.

                                      The design of each single label is presented to reflect the way David sent many of his demos to publishers and record companies, featuring his own handwritten song titles on EMIDISC acetate labels. The singles themselves are all mono and play at 45 r.p.m.

                                      Due to the nature of some of the solo home demos where Bowie accompanied himself on acoustic guitar, the recording quality isn’t always of a usual studio fidelity. This is partly due to David’s enthusiastic strumming hitting the red on a couple of the tracks, along with the limitations of the original recording equipment and tape degradation. However, the historical importance of these songs and the fact that the selections are from an archive of tracks cleared for release by Bowie, overrides this shortcoming.

                                      Pond

                                      Tasmania

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

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


                                        Royal Trux

                                        White Stuff

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

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

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

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

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

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


                                          FORMAT INFORMATION

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

                                          Lucy Rose

                                          No Words Left

                                            No Words Left was recorded in Brighton, produced by Tim Bidwell and mixed by Cenzo Townsend.

                                            We last heard from Lucy Rose with the release of 2017’s Something’s Changing, a record that heralded a new outlook for the musician who was re-evaluating what she wanted to do and how she wanted to do it.

                                            If Something’s Changing was an artist rediscovering their voice, No Words Left is Lucy using that voice to devastatingly frank effect. Lyrically and musically fearless, this record is a beautifully intense, but often unsettling listen. It’s a body of work, a fine modern example of the enduring strength of the album format.

                                            Describing the record and its process, Lucy explains:

                                            “Releasing this record feels entirely different to every other record I’ve released. But to try and sum up my emotions is virtually impossible.

                                            “I don’t believe this the best album I’ve ever made because I don’t believe in making comparisons when it comes to music. But it’s different.

                                            “In every way I’ve approached writing, recording and now releasing music, it’s been different. I’ve lost all consciousness in caring and it’s been liberating. It is what it is. It’s a feeling, it’s a song, it’s a sound, it’s a part of me which I can’t decipher whether it’s good or bad, but it’s sincere. I recently learnt that the word sincere is derived from the Latin sine = without, cera = wax due to dishonest sculptors in Rome or Greece covering flaws in their work with wax to deceive the viewer. So, a sculpture "without wax" would mean honesty in its perfection.

                                            “That really struck a chord with me as sincerity really is the key to this record. It’s my truth. Sincerity is the truth of a person, not just the good but the bad: the flaws, the realness, which can never be ‘perfect’. This album reflects the reality of my life, the toughness life throws at you, and for a period of time it did become too much for me to handle alone.

                                            “I could try to explain more about each song but in all honesty, I can’t particularly remember writing them, the feeling being too strong and too big for me to comprehend. But songs came out and through writing them and working through my thoughts I saw the truth lying in front of me and a way to move forward.

                                            “I always hope my music would be a comfort to someone, however this record may not be the easiest listen. But it’s in its discomfort I believe a different form of comfort can be found. I’m certain of it. “


                                            FORMAT INFORMATION

                                            Coloured LP Info: White vinyl, plain white poly bag, 24” x 12” poster insert, shrink, sticker.

                                            Lily & Madeleine

                                            Canterbury Girls

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

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

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

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

                                              FORMAT INFORMATION

                                              Coloured LP Info: Indies exclusive marble vinyl.

                                              James Yorkston

                                              The Route To The Harmonium

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

                                                Alongside the announcement, James has shared new song ‘My Mouth Ain’t No Bible’ - one of three thrilling spoken-word pieces on the record. It thrums insistently, military snares punching away, Yorkston’s delivery interplaying as two competing voices, one of himself, the other a lost musician friend, “a spare hand, a hired hand, a deck hand” who was unable to prevent self-destruction.

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

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

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

                                                FORMAT INFORMATION

                                                Coloured LP Info: Green vinyl.

                                                Lambchop

                                                This (Is What I Wanted To Tell You)

                                                  With ’This (Is What I Wanted To Tell You)’ Lambchop Continue To Establish Themselves As Forerunners And Innovators Of What Was Once Called Alt Country. Their Sound Has Morphed To Encompass Multiple Genres, Blending Folk Songwriting With The Tones Of Urban Soul.

                                                  Following On From The Pioneering Sounds Of ‘Flotus' (2017), ’This (Is What I Wanted To Tell You)’ Showcases Lambchop At A New Peak In Their Career, Whilst Still Retaining The Ingredients Of Their Classic Albums. ’This’ Is Brimming With Ideas, Songs And Hooks. A Huge Influence On The New Direction Is Matthew McCaughan (of Bon Iver And Hiss Golden Messenger), Who Produced And Co-wrote Large Parts Of The Album With Kurt Wagner (Lambchop Frontman) Over A Period Of Two Years.

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Indies exclusive white vinyl.

                                                  Stealing Sheep

                                                  Big Wows

                                                    Big Wows is heavier, harder and weirder than Stealing Sheep’s previous work. Bold neon pop songs with rave percussion, steelpans, dreamy segues and breathy experiments. The *fsszzt* sound of lemonade opens the album with a hyper-real sense of optimism that progressively reveals the cracks of dystopian irony amidst sugar–coated pop; held together by Emily Lansley’s bass guitar, Luciana Mercer’s drum kit, Rebecca Hawley’s synths, and the trio’s swooning steely vocal harmonies.

                                                    Stealing Sheep describe Big Wows as “a slow rush”; taking shape over a period of nearly three years spent working out exactly what they wanted it to be and creating an album that levitated their identities as individuals as well as merging them into one unit “We’re each finding our own creative intuition,” says Bex “..and then we come together...and we back each other up" adds Lucy.

                                                    Just as the title suggests, Big Wows is both cynical and optimistic: dreaminess and pop dance rhythms are cut With eye rolling vocal styles inflected by heartfelt lyrical messages “We hit upon this conversational-style between the vocals and have alternating lead melodies. There's a sarcastic tone to some of the music but there is always a strong wilfulness to incorporate honest integrity, which is hard to do but refreshing when it finally comes out.”

                                                    Side one opens with a burst of shimmery synths as ‘Show Love’ and ‘Back in Time’ lead you heart first into the headier feels of ‘Jokin' Me’ and upbeat bounce of 'Why haven't I?' following into the more progressive grooves for ‘Girl’ then fading out with the narcoleptic comforts of ‘Just Dreaming’. Side two digs deeper into a dreamworld, with the manias and hallucinations of ‘Breathe’ and ‘True Colours’ as well as the gorgeous disillusionment of the title track and ending with an unexpected tropical club banger ‘Choose Like You’.

                                                    Running through the whole record is a response to living in a tech era: “We wanted sounds to represent TVs, computers and everyday glitches” says Bex “We started to have this feeling that life is like a game and how you can malfunction when you're blasted with too much information…” As well as composing with traditional instrumentation they also started songs solely on the computer; sequencing, building sounds, drum machines and responding to that non-emotional binary world. “The big challenge,” continues Bex “is making machines sound organic, emotional, finding their flaws. That’s why Delia Derbyshire is so important to us. All the effects that she uses serve to humanise the machines.”

                                                    Since the release of their last album, 2015’s surreal and fantastical ‘Not Real’, they’ve been in demand as multidisciplinary public artists as well as musicians – on projects including Wow Machine, which brings to life another more conceptual strand of ‘Big Wows’; in a mechanical light up stage with dancers and live music. This summer they also performed at UK festivals with a 15 strong all-female procession to celebrate the centenary of Suffrage. “Being female has become more of a theme in our work” the band say. “It's obviously always been there but now we're playing with it more conceptually and thinking about empowerment"

                                                    This greater confidence and rock-solid aesthetic mean that Stealing Sheep can take greater risks and reap more wonderful rewards. They have a broad range of influences – St Vincent, Michael Jackson, The Knife, Kraftwerk, Drake, Little Dragon - but they remain so resolutely and richly themselves. “We try new things out and we get more confident about what we like.” says Bex. "There’s a really good thing Grayson Perry says about developing your creative intuition. You get to a level as an artist where you know on a gut level what you like and what you don’t like. It takes a long time to feel comfortable in that place, to know your palette, to know you like these drum sounds or whatever it is.”

                                                    Lucy is working with a full drum kit now instead of just toms, Emily is playing bass guitar, Bex is making her own synth patches and they’re all using new equipment: they are developing and experimenting and moving forward together. “We wanted the machine sounds to be juxtaposed against a full kit and bass guitar, which we tracked live to feel intentionally loose in places. We like the idea of placing robotic tech next to real life energy.”

                                                    The songs began at home or in their studio at Liverpool’s Invisible Wind Factory, laying down the main body of the tracks, then the band worked with various producers – including Marta Salogni (Bjork, MIA, Factory Floor), Andy Smith (Years & Years), Ash Workman (Christine & The Queens, Metronomy) and Joe Wills (video artist for Little Dragon) – as they’ve tried out different mixes and ideas to convey their messages. They also teamed up with 8bit video artist Pastle Castle (Emily Garner) from Leeds, who created a Karaoke video series for the whole album; exploring Stealing Sheep's digital dimension and their shifting identities amidst changing cultural moods and millennial paraphernalia. "It's a crazy time and it's challenging navigating through it, but it's like 'whatever' bring on the BIG WOWS.’


                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Splatter disc with mirri-board sleeve (first pressing edition only).

                                                    E.B. The Younger

                                                    To Each His Own

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


                                                      Stella Donnelly

                                                      Beware Of The Dogs

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

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

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Opaque olive vinyl.

                                                        White Denim

                                                        Side Effects

                                                          Less than a year after their last album Performance, the ever-prolific White Denim are back with their eighth record Side Effects. More in line with the experimental, freewheeling spirit of their fan-favorite record Last Day of Summer than anything else they’ve done since, Side Effects is a record that captures the essence of the band’s full-throttle live shows. Featuring a rotating cast of band members led by James Petralli and Steve Terebecki, these tracks draw on the sounds of different personnel to create a cohesive whole – the result being an album that’s as varied and vivacious as anything they’ve ever done.

                                                          If you’re coming back to White Denim after a few years away, Side Effects most likely picks up exactly where you left off: a record showcasing a hugely energetic band bursting at the seams. And if you never checked out, then Side Effects is instead a wholly rewarding record – one that celebrates every form of White Denim to date and sets the stage for a brand-new chapter.

                                                          Better Oblivion Community Center

                                                          Better Oblivion Community Center

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

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

                                                            Beth Gibbons And The Polish National Radio Symphony Orchestra

                                                            Henryk Górecki: Symphony No. 3 (Symphony Of Sorrowful Songs)

                                                              Domino is extremely proud to present Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs) performed by Beth Gibbons and the Polish National Radio Symphony Orchestra, conducted by Krzysztof Penderecki. 

                                                              The performance took place at The National Opera Grand Theatre in Warsaw on November 29th 2014, and was part of an evening of programming that also featured Jonny Greenwood's (Radiohead) 48 Responses To Polymorphia and the world premiere of Bryce Dessner's (The National) Réponse Lutosławski.

                                                              Following an invitation to collaborate at the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the original text (and the emotional weight it carries) without speaking the mother language. Typical to Beth though - the elusive yet iconic frontwoman of one of the most important British bands of the last two decades - the challenge was met and exceeded. Her performance alongside the maestro Penderecki has been hailed as triumphant, as you can see and hear on this release.

                                                              The film, was produced by the National Audiovisual Institute, Poland and directed by Michał Merczyński.

                                                              FORMAT INFORMATION

                                                              Indies Exclusive LP Info: Deluxe tip-on gatefold sleeve with mounted 16pp booklet insert and bonus DVD featuring concert film.

                                                              LP Info: Heavyweight black vinyl with 12x12” booklet insert.

                                                              Deluxe CD Info: Deluxe tip-on case-bound CD pack with 28 page booklet and bonus DVD featuring concert film.

                                                              New Order

                                                              Movement - Definitive Edition

                                                                Out of the ashes of Joy Division, the remaining members decided to carry on recording under the name of New Order. The band’s debut album Movement recorded between 24th April to the 4th May 1981 at Strawberry in Stockport and featuring all new material, produced by Martin Hannett was released in 11th November 1981 on Factory Records.

                                                                The Movement boxed set will include the vinyl LP with its original iconic sleeve designed by Peter Saville, original album CD in replica mini album sleeve, a bonus CD of previously unreleased tracks, DVD of live shows and TV appearances plus hard backed book all housed in a lift off lid box.

                                                                The vinyl LP of the original album is cut on 180g and features the 2015 remastered audio, presented in a replica of the original sleeve.

                                                                The second CD includes 18 completely unreleased tracks made from Demos, Sessions, Rehearsal Recordings and an Alternative 7” version of Temptation

                                                                Accompanying the set is a 48page hard back book which features photos and an essay.

                                                                FORMAT INFORMATION

                                                                FREE SHIPPING This item has FREE UK shipping!

                                                                New Order

                                                                Ceremony : Version 1 - Remastered Edition

                                                                  Recorded at Eastern Artists Recordings in East Orange, New Jersey, during the US visit the previous September, New Order’s first single might, in an alternative universe, have Joy Division’s next. The 12” single, originally released in March 1981 (the 7” having been released in January) including the original version of ‘Ceremony’, will feature remastered audio on heavyweight vinyl.

                                                                  New Order

                                                                  Ceremony : Version 2 - Remastered Edition

                                                                    The alternative, re-recorded version of ‘Ceremony’ now also featuring Gillian Gilbert in the band was released later in 1981 and will feature the later alternative ‘cream’ sleeve rather than the original green and copper. This 12” will feature remastered audio on heavyweight vinyl.

                                                                    New Order

                                                                    Everything's Gone Green - Remastered Edition

                                                                      Originally released on Factory Benelux in December 1981, this 12” featured Everythings Gone Green, which had previously been on the reverse of the band’s second 7” single ‘Procession’ in September 1981,and ‘Cries And Whispers’ and ‘Mesh’ whose titles were flipped on the cover causing confusion amongst fans and compilers ever since. This 12” will feature remastered audio on heavyweight vinyl.

                                                                      New Order

                                                                      Temptation - Remastered Edition

                                                                        Featuring the full versions of both tracks this 12” was first release in May 1982 and were the first self-produced released recordings. With ‘Temptation’ being a cast iron New Order classic, this is an essential part of any New Order collection. This 12” will feature remastered audio on heavyweight vinyl.

                                                                        Soak

                                                                        Grim Town

                                                                          SOAK returns after 4 years with a new album, bringing with her 4 years worth of growth, introspection and understanding. The result is Grim Town, the follow-up to her Mercury Music Prize-nominated debut Before We Forgot How To Dream, which saw her win the prestigious Choice Music Prize for Album of the Year, the Northern Irish Music Prize, and the European Border Breaker Award, in addition to being shortlisted for a Q Award.

                                                                          Her astonishingly assured, emotionally mature songwriting was often hailed as wise beyond its years; but, as her new album often asks, when do we ever truly shake off those childlike fears, the imposter-syndrome, the outsider-status? The term ‘to come of age’ lands with so much expectation, but with Grim Town, Bridie dissolves all such assuredness with imaginative, ambitious, and cathartic results. It is almost as though the greater soundscape - heavier in places, more pop-focused in others - has given SOAK the confidence to put her long overdue introspections in the firing line. It’s beauty and brutality is there from the album open opener, ‘Get Set Go Kid’ which traces the train-tracks out of depression (“I’ve got to get out, I can’t live here anymore!”) and was as inspired by the audio-visual environmentalism of Pink Floyd’s ‘The Wall’ as Bridie’s train-obsessed grandad on voiceover duties.

                                                                          FORMAT INFORMATION

                                                                          2xIndies Exclusive LP Info: Comes with bonus 7".

                                                                          Stephen Malkmus

                                                                          Groove Denied

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

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

                                                                            Fat White Family

                                                                            Serfs Up!

                                                                              Serfs Up! is Fat White Family’s third album and their first for new label Domino. Released on Friday 19th April 2019 it marks the most gratifying and unexpected creative volte face in recent musical history.

                                                                              The band have today shared the first track to be taken from the album, Feet, a triumphant return which perfectly heralds the overwhelming musical scope and ambition of the album.

                                                                              Having released their second album, Songs For Our Mothers in January 2016, core-members Lias and Nathan Saoudi relocated to Sheffield and set about writing the album. Joined by co-conspirator Saul Adamczewski and recorded at their own Champzone studios in the Attercliffe area of the city, Serfs Up! was finished in late autumn 2018 with the help of long-time collaborator, Liam D. May and features a guest appearance from Baxter Dury on Tastes Good With The Money.

                                                                              Serfs Up! is a lush and masterful work, lascivious and personal. Tropical, sympathetic and monumental. It invites the listener in rather than repel them through wilful abrasion. Fat White Family have broken previous default patterns of behaviour, and as such their third album heralds a new day dawning.

                                                                              Gregorian chants, jackboot glam beats, string flourishes, sophisticated and lush cocktail exotica, electro funk and the twin spirits of Alan Vega and Afrika Bambaataa punctuate the record at various junctures, while the dramatic production of Feet is as immaculately-rendered as ‘Hounds of Love’-era Kate Bush. The dirt is still there of course, but scrape it away and you’ll find a purring engine, gleaming chrome.

                                                                              Echoing within the arrangements throughout are traces of blissed-out 60s Tropicalia, Velvets/Bowie sleaze-making and star-gazing, 80s digital dancehall, David Axelrod-style easy listening, joyous Pet Shop Boys synth crescendos, acid house, post-PIL dub, metropolitan murder ballads, doom-disco and mouth-gurning, slow-mo psychedelia so by the time it comes to a close only a fool would deny that Serfs Up! is something very special. No longer is unadulterated music malevolence Fat White Family’s stock in trade; this is cultivated music for the head, the heart. For tomorrow’s unborn children.

                                                                              Where once they soundtracked a grubby Britain of vape shops, Fray Bentos dinners and blackened tin-foil, a crepuscular comedown realm stalked by Shipman, Goebbels and Mark E. Smith, Fat White Family now inhabit another cosmos entirely. Serfs Up! is the product of a band of outlaws reborn. Few but themselves could have forecast it: Fat White Family survived. Fat White Family got wise. Fat White Family got sophisticated.

                                                                              FORMAT INFORMATION

                                                                              Coloured LP Info: Indies only gold coloured vinyl.

                                                                              Julia Jacklin

                                                                              Crushing

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

                                                                                Discussing the record, Jacklin offered the following;

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

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

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

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


                                                                                FORMAT INFORMATION

                                                                                Coloured LP Info: Limited edition green vinyl.

                                                                                Ex Hex

                                                                                It’s Real

                                                                                  On It’s Real, the group’s second album, Ex Hex’s commitment to larger-than-life riffs and unforgettable hooks remains intact, but the garage-y, post-punk approach that defined their debut album Rips has grown in scale and ambition. What started as a reaction to the blown-out aesthetic of Rips would test the sonic limits of the power trio and lead the band on a quest for a more immersive and three-dimensional sound. Vocal harmonies are layered ten tracks deep, solos shimmer and modulate atop heaving power chords, and the codas linger and stretch toward new frontiers of sound. On first listen, you might think you’ve unearthed a long-lost LP carved from the space where crunch-minded art rock and glitter-covered hard rock converge, an event horizon at the intersection of towering choruses and swaggering guitars.

                                                                                  Ex Hex were already one of America’s best guitar bands—but on It’s Real, their musical savvy has thrillingly combined with anything-goes curiosity, studio experimentation, and a dedication to refinement, resulting in an album that’s ready to be played at maximum volume.

                                                                                  FORMAT INFORMATION

                                                                                  Coloured LP Info: Limited LP in matte jacket + pink & blue swirl vinyl (2700 only worldwide), this is for Indie stores only.

                                                                                  Coloured LP includes MP3 Download Code.

                                                                                  LP includes MP3 Download Code.

                                                                                  Sleeper

                                                                                  The Modern Age

                                                                                    On 22nd March 2019, Sleeper release their first album in 21 years, The Modern Age. It wasn’t meant to happen. In fact, the band had promised each other it never would. “We had no plan to get back together. Sometimes life throws you a massive curve ball. You end up jumping off the cliff, just to see what it feels like.”, says singer, Louise Wener

                                                                                    The band spent summer 2018 recording The Modern Age with their long-time producer, Stephen Street - a relationship that clicked into place again right away. They tracked live at Metway studios in their adopted city of Brighton, before decamping to Street’s studio in West London to add the finishing touches. The Modern Age is the outward looking sound of a band revitalized and refreshed. Covering subjects from motherhood and social media to personal loss and, inevitably, relationships. The Modern Age retains Sleeper’s classic pop sensibilities with a shiny, new, contemporary feel.

                                                                                    The first single to be taken from the album is Look at You Now – released on Dec 5th and available on all digital platforms. Initially it appears to be referencing Sleeper’s comeback, but it’s a protest song at heart: a howl for the politically homeless in a landscape where reasoned debate has given way to vitriol.

                                                                                    Sleeper enjoyed huge critical and commercial success in the mid-90s: achieving 8 Top 40 singles across 3 Top 10 albums with well over 1,000,000 sales. Their music was characterized by astute, observational lyrics and big, hook driven melodies. Wener was an iconic front-person, heading up a movement that brought women center stage in guitar music. Sleeper split In 1998 and walked purposely away from the limelight. Wener carved out a career as a successful novelist. Drummer Andy Maclure and John Stewart - Sleeper’s guitarist - both became lecturers in music studies. Sleeper’s current line-up are joined by former Prodigy bassist Kieron Pepper.

                                                                                    Drenge

                                                                                    Strange Creatures

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

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


                                                                                      FORMAT INFORMATION

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

                                                                                      Lipelis

                                                                                      Bordeaux Lovin’ EP

                                                                                        Anthem Alert. Lipelis, who debuted on Public Possession under his TMO moniker, returns for the follow up w/ this 2 Track Maxi 12” featuring: Bordeaux Lovin’ - epic, emotional rave tune, building up for ecstasy. What is it - jump for joy piano house. 

                                                                                        Powder is an alchemist of time. Her ceremonious DJ sets invite listeners and dancers to extend their imaginations to abstracted spaces, while allowing the body to vessel the voyage in free, flowing style. Playful, thoughtful, and natural without knowing, Powder’s crates encourage abandonment of arbitrary boundaries and expectations surrounding genre, movement, schedule, and societal convention to revel, spirited and harmonious, in the passage of time.

                                                                                        Momoko Goto relocated from her hometown of Nagasaki, Japan to Tokyo in 2011. This is where the story of Powder, as the international dance music community knows her, begins. With the change in location came a change in lifestyle, where a balance of 9-to-5 office life and sacred, nocturnal recording sessions invited Moko to reflect on music’s unique ability to “stop the clock” and “expand or shrink our sense of time.”

                                                                                        While many workers across the world feel the pressure of artificially controlled measurements of time, Moko’s musical mission to transcend these weighty associations, to shed light on the positive possibilities of passing time, resonates far past her island’s shores. Experiencing the pleasure that comes from physical and emotional transformation. Creating and nurturing memories.

                                                                                        In embracing these positive properties of time, Powder uses the hypnotic language of patterns to communicate with listener-dancers. Patterns represent the meter by which bodies are compelled to move; they also represent a method for collection and organization of sound, where the cohesive stylistic and historical narrative of different pieces of music are laid over one another transforming both intimate and universal moments into a dreamy, experiential, and endlessly interpretable whole.

                                                                                        Moko notes that patterns, “are always ancillary and never playing the leading part of things, and the patterns themselves recognize this fact and act low-key.” This interpretation of sound and rhythm mirrors critical aspects of underground club culture, such as collective energy-making and protection, togetherness over spectacle, the layering of multiple bodies, and narratives upon one another in ecstasy.

                                                                                        Since her debut release on Born Free Records, 2015’s Spray, Powder’s sound has flirted with numerous unconventional dance institutions and outlets, releasing on ESP Institute, Wichelroede and the Cocktail D’amore imprint, as well as regularly contributing to the latter’s illustrious mega parties. For her Powder in Space mix, Moko presents two new songs that were created within a new schedule, with summers spent touring Europe and North America, welcoming the unique experiences offered by each location.

                                                                                        “New Tribe” toasts the global community Powder’s connected during her travels. Marching-band snares, breathy ostinatos, motivating chords, springy auxiliary percussion and bouncy melodic details – all Powder trademarks, coalescing into one of her most celebratory offerings yet. “Gift” is a subtler jam, shuffling and twinkling in perfect balance. Reminiscent of “Spray,” it sustains a retrofuturistic groove that defies the house / techno categorical binary.

                                                                                        On the the EP, Powder’s two new originals sit alongside Daphne’s “When You Love Someone (Groove Instrumental),” a sultry, twirling vibraphone deep house number from 1993; and the first ever release of Samo DJ and Hidden Operator’s atmospheric scene setter, “Захват Сзади Rox.” For the CD and digital mix release, these four originals weave within an impeccable mix of memories from Moko’s travels and experiences over the past years touring and sharing with new friends.

                                                                                        Powder In Space marks the first in a new series exploring dance music’s form and informality from Tim Sweeney’s Beats In Space Records. The friendly voice behind the longstanding Beats In Space radio show and a formidable DJ to dance floors around the world, the …In Space series, like the rest of the label’s eclectic catalog, is testament to Tim’s trust in the selector and vice versa.


                                                                                        Üdytü Ützeltürk & His Male Harem

                                                                                        Kairo / Kozak2000 (Inc Boris Dlugosch Edit)

                                                                                        A holy grail of European electronic dance music, and a classic at the Italian disco scene and Hamburg's Front club alike (you might have heard it on their recent Mastermix), is finally available again. Produced in 1984 by two mysterious friends during a hazy studio session in the small town of Aschaffenburg, Germany, it is best described by Discogs member goulashdj as “a funny version of some Imam praying on top of an electronic Groove”, .“Kairo” is all you want from an oddball record: fun and funky, weird and wonderful.

                                                                                        Featuring original vocals by one of the two friends, it seems to be offensive to religious fanatics and devout Muslims (you better watch, where you play out the original). Therefore, a philosophical advisory or religious warning: “No religion, god or believer was harmed during the creation of this record. We believe in the right to believe or disbelief in anything and everything that isn’t inhuman.” For safety reasons, it includes a persecution-proof instrumental version by Boris Dlugosch as well as the original B-side and completely atheistic “Kosak 2000”. And to close with Mark Twain: Man was made at the end of the week's work, when God was tired.

                                                                                        Jayda G

                                                                                        Significant Changes

                                                                                          Jayda G releases her debut album “Significant Changes” via Ninja Tune, having risen steadily through the dance music underground thanks to her infectious energy, vitality, rhythm and boundless enthusiasm. Musically it’s a blend of vintage drum machine funk drawing heavily on Chicago’s house blueprint - a natural progression from a string of EPs both solo and alongside her friend and mentor DJ Fett Burger (Sex Tags Mania), often appearing on the Freakout Cult label the two ran jointly until 2018 and most recently her newly minted JMG Recordings imprint. Also renowned for her high-energy performances as a DJ, the past 12 months have seen her play London’s formidable Printworks venue alongside the likes of Marcellus Pittman, Moodymann and Omar-S, be invited by The Black Madonna to play at her Warehouse Project takeover, and Berlin’s iconic Panorama Bar, as well as festival appearances at Field Day, Kala, Melt!, AVA and the xx’s Night And Day to name a few.

                                                                                          “I’ve gone through some significant changes personally, in terms of growing up into the person that I am, my career just morphing to a place I never dreamed or imagined possible,” explains Jayda. “It’s about me understanding myself as an artist, understanding who that person is, and who I want that person to be, and taking more responsibility for the platform that I’ve been given.”

                                                                                          In 2018 Jayda completed her Masters in Resource and Environmental Management specializing in environmental toxicology, wherein she specifically studied the effects of human activity on the Salish Sea killer whales (orcas) of Vancouver, in her native British Columbia. It was also the year that she finished recording her debut album as Jayda G: “Significant Changes”. The title of the album was the most used phrase in her final thesis and exemplifies how intertwined her work in science is with her work in music. “I’m trying to bring my two worlds together… to bridge the communication gap, engage people in a new way”, she explains. “I don’t know if people in the electronic music world will want to talk about the environment but I think I should try! I think it’s our duty to use a platform like this in a positive way, that’s our social responsibility."

                                                                                          Additionally she will be hosting a series of intimate talks in London aimed at offering young scientists a platform to discuss their recent academic work as well as their personal journeys. Jayda’s aim is to try to bridge the communication gap between critical work in contemporary science and the wider public to promote a better understanding of science.

                                                                                          “I just want people to feel not so hopeless… there's a lot of really depressing things going on, but people are doing good work out there and finding out really interesting stuff, so I just want people to be informed of those things, so that they feel inspired in whatever work that they do.”

                                                                                          FORMAT INFORMATION

                                                                                          2xLP includes MP3 Download Code.

                                                                                          Textasy

                                                                                          Acid Eater / Burning Diesel

                                                                                          New record label by Craigie Knowes focussing on faster, harder and darker tracks. The first comes from a familiar affiliate of Craigie Knowes - TEXTASY. This record sees the Texan side-step away from his usual (if there is such a thing for Textasy) electro, hardcore or 'terror tech' sounds and lands firmly within the realms of techno. Interesting and club-destroying at the same time, just like everything else he's released. Hand-drawn 10" sleeve design by Rakem to boot.

                                                                                          DJ Nobu

                                                                                          On-Netoh EP

                                                                                          Chiming, bubbling and beautiful, 'Zzzz' is a 15 minute piece that was initially composed as healing music for a sick friend. After lengthy deliberation (and one particularly fun demo listening session in Amsterdam) the accompanying B side tracks were finally decided upon, making up a thrilling set. 'Wwww' goes straight into Nobu's menacing side with a looping, brooding piece of wired paranoia. He finishes off the triptych with 'Cccc' a psychedelic drive down the darkened roads master Nobu is often known to navigate through when in murder mode as a DJ.
                                                                                          The artwork is from a painting by Syoujou Ooido (Nara, Japan) used with kind permission.

                                                                                          Following on from the deranged machine mulch of the Cru Servers we proudly announce the second record on the label to emerge from our native south side of Glasgow. Lo Kindre is the solo project of Irish/Luxembourgish bedroom producer, amateur footballer and award-winning bartender Daniel Magee. Crawling out from the undergrowth at the speed of a snail with dreadlocks this six track EP builds upon his previous venture for Optimo Music and manages to enchant in many of the same ways. Chlorophytum ticks all of the right boxes, sitting somewhere between a budding sci-fi homage, drum machine escapism and a fascination with the motorik styles of West Germany and the wider On-U continuum. Lo Kindre's sound has recently developed by way of countless hours spent twiddling with delay units alongside vintage Italian football commentary and murky casks of Tennents, and has culminated here in the following six tracks. The seventh 12th Isle now ecstatically morphs from our galaxy into yours.

                                                                                          Jumanjí is the joint persona of RAMZi and Priori. This eponymous album is a deep adventure in Houti Kindom, featuring a cast of colorful characters practicing interspecific altruism in communion with the invisible world. All songs written and produced by Francis Latreille and Phoebé Guillemot at Jump Source Studios in Montreal, Canada. 

                                                                                          The Five track EP kicks off with a slinky jazz funk, balearic mover entitled "Camera Dans La Nuit" that weaves the influences of Wally Badarou, and early Brit Funk bands such as Freeez and Light Of The World into a melodic affair that could've come straight out of the summer of 1981. In fact the second cut ("Une Vie Elegante") wouldn't have been out of place on Level 42's Early Tapes if Wally Badarou had taken said band to sunny climes to record it.

                                                                                          The B Side eases us in with the phasing pads and circling arpeggios that we've come to expect from Rudy's Midnight Machine. Taking more of a Pat Metheny influence and combining it with a steady early 80s Jazz Funk feel ,which is all underpinned by Robin's thumb bass line.

                                                                                          It's the bass that get's the main feature in the middle cut on the B Side. "Secret Garden" is a melodic and reflective track with bold bass guitar melodies being held up by the ebb and flow of piano arpeggios. The finale, entitled "Shifting Sands", harks back to the previous two EPs with more electronic synth bass and drum machine textures, with a guitar solo giving us the required organic relief.



                                                                                          Dane//Close

                                                                                          DB7 004

                                                                                          dane//close. Mismos jefes linch mob. Desapareciendo peso pesado. I Don't Want. Punk ganguelo. Love Destroyer. Enamorado encarnado. Tiempo de Descansargracias hermano i!

                                                                                          Kito Jempere

                                                                                          DB7 003

                                                                                          Kito Jempere. Don Pietroburgo. Capo del branco. FKA Lany. La Russia dall'inno d'amore. Drakon. Nuova meraviglia dell'onda. Vogliamo l'amore tutto intorno !!

                                                                                          Emotional Rescue starts a non-defined set of reissues where some of the label's favourite artists have lesser known, but (cult) classic songs unearthed, remastered, reappraised and then reinterpreted by contemporary producers and fans, for today's DJs and collectors alike.

                                                                                          To start, the idea of the legendary British psychedelic band Hawkwind appearing on the label might come as a surprise, but when the nature of songs and remixer involved is explored it makes perfect sense.

                                                                                          Following the departure of Lemmy to the Motorhead hinterlands, the band's sound took a wider but more defined style, including their burgeoning interest in electronics. With that, the 1976 album Astounding Sounds, Amazing Music contained a song that has become a secret spin for the more leftfield and adventurous. The Aubergine That Ate Rangoon - itself referencing cult psychedelic band Dr. West's Medicine Show and Junk Band's alien invasion opus The Eggplant That Ate Chicago - with it's use of loops, synthesiser and motorik drumming is a short instrumental that has gained cult status in its own way. Focusing on much of Hawkwind's musicality in one song, mixing psychedelia, fusion and humour with a killer groove, all in one short blast of repetition meets experimentation.

                                                                                          This is backed with the album's other stand out, in the beautifully laidback stoner vibrations of City Of Lagoons. Lanquidity rules as West Coast meets Floyd touches abound. A hazy Gilmour style guitar and heavy phasing and reverb drums underpin space rock key solos that carry you to the horizon.

                                                                                          An Esteemed excavator, musician, compiler and oracle, the choice of Cherrystones to rework these instrumentals is a given. With two decades of production chops from beats, breaks and jazz for the likes of Stark Reality, Twisted Nerve and Brutal Music to the abstract, psychedelic acoustics for Whatever We Want Records, he has gone on to become a respected composer of soundtracks for Adidas, Stone Island and YMC.

                                                                                          His heavy retake of The Aubergine pulls up the drum and bass and overlays freeform synth stabs atop a warped Riley arpeggio loop that takes the smoke hazed original and give it doses of codeine and rum. To close, his City Of Lagoons rework becomes 'Head' outtake overkill. Trippin' beyond the light fantastic.

                                                                                          Words from Cherrystones:

                                                                                          "When the prolific and albeit consistent Emotional Rescue label & head honcho Maestro Chuggy proposed this as a potential project to me I was initially excited as much as honoured, but also hesitant. Why you ask? Because that which is to the heart is often the most sacred and foreboding to envisage or should I say take out of context or possibly leave in context via sympathetic realisation.

                                                                                          My history with Hawkwind is as murky as anyone that truly let the band into their hallowed cerebral bandwidth whilst following their smoke signals and oily pipes serenading the riff fuelled synth washed sunsets where dogs on strings jugglers tents and paratrooper boots were standard issue on stage and backstage. This is more than a mere band, these wrote the book on themselves, used pages to roll with and smoked their own scriptures and blew smoke rings that became parables with no care to any place scene or need to fit within or out.

                                                                                          This entire project was created using no stems, no multi tracks hence we did not use remix as a theme, these are re-works which I made via intense hacking at open sections in the songs whilst manipulating and treating those hard. The only parts added were the synth I played, added and re -chopped with a view to colour these re-imaginations. It was essentially making a new meal from the existing but adding and subtracting flavours to create a new
                                                                                          Essence, a new sensation and believe it, it was not easy which kept it exciting and close to me. By no means am I metaphorically adding a moustache to the Mona Lisa, I'm more to the point tickling her or poking my tongue out with a view to get a response or smile. Hurry on sundown so I can see your shadows dancing in the grassy lucid light.

                                                                                          Welcome to the richly rhythmic and deeply esoteric world of Zaliva-D. Based in the Chinese capital of Beijing, they’ve been circling the country’s borders for more than a decade due to the extreme difficulty of streaming music there. Zaliva-D consists of musician Li Chao and Aisin-Gioro Yuanjin, who’s responsible for their stunning live visuals. We’re very proud to present Forsaken, their 4th album, but first ever vinyl release. Wrapped around a core of gut wrenchingly ferocious kicks and haunting vocals, these tracks possess a mantra-like quality and drown the listener into a world of Chinese and South East Asian textures. Forsaken, mastered by Wouter Brandenburg, is their most well-written, organic and esoteric record to date, showing a more fragile, sensitive side. Soon Zaliva-D will perform on European soil, accompanied by this Knekelhuis debut.

                                                                                          Bartosz Kruczynski & Poly Chain

                                                                                          Pulses

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

                                                                                          Slow things down into a full balearic groove with this latest EP on Dekmantel by the Dutch production duo. Barely breaking a sweat over 100bpm, these smooth sunset synth rhythms, full of muted 80s Italo funk, and breezy drum machines, syncopated with the warm, exotic blend of retro keys and ambience, set the EPs five tracks coastal, vibrant dynamic.

                                                                                          Imagine if you could put together a dream line-up of MCs and producers from all four corners of the rap world? That’s what artist and illustrator Gangster Doodles set out to do when he put together a stellar collection of tracks by the rappers and talent that inspire his work.
                                                                                          The all-star line-up features everyone from hotly-tipped emerging producers like Eets, Caleb Stone, Maze Mountain and LoVibe next to underground perennials like Onra, Mndsgn and Jon Wayne all the way up to top flight producer Kaytranada and established rap vets like Madlib, Oh No, Blu and Defari.
                                                                                          This second collaboration between All City Records and Gangster Doodles is a jam-packed sonic adventure featuring 27 killer tracks from some of the finest creators out there. Doodles had the idea for a comp two years ago. Hyped after partnering with All City for Knxwledge’s "Wraptaypes" project back in 2015, they initially set out to put together an EP but as the tracks kept coming in it exploded into the sprawling double LP of low-slung grooves and bangers from the best in the business.
                                                                                          With everyone on the record being a friend or friend of a friend, the comp just kept growing as GD went to work with the hustle he has learned from penning his post-it sketches day in day out for the last decade.
                                                                                          Word spread fast and soon he was being sent beats from all over, even reaching behind the prison walls of Bergen County Jail, New Jersey and securing a track from former Dipset affiliate Max B.

                                                                                          The last few years have been busy for Marlon "Gangster Doodles" Sassy. He released his acclaimed Gangster Doodles (The Book) alongside an ever-expanding array of prints, original works, apparel and exhibitions across the globe. Topping that off with animation projects, a graphic novel in the works and now, with this LP titled " Gang$ter Music Vol 1", he is about to debut his first ever music compilation.
                                                                                          He says himself: “Every time a new track came in it was like running down the stairs on Christmas morning to open a present. What started as a slow trickle of work coming in soon turned into a tsunami with some of my heroes like Onra, House Shoes, Blu, Jeremiah Jae joining up with young guns Kojaque, Kean Kavanagh, Dream Panther and others to beef up the record”

                                                                                          “When an email pinged through with a track from brothers Oh No and Madlib it felt like the final gift and Gang$ter Music Vol. 1 was complete.”

                                                                                          STAFF COMMENTS

                                                                                          Patrick says: Absurd tracklist! Illustrator Gangster Doodles fires up his imessage and invites the hottest underground producers, backpack legends and cats like MADLIB, KAYTRANADA and YOUR OWN DROOG to lend a track to his first ever comp. You wanna hear what hip hop sounds like in 2019? Listen to this!


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