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

A Certain Ratio

ACR Loco - Signed Art Card Edition

    All formats come with a limited edition signed art card, 1 of 2 designs, packed randomly with orders of the new album ACR Loco.

    Signed by Jez Kerr, Martin Moscrop and Donald Johnson as well as designer Trevor Johnson.


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

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

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

    FORMAT INFORMATION

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

    Bdrmm

    The Bedroom Tapes

      Hull/Leeds-based shoegazers bdrmm follow their hugely acclaimed debut album Bedroom with The Bedroom Tapes, a limited-edition 12” EP that rounds up remixes and lockdown live sessions.The first side features stripped-down versions of ‘Gush’, ‘A Reason To Celebrate’ and ‘Forget The Credits’ from the album, plus a version of 2019 single ‘Question Mark’. Originally recorded at home by the band’s Ryan and Jordan Smith for various radio sessions, these versions feel fragile and expose the feelings that are buried under the noise of Bedroom.The flip features Andy Bell’s radical reworking of ‘A Reason To Celebrate’ under his GLOK guise, which finds the previously unexplored middle ground between the late Andrew Weatherall and underrated 4AD outfit Ultra Vivid Scene. It is joined by Ditz’s dynamic deconstruction of ‘If....’ and International Teachers Of Pop’s almost obscenely cheerful ‘de-mix’ of ‘Happy’.

      Still Corners

      The Last Exit

        THE LAST EXIT is the fifth studio album from Still Corners, which will be released on 22nd January 2021 on Wrecking Light Records. With the shimmering desert noir sound the band has become known for, THE LAST EXIT takes you on a hypnotic journey, one filled with dilapidated towns, mysterious shapes on the horizon, and long trips that blur the line between what’s there and not there. Greg says, “We found something out there in the desert – something in the vast landscapes that went on forever." THE LAST EXIT consists of eleven beautifully crafted songs with organic instrumentation, clean-toned guitar, spacious drums and the smoky croon of Tessa Murray. Album highlights include “The Last Exit”, “White Sands” and “Shifting Dunes” all of which evoke the vast space of the desert and rolling unconcerned skies.

        FORMAT INFORMATION

        Coloured LP Info: Limited edition crystal clear vinyl LP with download code and poster, for Indie Stores only.

        LP Info: Black vinyl LP and download code.

        CD Info: Digipak CD.

        The Avalanches

        We Will Always Love You

          Building on the sample-based approach of their classic albums Since I Left You and Wildflower, but stepping boldly into new terrain, We Will Always Love You is the new full length masterpiece from The Avalanches. Set for release around the galaxy on December 11. Features Ann Druyan (Director of the Voyager Golden Record Project) on the album cover, her cosmic love story with Carl Sagan inspiring this body of work.

          An exploration of the vibrational relationship between light, sound and spirit, We Will Always Love You doubles as “an exploration of the human voice” and a spiritual reckoning via the big questions “who are we really? What happens when we die?’”. So says Robbie Chater, who alongside bandmate Tony DiBlasi and collaborator Andrew Szekeres has moved beyond the party-up exuberance of The Avalanches’s youthful music to a tender, reflective sound infused with hard-earned life wisdom.

          If there’s a single spark for We Will Always Love You it’s the story of the love affair between Ann Druyan and Carl Sagan: “science communicators” whose writings and TV programs brought the ever-deepening mysteries of astronomy and astrophysics to the mass audience. Chater was profoundly moved by the fact that the couple’s romance was captured and carried into space, thanks to the Voyager Interstellar Message Project. Druyan served as Creative Director in charge of curating the Golden Record: earthling music and assorted terrestrial sounds gathered for the contemplation of any alien civilisations that might be out there and be advanced enough to construct a playback system.

          Originally, Druyan was set to be a presence on We Will Always Love You: a studio was booked to record her telling her own story. That never transpired, but Druyan “gave us permission to use her photo on the album cover,” says Chater. “We photographed it off a static-y television set and ran it through a spectograph to make the cover image. So that was a beautiful way that Ann could still be part of the record. We turned her into sound and back again”

          Sampling remains at the core of The Avalanches sound, but alongside all of the sample ghosts, We Will Always Love You features an array of living guests who contribute vocals and lyrics: Blood Orange, Rivers Cuomo, Pink Siifu, Jamie xx, CLYPSO, Denzel Curry, Tricky, Neneh Cherry, Sampa the Great, Sananda Maitreya and Vashti Bunyan and many more exciting collaborations to be revealed over the coming months. The Avalanches’s music has always dripped with melody, but because of this expanded role for guest singers and writers, We Will Always Love You is their most song-oriented album yet.

          “For us, to make the same record again, no matter how well executed, wouldn’t have been satisfying," says Chater. "We were looking to do something that would open up possibilities for the future. Take a bit of a left turn that frees us up to do whatever we want to next.”


          STAFF COMMENTS

          Patrick says: Inspired by love, humanity, space and at least 6,000 sample-able records, 'We Will Always Love You' sees The Avalanches return in record time for a third LP. Featuring a who's who of guest musicians (Blood Orange, Rivers Cuomo, Neneh Cherry and Vashti Bunyan amongst others), the LP dips into hip hop, disco, house and electronica with all the warmth, wit and wanderlust we've come to expect from the Aussies.

          FORMAT INFORMATION

          2xColoured LP Info: Indies Exclusive.
          Double 180 gram coloured vinyl, COLOUR IN COLOUR Configuration - Coke Bottle Green & Kelly Green.

          2xDeluxe LP Info: Double 180 gram coloured vinyl, A SIDE / B SIDE Configuration - Doublemint & Electric Blue.

          2xLP Info: Double 180 gram black vinyl.

          Nick Cave

          Idiot Prayer - Live Alone At Alexander Palace

            The Telegraph ****
            "Cave's solo live stream could be the most the beautiful and sombre performance he's ever given"

            The Guardian ****
            "Cave’s performance in an empty hall, with just piano and voice, seems to try and ward off the terrifying silence of the Covid-19 age”

            Evening Standard ****
            "Gravitas echoes beautifully in the void of an empty Alexandra Palace"

            The Independent ****
            "‘Idiot Prayer’ performance is stately and beautiful”

            The Arts Desk ****
            "The dramatic minimalism of this setting is perfect for an expressive face, and such powerfully emotional songs”

            Kelley Stoltz

            Ah!(etc)

              “I was guzzling wine at my favorite bar in San Francisco, the Rite Spot, and the entertainment that night was some local opera singers singing along with a big video screen showing a collage of various operatic moments with subtitles. One particular subtitle, ‘Ah!-(etc)’ made me laugh, I thought it was a perfect description of life - the joy of existence against the etcetera of it all, the struggle. With a heavy head of rose’ it seemed like ecstatic poetry! I scribbled it on a napkin and thought it might make a good title for something” And so the mystery behind the title of Kelley Stoltz new record is solved. Less of a mystery is the quality contained therein… after 12 self-titled releases and a several more under pseudonyms, Stoltz is the word for “one-man-band-home-recording-pop-songs of idiosyncratic character.” A quick follow up to his more power pop and pub rock LP only “Hard Feelings” offering in the summer, “Ah-(etc)” finds Stoltz returning to his sweet spot, writing songs that never were, but should have been in the 60’s and 80’s.

              As with other LPs Stoltz makes virtually every noise on the album which was written and recorded in 2019 at his Electric Duck Studio in. San Francisco. A few friends popped in to play along… Stoltz former bandmate, Echo & the Bunnymen’s Will Sergeant adds electric guitar to “The Quiet Ones” a sort of Scott Walker lyrical take on strangers and neighbors. Karina Denike formerly of Dance Hall Crashers adds gorgeous vocals on the bossanova groover “Moon Shy”, where Sergeant pops up again in a spoken word role on the outro. Allyson Baker of SF’s Dirty Ghosts sings on “She Like Noise”, a song Stoltz wrote for her in celebration of her love of seeing live bands.

              The album was mastered by Mikey Young in Australia, Tour dates scheduled for summer 2021.


              FORMAT INFORMATION

              Dinked Edition LP Info: • Exclusive Blue Splatter Vinyl.
              • Exclusive Bonus Pink Vinyl 4 Track 12" 'Casio Life' EP.
              • Numbered Edition.
              • Limited Pressing Of 350.
              • Download Code.
              • Dinked Sticker.

              Pixies

              Hear Me Out / Mambo Sun

                One of the most influential forces in the history of alt-rock, PIXIES will release a limited edition double A-side single on October 16th. Pressed on 12” yellow vinyl, it will feature the new track ‘Hear Me Out’ alongside the band’s gritty interpretation of the T-Rex classic ‘Mambo Sun’. ‘Hear Me Out’ will receive its first play on September 24th, courtesy of Steve Lamacq at 6 Music.

                ‘Hear Me Out’ represents the first new material from PIXIES since the release of their seventh album ‘Beneath The Eyrie’ last year, which entered the UK official album charts at #7. The song offers a brighter contrast to the previous record’s foreboding ambience, with bassist Paz Lenchantin’s honeyed, hypnotic vocals delivering a message that has grown in relevance since it was written. Delivering melody and visceral power in equal measure, it captures the PIXIES’ classic style, and is elevated with a spaghetti western-style guitar motif courtesy of Joey Santiago.

                The song was written by frontman Black Francis and Lenchantin at Dreamland Studios during sessions for ‘Beneath The Eyrie’, with production courtesy of the Grammy-nominated Tom Dalgety (Royal Blood, Ghost, etc.).

                “‘Hear Me Out’ is about things not turning out the way we hoped, but knowing that it’s going to be ok regardless,” says Lenchantin. “Black started the melody phrases on an old organ. I loved it right away, so he asked me to take a pass at the lyrics. The song has an evocative melody that inspired the lyrics to come out straight away.”

                Joey Santiago added, “Paz sounds like she’s talking to a guy with deaf ears. I did a western style riff at the end of verses, which was like giving her a gun so the dude would pay attention.”

                FORMAT INFORMATION

                Ltd 12" Info: Yellow 12” vinyl.

                Gorillaz

                Song Machine: Season One - Strange Timez

                  Gorillaz started the year with Episode 1 - ‘Momentary Bliss ft. slowthai and Slaves’ - of Song Machine, a whole new concept from one of the most innovative bands around. Now, six episodes in, Noodle, 2D, Murdoc and Russel have visited Morocco and Paris, London and Lake Como, as well as travelling all the way to the moon, and Gorillaz is ready to bring you the full collection titled Song Machine: Season One - Strange Timez, out on 23rd October 2020.

                  Song Machine is the ongoing and ever-evolving process which has seen Gorillaz joined by an expanding roster of collaborators captured live in Kong Studios and beyond. The result is an expansive collection of tracks embracing a myriad of sounds, styles, genres and attitudes from a breath-taking line-up of guest artists including Beck, Elton John, Fatoumata Diawara, Georgia, Kano, Leee John, Octavian, Peter Hook, Robert Smith, Roxani Arias, ScHoolboy Q, Slaves, Slowthai, St Vincent and 6LACK.
                  To date the project has seen over 100million streams on all tracks already and the band’s biggest period of sustained growth across both listenership and fanbase growth. All this before the album has even been announced!

                  Virtual band Gorillaz is singer 2D, bassist Murdoc Niccals, guitarist Noodle and drummer Russel Hobbs. Created by Damon Albarn and Jamie Hewlett, their acclaimed eponymous debut album was released in 2001. The BRIT and Grammy Award winning band’s subsequent albums are Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017) and The Now Now (2018). A truly global phenomenon, Gorillaz have achieved success in entirely ground-breaking ways, touring the world from San Diego to Syria, winning numerous awards including the coveted Jim Henson Creativity Honor.


                  FORMAT INFORMATION

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

                  2xDeluxe CD Info: 2CD Digipack with 6 Bonus Tracks and a 20 page booklet.

                  2xLP Box Set Info: Deluxe vinyl:
                  2 x 180g Black 12” vinyl.
                  20 page hardcover 12” art book.
                  Song Machine Season One Deluxe CD.
                  Download card for the full deluxe album.
                  3 x 12” art prints.
                  1 x 12” label copy sheet.

                  Adrianne Lenker

                  Songs And Instrumentals

                    Big Thief's Adrianne Lenker announces two new albums, songs and instrumentals, out October 23rd on 4AD

                    'Songs And Instrumentals' are two distinct collections, both written and recorded in April after Big Thief’s March tour was abruptly cut short due to coronavirus. After returning to the states from Europe, Lenker decamped to a one room cabin in the mountains of western Massachusetts.

                    The album’s stunning artwork are watercolor paintings done by Adrianne’s grandmother, Diane Lee.

                    FORMAT INFORMATION

                    Ltd LP Info: Limited edition album with 12"x12" art print.
                    This vinyl record is 100% analog-analog-analog (AAA). No digital process was used in the production of this sound recording.

                    Oasis

                    (What's The Story) Morning Glory? - 25th Anniversary Silver Vinyl Edition

                      With October 2nd, 2020 marking 25 years since Oasis released their iconic second album (What’s The Story) Morning Glory?, Big Brother Recordings release a limited edition silver coloured LP with remastered audio to celebrate this milestone.

                      Following only 14 months after Oasis’s classic 1994 album Definitely Maybe, widely regarded one of the greatest debuts of all time, (What’s The Story) Morning Glory is the UK’s 5th bestselling album of all time and best-selling album of the nineties. The album entered the UK Official Charts at No.1 with 269,000 sales, with a total of 10 weeks at the summit since release and almost eight and a half years in the UK Official Album Chart cumulatively.

                      Worldwide, it went Top 10 in every major market in the world and became the band’s breakthrough album in the US, peaking at No. 4 on the Billboard 200 with over 5 million sales, and a global total now in excess of 22 million.

                      Produced by Noel Gallagher and Owen Morris, (What’s The Story) Morning Glory? was recorded at the fabled Rockfield Studios in Monmouth, Wales, completed in a staggeringly brief two-week period during May and June 1995.

                      An undeniably superlative rock record, it includes several of Oasis’ biggest selling UK singles – the legendary, universally loved anthem ‘Wonderwall’, ‘Don’t Look Back In Anger’, ‘Roll With It’, ‘Some Might Say’ together with tracks like ‘She’s Electric’, ‘Morning Glory’ and ‘Champagne Supernova’, which are timeless anthems and radio staples known to every generation of music fan.

                      (What’s The Story) Morning Glory established Oasis as a national and international phenomenon, the most universally popular British guitar band since the glory days of The Beatles, Rolling Stones and Led Zeppelin, and the album’s enduring and omnipresent appeal was demonstrated when it was awarded Best British Album of 30 Years at The BRIT Awards 2010. In the years since it’s release, the album has inspired thousands of young guns to pick up guitars and form bands, and is counted by dozens of successful bands and songwriters as a major influence on their careers.

                      Idles

                      Ultra Mono

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

                        FORMAT INFORMATION

                        Coloured LP Info: Limited edition Vortex vinyl.

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

                        AK/DK

                        Shared Particles

                          Even when artists say they they’ve discovered who they are on their latest record, it doesn’t really work that way. You never stop striving to discover more about yourself - that’s just being human; and it’s something that two-headed electronic rock party outfit AK/DK understand. As Ed Chivers and Graham Sowerby announce the release of their third album Shared Particles, it’s what makes the dual drums and synth pairing such an exciting prospect.

                          Shared Particles propels itself relentlessly forwards, thrusting onwards in pursuit of a finish point that may never come. The two-piece have always loved the motorik of the 70’s like Kraftwerk and Can, bands that revelled in the journey as much as the destination. They also describe themselves as “like a chunkier Devo” – and, yes, there’s a warmth to the textures of their music from the modular synths and other self-built pedals in their set up, while there’s a driving rhythmic constancy too.

                          AK/DK aren’t re-imagining the past though; tracks like opener Feeds or the bouncy hooks of Data Beach are a dive forwards, with dirty synths whirring around percussion that threatens to punch itself out of the speakers. Or there’s the title track, more frenetic still in its squalling feedback and breakneck pace, the duo setting it towards orbit with a hefty dollop of mind-melting psychedelia. As anyone who’s seen their high-octane live show might suspect, the challenge for Chivers and Sowerby is squeezing all of that sweat-drenched energy of a packed club onto record.

                          “We really wanted to combine the two elements of the band on this record, both live improvisations and more studio based songwriting” they explain. “What we really miss in the studio is the live audience and we’ve definitely tried to capture the spirit of our stage shows and the ebb and flow of the energy in the room, whilst still putting together songs and ideas.” Sure enough, while AK/DK’s way of working is initially to build up ideas through improvised jams until there’s a structure to build on, the twelve tracks here are more refined than just tripped-out wigouts. The band’s ear for a melody has grown only growing stronger, the likes of Wait and Return to Zero filled with subtle hooks that leave themselves in the mind long after the music’s departed. The queasy, distorting Casio Beguine, meanwhile, is an example of the pair’s newfound restraint.

                          “We’re always trying to capture the different sides of our sounds and influences so we end up with a slight smorgasbord of tracks,” they say. “Some are strictly electronic, others are more disco, and some kosmische-style builders. For us it's all about tension and release, playing with the hypnotic loops and synths.”

                          It’s fair to say AK/DK’s own horizons have broadened vastly since the groove-laden krautrock disco of 2017’s Patterns/Harmonics. There’ve been festival slots at the likes of Bluedot and End of the Road, ever-increasingly-sized rooms to play on tour and - appropriately for a band started as a “a sonic-art act” - cross-theatre shows, including a set as part of ‘Party Skills For The End of The World’ at Manchester International Festival 2017; as well as making their own audio-visual show ‘The Sleeper Awakes’ at Shoreditch Townhall.

                          Perhaps most impactful though was a cultural exchange that saw AK/DK put together some of Shared Particles in Belém, Brasil. “We played festival shows over there and in Argentina and managed to spend a week in the studio; working on our own stuff but also playing with local musicians” they say. “It was an unbelievable experience. We collaborated with artists using their audio samples of local indigenous tribes and live VJs using their own Amazonian-inspired visuals.”

                          Thematically AK/DK are sprawling, although the vocals that do drift over their songs aren’t explicit. Nevertheless, writing the record was done amidst thoughts of how the internet and social media can unite and divide society, and how political forces have been able to manipulate these tools. You could perhaps point to Defragment To Survive’s title as a summary of the record’s lyrics, inspired as it is by the idea that our minds have become more robotic and computer-like - and that they need to be defragmented, like you would a hard drive on your laptop.

                          “Really, though, our message is one of togetherness and unity,” they say. “It’s quite a strong political message in itself when people come together for music.”

                          Ultimately it’s that message that holds the band and their music together. As the name Shared Particles suggests, we are all as one living together, and this is music that could’ve found a home everywhere from rave and free party scene to the punk community. AK/DK’s initial ethos was to break down the invisible screen between stage and audience. They’ve always tried to capture that on record, and this is the closest they’ve come... so far.

                          FORMAT INFORMATION

                          Dinked Edition LP Info: - “Starburst” three coloured vinyl
                          - Sleeve housed in a very special mirror board outer slipcase with 5mm spine
                          - Signed postcard with download code
                          - Remix CD featuring remixes by W.H. Lung, Snapped Ankles (x2), A Certain Ratio, Plastic Mermaids, Warm Digits, Ibibio Sound Machine - all bangers!!!
                          - hand numbered Dinked Edition sticker

                          LP includes MP3 Download Code.

                          Matt Berninger

                          Serpentine Prison

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

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

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

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


                            FORMAT INFORMATION

                            Coloured LP Info: Limited indies exclusive Opaque Blue vinyl.

                            New Order

                            Be A Rebel

                              New Order ‘Be a Rebel’ is the first brand new music from the band since the release of the critically acclaimed album ‘Music Complete’ In 2015. ‘Music Complete’ was the band’s highest charting album since Republic in 2003 and was included in NME and The Guardian’s Albums of the Year.

                              Vinyl features additional remixes from the band’s own Bernard Sumner and Stephen Morris.

                              FORMAT INFORMATION

                              12" Info: Available on Dove Grey coloured vinyl, packaged with a blue metallic ink outer sleeve and full colour inner sleeve. Includes a high definition download code.

                              Various Artists

                              Late Night Tales: Hot Chip

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

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

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

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

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

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

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

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

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

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

                                David Bowie

                                Metrobolist (aka The Man Who Sold The World)

                                  November 2020 sees the 50th Anniversary of the release of David Bowie’s The Man Who Sold The World in North America. The album marks the beginning of a collaboration with guitarist Mick Ronson that would last through classic works including Hunky Dory, Ziggy Stardust and Aladdin Sane - as well as the first in a 10-year series of indispensable albums stretching through 1980’s Scary Monsters…

                                  Originally titled Metrobolist, the album's name was changed at the last minute to The Man Who Sold The World. The 2020 re-release of the album under its Metrobolist moniker has been remixed by original producer Tony Visconti, with the exception of the track ‘After All’ which Tony considered perfect as is, and is featured in its 2015 remaster incarnation.

                                  The Metrobolist 50th anniversary artwork has been created by Mike Weller who was behind the historically controversial “dress” cover which Mercury Records refused to release.

                                  Autechre

                                  Sign



                                    STAFF COMMENTS

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

                                    FORMAT INFORMATION

                                    2xLP includes MP3 Download Code.

                                    Denise Johnson

                                    Where Does It Go

                                      Simply vocals and acoustic guitar.

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

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

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

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

                                      Kamasi Washington

                                      Becoming

                                        Kamasi Washington composed and produced the original score for Becoming, the four time Emmy-nominated film that provided an intimate glimpse into the life of Michelle Obama. Produced by Netflix Originals, Becoming documented a moment of profound change for the former First Lady, not only for her personally but for the country she and her husband served over eight impactful years in the White House. Washington, who joined the project in its embryonic stages, provides the powerful musical backdrop.

                                        Ocean Moon

                                        Crystal Harmonics

                                          Ocean Moon is a solo project from Jon Tye of Seahawks. A long time explorer of the sounds of spaciousness, having released the ambient classic LP iO in 1994 as MLO, Crystal Harmonics is a document of Jon’s latest discoveries. An ambient/new age/modern classical library suite for KPM, this is inter-dimensional music for mind, body and spirit.

                                          Island Visions, the recent collection of music from Seahawks for KPM, touched on the deeper, more spatial side of music and led to Jon exploring this territory in greater depth, again for KPM, under his Ocean Moon alter ego. This time he brought along some of today’s most visionary musicians: Jon Brooks (The Advisory Circle / Ghostbox) for his intuitive melodic mastery, Seaming To (Graham Massey’s Toolshed) for her extraordinary vocal talents, Steve Moore (Zombi) for his sophisticated and inventive rhythmic sensibility and Richard Norris (The Grid) for his sensitive and deeply resonant ambience. The initial recordings were made at The Centre Of Sound in Cornwall, with the collaborators various contributions coming from London, Derbyshire and the US.

                                          The supremely serene electronic flute and bells of “Crystal Drift” ease us into our journey and we take our next steps with “Rainbow Ripples” as it gently folds space with arpeggiated synth swells and delicate machine beats. Light vocal tones, bells and breath FX on “And Breathe” keep us going, accompanied by synth drones and billows of electric piano.

                                          We travel through the synth-space-surf haze of “Lost Oceans”, with soft bass and warm ambience, to reach the “New Infinity” of revolving melody, spacious pads and light electronic beats. The celestial tone floats of “White Mirror” close out the first side.

                                          Temple bells ring out to running water flowing together with deep resonant vocal tones as the second side opens with “Peace Bells”. “Revolving and Evolving” follows, a tranquil electronic meadow of lush pastoral synth tones where we rest for a while for “Mountain Dreaming”, a light rhythmic dance of zither and birdsong.

                                          The undulating “Forest Motion” ripples with synth arpeggios, dreamy Solina strings and percussive modular electronics before allowing the crackling ambience and Cantonese whispers of “Sleep Golden” to wash over us. Finally we find ourselves on “The Long Path”, its warm temple ambience of drones and chants guiding us home.

                                          Crystal Harmonics is inspired by four particular albums from KPM’s catalogue. There’s The Electronic Light Orchestra by Adrian Wagner from 1975 and then Temple Of The Stars, Breath Of Life and finally Keith Mansfield’s Circles, these last three coming from KPM’s mid-1980s run of modern classical/New Age gems. For Jon, “making library music can be very liberating. I really enjoyed the additional focus it brought to the music working on different facets of composition with each collaborator”.

                                          But Crystal Harmonics is no mere exercise in vulger pastiche. As the past, present and future sound of paradise, this fresh exploration of mid-90s ambient and original New Age sounds exists outside of our linear experience of time.

                                          The cover started as a collage Jon made a couple of years ago, a different expression of the same impulses that guided the music. As a nod to the records that provided seeds of inspiration, the collage was framed by KPM’s house style of the 1980s for the finished sleeve by Richard Robinson.

                                          Mastered for vinyl by Be With’s sonic shaman Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, Ocean Moon’s Crystal Harmonics is the tranquil balm for these turbulent times.


                                          Yo La Tengo

                                          Sleepless Night EP

                                            Yo La Tengo returns with an EP comprised of the new original track “Bleeding” and five covers written by Bob Dylan, Carole King and Gerry Goffin, The Delmore Brothers, and more.

                                            The new album includes original cover artwork by renowned Japanese artist Yoshitomo Nara along with an etched illustration by YLT’s own James McNew on the disc’s b-side.

                                            The Matador release follows the debut of Los Angeles County Museum of Art’s Yoshitomo Nara solo exhibition and corresponding catalog, which includes the six new Yo La Tengo tracks along with a B-side of other musicians curated by the artist.

                                            Ólafur Arnalds

                                            Some Kind Of Peace

                                              Ólafur Arnalds is one of the most influential musicians of modern times: a multi-faceted talent, who has paved the way across the electronic and classical worlds. His latest album, ‘some kind of peace’, nonetheless has the feel of a brand new chapter for Ólafur. Within, you'll find a self-confessed perfectionist grappling with the messier realities of everyday life: the possibilities of love, of settling down, and how to navigate all of that during a global pandemic (the album was half-written prior to lockdown, and completed at Arnalds' harbour studio in downtown Reykjavik). What's emerged on 'some kind of peace' is a record about letting your guard down, and ultimately what it means to be alive. 

                                              More than anything he's ever made, 'some kind of peace' is the story of Ólafur Arnalds' life - and there is quite the life-story to tell. Arnalds started out writing compositions for a German metal band, before supporting Sigur Rós and forging an oeuvre full of innovations. His 2007 debut album documented life’s journey from birth to death, with projects ever since ranging from 2016’s ‘Island Songs’ (seven songs made in seven different Icelandic towns, in seven days) to forming one-half of the experimental techno duo, Kiasmos. Having collaborated extensively with German pianist/composer Nils Frahm, Ólafur’s last album - ‘re:member’ – proved a technological triumph (it featured his ground-breaking, self-playing and semi-generative Stratus Pianos). A 140+ date world tour followed, which saw Arnalds sell-out venues ranging from the Royal Albert Hall and his own suitably genre-bending music festival OPIA at Southbank Centre. Few contemporary acts, after all, would be as at home covering Iggy Pop’s show on 6Music as they are composing dance scores for Wayne MacGregor at Sadler’s Wells, winning an BAFTA for his work on ‘Broadchurch’, or landing an Emmy nomination earlier this month for his title theme to ‘Defending Jacob’.

                                              Carlton Melton

                                              Where This Leads

                                                Agitated is more than pleased to announce the long over-due return to wax (and CD) by Carlton Melton, the new album from San Franciscan / Northern Californian space-trippers is here, and its ready to tune you out and turn you on.

                                                Nestled deep in the forests of Mendocino County in Northern California, huddled under the protective shade of towering redwoods and within earshot of frothy waves crashing against the Pacific coastline, squats a geodesic dome that has served as crucible for the experimental genius of Carlton Melton. Nature and Man operate under different logics. But here, Carlton Melton wholly entrusts this idyllic environment with the task of inspiring and guiding their musical improvisations.

                                                The Dome has been the ideal setting to facilitate their creativity. Without forcing a specific dynamic or theme, the band inhabits its womb-like confines to improvise, explore, dream. Their music draws on psychedelia, stoner metal, krautrock, and ambient atmospherics to convey, above all else, a mood.

                                                A prickly guitar melody will float lazily, a wall of dissonant feedback will resolve into a hypnotic drone, or a colossal riff will exhume the soul of Jimi Hendrix. One hears Hawkwind or Spacemen 3 jamming with Pink Floyd at Pompeii.

                                                Indeed, Carlton Melton have one foot in the ancient world and one tentacle in deep space. They are both the pack of proto-humans drumming with femurs in Kubrick’s 2001 and the film’s inscrutable monolith hinting at the universe’s mysteries. The “Stoned Ape” theory holds that early hominids ingested psychedelic mushrooms that provided an evolutionary boost to their brains, helping them blossom into Homo Sapiens. Imagine such cavemen trippin’ balls, their nightmarish visions sending them into feverish bouts of rage and then gentle moments of introspection. They very well could have heard the music of Carlton Melton rattling inside their skulls, first driving our ancestors mad then upward into a higher realm.

                                                Andy Duvall (drums, guitar), Clint Golden (bass), and Rich Millman (guitar, synths) have yet to play Pompeii, but they have already wowed crowds at European festivals such as the Liverpool International Festival of Psychedelia, Roadburn, and Desertfest Antwerp. Live, they are jaw-dropping. On record, mind-altering.

                                                In fact, with each album, Carlton Melton adds a subtle new element, synapses firing new neural connections. In 2020, they release new full-length Where This Leads, marking ten years of the band’s working relationship with their UK label Agitated Records and five years of recording with Phil Manley in his El Studio in San Francisco. With Where This Leads, the band rewires the listener’s mind. “Smoke Drip Revisited” is a ticklish acid flashback, “Porch Dreams” a dabbling in country psych, and “Closer” a driving, freak-out of guitar heroics.

                                                One senses that the group is conveying a message that cannot be expressed verbally but only suggested through synth sighs, walloping rhythms, and soaring solos. Would Carlton Melton therefore be a group of stoned apes dizzily grasping for meaning or telepathic futurists communicating to us through crude man-made instrumentation?

                                                Well, lower the stylus to find out.
                                                - Eric Bensel, Paris July 2020

                                                FORMAT INFORMATION

                                                2xColoured LP Info: Indies Vinyl Colourway:
                                                Disc 1 Green Transparent
                                                Disc 2 Marbré Opaque

                                                Faten Kanaan

                                                A Mythology Of Circles

                                                  ‘A Mythology of Circles’ is the new album from Brooklyn-based composer and musical artist Faten Kanaan, her first to be released on Fire Records. Cyclical patterns and 'variation through repetition' are central to Faten’s music. Harmony and counterpoint are composed intuitively and treated as narrative tools- with sound, silence, and the resulting mystical relationship between notes used as gestures to tell a wordless story. The album is separated into a ‘dusk to evening’ side, and an ‘underworld/dream-state’ side; highlighting the myths of Ishtar, Inanna, Orpheus, Persephone, and others.

                                                  Inspired by cinematic forms and mythological story structures: from sweeping landscapes and quiet romances, to patterned tensions and dream sequences; Faten brings an earthy, visceral touch to electronic music. In symbiosis with technology is an appreciation for the vulnerability of human limitations and nuances.

                                                  All the sections are played in real time, neither looped nor sequenced- allowing for subtle changes to unfold. The use of VST sampled choral voices in this album embodies the forlorn state of technological acceleration, and the desire to return to a vulnerable human sound. The album art also explores a complicated relationship with technology: the statue comes from a series of digital replicas, returning in its last stage to a more intimate and handmade feel.

                                                  Composed, produced and mixed by Faten Kanaan, the album was mastered by Heba Kadry (Bjork, Ryuichi Sakamoto, Julianna Barwick).

                                                  FORMAT INFORMATION

                                                  Dinked Edition LP Info: Red and white ‘inkspot’ vinyl with hand-numbered moon phase calendar, spot gloss sleeve. 1 of 300. Includes download.

                                                  LP includes MP3 Download Code.

                                                  Action Bronson

                                                  Only For Dolphins

                                                    On White Bronco, Action Bronson’s 2018 release, he rapped “my next album’s only for dolphins,” and the principled MC is nothing if not true to his word. A Queens legend, respected for his idiosyncratic pen and vivid raps, Action is a decade into his career and still deepening his skillset. “The dolphin is one of the most intelligent creatures ever created on whatever planet we're on,” Action explains. “They have their own way of communicating. They have nuance and intangibles like we do.” In a perfectly unusual analogy, he likens the aquatic mammal to the storied “five-tool” baseball player—that is, the extraordinary class of player who combines all elements of the game. “The only people who understand me are those five-tool players, those higher beings who are on the same telepathic wave as me.” Thus, Only for Dolphins, out on August TK.

                                                    Action keeps Only for Dolphins among family, working with producers and rappers he’s known for years. The Alchemist, Harry Fraud, Budgie, DJ Muggs, Samiyam, Daringer, and Tommy Mas provide crackling psychedelic soundscapes for Bronson’s unique tales.

                                                    His close friend Meyhem Lauren and Lauren’s brother Hologram are the only featured MCs. Bronson himself produced two of the songs, including the exuberant “Capoeira,” which kicks off the album with a saxophone solo. As much time as he spends on the wordplay and imagery, he’s dialed into the sonics too.

                                                    The first single “Latin Grammys” is a tribute to family. Produced by Tommy Mas, who produced all of Action’s 2011 debut project, Dr. Lecter, the beat for “Latin Grammys” is many years old. The file was originally labeled “Ozersky,” a nod to the beloved food writer Josh Ozersky, who tragically passed away in 2015. Ozersky and Action were close; in fact Ozersky was the first person to put Action on television via his show Ozersky TV. One day Action was going through old beats, saw the file, and knew he had to do something special in honor of his friend. Over a slinky brass and guitar loop, he raps with casual gusto about swim trunks stuffed with cash and black trench coats, Dolph Lundgren and Derek Jeter. “It’s Young Baklava, you know me,” he concludes.

                                                    Bronson is a collector—of experiences, of sounds, of culture. He’s especially happy with the Budgie-produced “Golden Eye,” a nod to the classic N64 shooter and to the resort in Jamaica; it samples a beautiful lovers rock track, which is a real point of pride for Action. “It’s a very specific UK subgenre,” he says, referring to the romantic reggae style that rose to prominence in London in the ‘70s. The flip gives “Golden Eye” a lush and sweet bed for Action to lovingly describe acrobatic sex and expensive rugs, wet with spilled wine.

                                                    To be a fan of Action is to be a fan of detail. Only for Dolphins is studded with remarkable specificity. On “Vega” he raps, “My alibi for the police is I was naked in Seattle”—a line only Action could come up. Befitting that attention to minutiae, Action hand-painted the album artwork, crafting, a figurative depiction of death and dolphins and gold coins.

                                                    “Congratulations” is the first word rapped on the album and it’s fitting to see this as the culmination of every skill Action has carefully honed over the last decade. He’s an insatiable and generous artist who wants to take the listener on a tour of his creativity. Welcome to his world. 


                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Opaque Yellow Vinyl.

                                                    Working Men's Club

                                                    Working Men's Club - Bonus CD Edition

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

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

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

                                                      Trapped, inside a town, inside my mind

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

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

                                                      This winter is a curse

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

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

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

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

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

                                                      Diva Harris, February 2020

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Neon yellow vinyl in an embossed sleeve with neon pantone and laminated logo. Initial quantities include bonus 21 minute megamix CD.

                                                      CD Info: Initial quantities include bonus 21 minute megamix CD.

                                                      Cassette Info: Clear shell + neon yellow slip-case. Initial quantities include bonus 21 minute megamix CD.

                                                      Andy Bell

                                                      The View From Halfway Down

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

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

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

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

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

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

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

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

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

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Blue vinyl.

                                                        Fuzz

                                                        III

                                                          One only knows one. Two is balanced therefore stagnant. III both active and reactive. Charles Moothart, Ty Segall and Chad Ubovich are Fuzz. Fuzz is three. And III has returned. Songs for all, and music for one. III was recorded and mixed at United Recording under the sonic lordship of Steve Albini.

                                                          Keeping the focus on the live sounds of the band, the use of overdubs and studio tricks were kept to a minimum. Albini’s mastery in capturing sound gave the trio the ability to focus entirely on the playing while knowing the natural sounds would land. It takes the essential ingredients of “guitar-based music” and “rock and roll power trio” and puts them right out on the chopping block. It was a much more honest approach for the band—three humans getting primitive, staying primitive. The goal was never to reinvent the wheel. Sometimes it’s just about seeing how long one can hold on before getting thrown off. Three points reflected in three mirrors; a pyramid of sonic destruction and psychic creation. Nothing people feed the roots while the freaks fly free in the treetops—blind to vines, eyes closed, stuck in spit, triumphing the returning of beginnings and ends returning while beginning to see the time collapse. Love is the only way to annihilate hate, and sketchy freaks live to bleed. All shades of color, truth and lies, III is the pillar of unity and singularity. All is nothing, and only nothing can generate everything. Log out, drop thought, turn up.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Indies exclusive coloured vinyl. Very limited!!

                                                          Future Islands

                                                          As You Are

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

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

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Petrol blue vinyl.

                                                            Sault

                                                            UNTITLED (Black Is)

                                                              SAULT make a stunning return with the powerful, timely and necessary art piece called...UNTITLED (Black Is). The soundtrack to a revolution, SAULT burst out the gate with blistering intent. An album that is triumphant as much as it is painful, evoking stark emotions highlighting systemic racism, injustice and police brutality.

                                                              Once again, as is their trademark SAULT sweep everything up into a masterful cacophony of crashing drums, soul and funk inspirations, gospel, afro influences and golden era hip hop that signals a profound and urgent need for real and overdue change. This is protest music, a call to arms, essential and profound. The bar has been raised, call it what you want but they’ve left it….UNTITLED

                                                              New Order

                                                              Power, Corruption & Lies - Definitive Edition

                                                                Following last year’s inaugural box set, Power Corruption & Lies is the next Definitive Edition to chronical the history of one of the UK’s most enduring and influential groups.

                                                                The box which includes an LP, two CDs, two DVDs and a book, features the album remastered for the first time from the original analogue tape masters on LP, and CD. The Extras CD contains previously unreleased writing sessions from New Order’s Manchester rehearsal rooms and the 1982 John Peel Session for the BBC. The DVDs capture New Order live during 1982 & 83 at The Hacienda and Kilkenny, the 1984 Play at Home Channel 4 TV documentary and other rare live & TV performances. Finally a beautiful 48 page hardback book of rare photos and brand new essay from Dave Simpson completes the Peter Saville designed box.

                                                                Power, Corruption & Lies was recorded in 1982 at Britannia Row Studios, Islington and produced by New Order.

                                                                FORMAT INFORMATION

                                                                FREE SHIPPING This item has FREE UK shipping!

                                                                New Order

                                                                Blue Monday - Remastered Edition

                                                                  The biggest selling 12” single of all time in the UK, reissued and remastered from the original master tapes at Abbey Road Studios. Originally released on Factory Records in March 1983, the single has become the band’s most recognisable track

                                                                  New Order

                                                                  Confusion - Remastered Edition

                                                                    The band’s sixth single and their first collaboration with DJ Arthur Baker. Originally released in August 1983, this new reissue remastered from the original master tapes at Abbey Road Studios.

                                                                    New Order

                                                                    Thieves Like Us - Remastered Edition

                                                                      Originally released on Factory in April 1984, the title is taken from the Robert Altman movie "Thieves Like Us". The cover design by Peter Saville is based on a painting by Giorgio de Chirico.

                                                                      New Order

                                                                      Murder - Remastered Edition

                                                                        Released in May 1984, ‘Murder’ was originally recorded in Winter 1982 during the sessions for the Power, Corruption & Lies album. Peter Saville's cover art is a "night-time" version of the "Thieves Like Us" sleeve. 

                                                                        Sufjan Stevens

                                                                        The Ascension

                                                                          Sufjan returns with the long awaited follow up to Carrie & Lowell.

                                                                          FORMAT INFORMATION

                                                                          2xColoured LP Info: Limited edition clear vinyl.

                                                                          Luke Abbott

                                                                          Translate

                                                                            'Translate' is the first solo artist album in six years from Norfolk synthesizer specialist Luke Abbott: a strikingly direct and assured return to the solo music-making game following a productive diversion into live improvisation with his experimental jazz trio Szun Waves.

                                                                            At times dark and ominous, others bright and welcoming, these eleven electronic vignettes form a dramatic and undeniably cinematic body of work which functions as a fitting widescreen soundtrack to our new now.

                                                                            The lumbering rhythms, strident synths and distinctive touchstones of 'Translate' represent a musical reconciliation with the directness of the wave-making rolling synth-kraut of Abbott’s forthright debut 'Holkham Drones'.

                                                                            Newly-reinvigorated and with a new sense of musical purpose, this is Luke Abbott’s sound fully realised and never so sure of itself.

                                                                            FORMAT INFORMATION

                                                                            2xDinked Edition LP Info: • Audiophile-friendly double crystal clear vinyl.
                                                                            • 15cm die-cut vinyl sticker insert.
                                                                            • Numbered Edition.
                                                                            • Limited to 300.
                                                                            • Download code.

                                                                            2xLP Info: Black vinyl edition.

                                                                            The ever-wonderful Begin return with another superb EP of sun-drenched Balearia !

                                                                            After a flurry of amazing new releases via Bandcamp, we're treated to this latest selection, a continuation of the themes so beautifully realised on previous outings, but with a feel good optimism that we all - to be frank - badly need at the moment...

                                                                            Live instrumentation, lolloping rhythms and that ineffable 'Begin-y-ness' abounds.
                                                                            Another absolute beauty...

                                                                            The Fall

                                                                            The Frenz Experiment (Expanded Edition)

                                                                              Beggars Arkive is excited to reissue The Fall’s 10th studio album, 1988’s THE FRENZ EXPERIMENT. Available as an expanded edition on CD and LP, the releases both contain the original album, plus singles and B-Sides. The notes included with both formats contain brand new interviews conducted by Daryl Easley in May 2020.

                                                                              “I was clearing out the other day and I came across a review of Frenz Experiment, saying how this could have been great, how it could have been like T. Rex’s Electric Warrior. I never attempted to make an album like T-Rex. I don’t see the point in anybody trying to make an album like T-Rex, although people do. I don’t mind it when journalists make fair comparisons, when they’ve done their homework. But comparing Frenz to Electric Warrior is plain daft.”
                                                                              - Mark E Smith, Renegade – The Lives And Tales Of Mark E Smith, 2008

                                                                              Surprise Chef

                                                                              Daylight Savings

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

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

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

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


                                                                                FORMAT INFORMATION

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

                                                                                Frankie And The Witch Fingers

                                                                                Monsters Eating People Eating Monsters...

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

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

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

                                                                                  FORMAT INFORMATION

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

                                                                                  * Exclusive to Dinked Edition.

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

                                                                                  The Phoenix Foundation

                                                                                  Friend Ship

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

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

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


                                                                                    FORMAT INFORMATION

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

                                                                                    *exclusive to Dinked

                                                                                    Dinked Edition LP includes MP3 Download Code.

                                                                                    Coloured LP Info: Pink vinyl.

                                                                                    Coloured LP includes MP3 Download Code.

                                                                                    Pan Amsterdam

                                                                                    Ha Chu

                                                                                      Pan Amsterdam is back with his second album, titled HA Chu.

                                                                                      It’s been a trip since 2018 and the release of The Pocket Watch.

                                                                                      A UK Tour. A tour of the US with Open Mike Eagle. Contributions, interviews and shows with THE Iggy Pop...

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

                                                                                      The first single, Carrot Cake (Aug 5th). Produced by GUTS, is Pan Amsterdam’s transcontinental collaboration with legendary French Dj/ Producer GUTS. Carrot Cake rekindles the vibe of their huge 2014 French hit single, Man Funk, as Pan effortlessly weaves humorous, witty flows into the gritty terrain of GUTS’ Parisian-Boom-Bap-Funk pop.

                                                                                      At the end of August we’ll see the release of a trumpet filled slower joint Produced Mr.Shn. This song is in a similar vein to The Pocket Watch song... Landlord Elijah. A musing, Pan Amsterdam horn track.

                                                                                      Hannibal Lecture (September 16th) with none other than Jason Williamson (Sleaford Mods). Jason and Pan Amsterdam met at a World Service show with Iggy Pop and Anna Calvi last year. They hit it off and recorded two songs together. Both of which appear on this album. Hannibal Lecture, Produced by Coup Diablo (Jimi Goodwin – Doves) sees Jason and Pan Am trading verses. Nottingham, UK x New York, New York. Movie references and punch lines...

                                                                                      Some surprises along the way but, more on that later...


                                                                                      FORMAT INFORMATION

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

                                                                                      LP Info: Black vinyl edition.

                                                                                      The Mountain Goats

                                                                                      Getting Into Knives

                                                                                        On the first of March, 2020, John Darnielle, Peter Hughes, Matt Douglas, and Jon Wurster, aka the Mountain Goats band, visited legendary studio Sam Phillips Recording in Memphis, TN. Darnielle armed his band with new songs and reunited with producer Matt Ross-Spang who engineered last year’s In League with Dragons. In the same room where the Cramps tracked their 1980 debut album, the Mountain Goats spent a week capturing the magic of a band at the top of its game. The result is Getting Into Knives, the perfect album for the millions of us who have spent many idle hours contemplating whether we ought to be honest with ourselves and just get massively into knives.

                                                                                        "Getting Into Knives" album announcing 11 August, with an “As Many Candles as Possible” track premiere “Get Famous” track premiering 16 September, with video by director David Hollander

                                                                                        "Getting Into Knives" includes guest performance on Hammond B-3 organ by Charles Hodges (of numerous Al Green records) & guest performance on guitar by Chris Boerner (of the Hiss Golden Messenger band).

                                                                                        In addition to Mountain Goats, John Darnielle is an American author whose debut novel, 'Wolf in White Van', was New York Times Best-Seller and National Book award nominee.

                                                                                        FORMAT INFORMATION

                                                                                        2xColoured LP Info: Indies only vinyl is on metallic gold vinyl in gatefold sleeve and download.

                                                                                        2xLP Info: Standard black vinyl in gatefold sleeve with a download.

                                                                                        The Wytches

                                                                                        Three Mile Ditch

                                                                                          The Wytches announce their third album Three Mile Ditch, recorded with Luke Oldfield at Tile House Studios it will be released on their own label Cable Code Records on Friday 2nd October.

                                                                                          “This is the first thing that I've ever been proud of for longer than a week,” says The Wytches frontman Kristian Bell of the band’s latest album Three Mile Ditch. This sense of vigour and enthusiasm coming from Bell about the band’s third album is matched by its contents. The album is an explosive collection of 10 tracks that weaves seamlessly between gut-wobbling monster riffs, swampy rock, slick surf, and finely tuned songcraft. It’s also the result of a band coming back from the brink of collapse.

                                                                                          The band’s early trajectory was a steep and speedy one as they quickly established themselves as one of the country’s most exciting and pulverising new bands. Major festival slots stacked up at places such as Glastonbury, SXSW, Reading and Leeds, and British Summertime with the Strokes. As did the tours across the US with METZ, traversing Europe with Fat White Family and Death Grips. They garnered support from BBC 6 Music, DIY, MOJO, NME and more. However, when the ascent to the stratosphere is moving at such a speed, there’s a risk of burning out and imploding, and the band came close to this.

                                                                                          They were on the rocks for a while, unsure of themselves and if the band should - or even could - go on. “I had it in my head that this kind of thing only really happens once and to try it again might be a big waste of time,” Bell reflects. However, despite the difficulties, the powerful pull of the band was too great to ignore.

                                                                                          “We had an album’s worth of songs that was some of our best material. The mission became to complete a Wytches album rather than get The Wytches back on the touring circuit. This album helped us make the decision to try it again.”

                                                                                          Whilst the album is bursting at the seams with hard rock screamers, with hooks and riffs so infectious they burrow deep into the brain, there’s also other more nuanced elements at play. Bell’s love of classic songwriting from Bob Dylan to Elliott Smith via Big Star’s Alex Chilton can be heard reverberating throughout the record; the result is a blend between his honed and subtle knack for songcraft and crunchy, eruptive bursts of noise.

                                                                                          A leaving member left them feeling they couldn’t face introducing a new drummer and teaching them all the new songs so they simply pounced on their momentum and took on that role themselves, sharing drumming duties. Joining the two, was a familiar face in Mark Breed. “It was the first time Mark was present for most of the recording sessions. Mark was our original bassist before we moved to Brighton. He decided to stay in Peterborough to focus on his own work and a few years later re-joined us on guitar and keyboard. He added a lot of depth to the song arrangements. Also, I think when he saw things were starting to fall apart, he stepped in to help bring back the band dynamic we were missing.”

                                                                                          For Bell, the band has never felt more vital or alive and that’s come with a degree of confidence and assuredness when looking to the future. “Early on a few negative comments would be enough for me to disassociate from my own work. But you grow up and you mature. I never felt like I could stand behind what I was doing all that much but with this album I really can.”


                                                                                          FORMAT INFORMATION

                                                                                          Dinked Edition LP Info: • Exclusive Splatter vinyl.
                                                                                          • Exclusive signed 16 page full-colour fanzine.
                                                                                          • Exclusive Sticker Sheet.
                                                                                          • Numbered Dinked sticker.
                                                                                          • Limited edition of 500.

                                                                                          Coloured LP Info: Solid red coloured vinyl.

                                                                                          Weyes Blood

                                                                                          Cardamom Times - 5th Anniversary Edition

                                                                                            • On vinyl for the first time since its first sold-out pressing in 2015, the fifth anniversary of Weyes Blood’s (Natalie Mering) warm and elegiac record, Cardamom Times, is celebrated with a deluxe Dinked edition.

                                                                                            • Since the EP’s release, Weyes Blood’s Front Row Seat to Earth (Mexican Summer, 2016) and Titanic Rising (Sub Pop, 2019) were both named Best New Albums by Pitchfork, with the latter making multiple Best Albums of 2019 lists, including The Guardian, Pitchfork, and The Independent. Different from these elaborate albums, Cardamom Times was recorded onto reel-to-reel tape at Mering’s home studio in Rockaway Beach, New York.

                                                                                            • The songs of Cardamom Times demonstrate Mering’s reverence of devotional music and the avant-garde, channeling the domestic hymns of Sybille Baer through the lens of Baltimore’s experimental DIY scene; the minimal, melodic drones of Terry Riley accompanied by the voices of the Sacre Coeur; the confrontational words of Anaïs Nin along with the warm embrace of St. Augustine.

                                                                                            • This anniversary edition of Cardamom Times features reimagined cover art with the focal image of a desolate paradise during sunset — Jamaica Bay in Queens, NY surrounded by rust. A couple is laying on the ground, caught in a comfort beyond time. With Cardamom Times, Mering invites listeners into that space of love and longing, struggle and change, surrounded by the decay of time that perpetually embraces us.


                                                                                            FORMAT INFORMATION

                                                                                            Dinked Edition LP Info: • Exclusive transparent Blue vinyl *
                                                                                            • New 2020 edition sleeve
                                                                                            • Exclusive fold out 12” x 24” poster *
                                                                                            • Dinked Archive OBI-strip *
                                                                                            • Dinked Archive gold foil sticker *

                                                                                            *Exclusive to Dinked Edition.

                                                                                            LP Info: Black vinyl edition.

                                                                                            Metz

                                                                                            Atlas Vending

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

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

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


                                                                                              FORMAT INFORMATION

                                                                                              Coloured LP Info: Loser Edition - Indies only limited – light rose coloured vinyl

                                                                                              Lana Del Rey

                                                                                              Violet Bent Backwards Over The Grass

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

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

                                                                                                FORMAT INFORMATION

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

                                                                                                LP Info: 180 gram black vinyl.

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

                                                                                                This Is The Kit

                                                                                                Off Off On

                                                                                                  Pre-order the record and be in with a chance of winning a test pressing and lyric sheet handwritten by Kate herself.
                                                                                                  (
                                                                                                  this is a no purchase necessary offer).

                                                                                                  Since 2008’s debut album Krülle Bol, This Is The Kit (lead by Kate Stables) have unpicked emotional knots and woven remarkable stories, but even by their high standards, Off Off On is a beautifully clear distillation of Stables’ song-writing gifts.

                                                                                                  By the end of 2018, the band had finished touring their last album, the talismanic Moonshine Freeze – leading to Kate’s Ivor Novello nomination, but when it came to Stables’ natural impulse to start the next record, her efforts were diverted by an invitation to join The National on the road for multiple tours and TV appearances – a continuation of the role she took on their album I Am Easy To Find. “It was so brilliant when I was writing to be away from my songs and the responsibility of being in charge of a band or a project – I think it really helped my writing and my getting through whatever I needed to get through.”

                                                                                                  Richly illuminating and acutely sensitive to the pulses and currents of life, Off Off On shows This Is The Kit overflowing with ideas. In difficult times, it’s a record that feels like a lifeline, moving against the tide, standing against the storm. Keep going.

                                                                                                  FORMAT INFORMATION

                                                                                                  Coloured LP Info: Indies exclusive red vinyl.

                                                                                                  Daniel Avery

                                                                                                  Love + Light

                                                                                                    Love + Light arrives unexpectedly, following Avery’s recent collaborations with Alessandro Cortini on the critically acclaimed Illusion of Time LP (“a record that suggests Godspeed You! Black Emperor in drone mode, reimagining Music For Airports as if the runways were covered in gravel and air traffic control was on strike,” said Loud & Quiet, while Q hailed it “lush mood music to get lost in”) and alongside Roman Flügel under the alias of Noun. Avery’s previous solo album Song For Alpha was released in 2018 to similar acclaim.

                                                                                                    Avery shares, “This record has been a real positive force of energy in my life, to the point where it almost formed itself in front of me. In that same spirit, I wanted to share it with you now, as soon as it was finished. As I started to collect the pieces together, it was apparent that the album would be split into two distinct halves but halves that were inexorably tied together. One could not have existed without the other. Music has always been a source of personal strength for me yet I remain fascinated by the power it can possess of its own volition. Releasing the record in this way, just a couple of weeks after the final note had fallen, felt like a decision made by an outside force yet one I agreed with entirely. Stay safe, friends and I’ll see you on the other side soon. DA xxx”

                                                                                                    FORMAT INFORMATION

                                                                                                    Coloured LP Info: Milky Clear Vinyl.
                                                                                                    Heavyweight 180g.

                                                                                                    2xCD Info: Initial CD format contains “Falling Light” bonus CD.

                                                                                                    Prince

                                                                                                    Sign O' The Times - Deluxe Edition

                                                                                                      Overflowing with musical ideas and topical lyrics that sound just as relevant today as they did when they were initially released, Prince’s iconic double album Sign O’ The Times captured the artist in a period of complete reinvention. The final 16-track album included just some of the countless songs Prince recorded in the prolific period of 1985-1987, which saw the dissolution of his band The Revolution, the construction of his innovative recording complex, Paisley Park, and the creation (and ultimate abandonment) of the albums Dream Factory, Camille, and Crystal Ball.

                                                                                                      This September 25, The Prince Estate, in partnership with Warner Records/Rhino UK, will reissue Sign O’ The Times. This 3CD and 4LP Deluxe Editions will feature the classic album remastered for the very first time by Prince’s original mastering engineer Bernie Grundman, along with single mixes and edits released in the period the album was released.


                                                                                                      Prince

                                                                                                      Sign O' The Times - Remastered

                                                                                                        Overflowing with musical ideas and topical lyrics that sound just as relevant today as they did when they were initially released, Prince’s iconic double album Sign O’ The Times captured the artist in a period of complete reinvention. The final 16-track album included just some of the countless songs Prince recorded in the prolific period of 1985-1987, which saw the dissolution of his band The Revolution, the construction of his innovative recording complex, Paisley Park, and the creation (and ultimate abandonment) of the albums Dream Factory, Camille, and Crystal Ball.

                                                                                                        This September 25, The Prince Estate, in partnership with Warner Records/Rhino UK, will reissue Sign O’ The Times. This limited edition 2LP peach vinyl set and 2CD set will feature the classic album remastered for the very first time by Prince’s original mastering engineer Bernie Grundman.


                                                                                                        FORMAT INFORMATION

                                                                                                        2xColoured LP Info: 2xLP 180g Peach Coloured Vinyl on the initial run only.

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

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

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

                                                                                                        Some of the songs feature all of the musicians whist a few are solo guitar and vocals. Thurston is working on the final cover and sleeve art with London-based artist Radieux Radio who also scribed lyrics for a few of the tracks. BY THE FIRE will come out on The Daydream Library Series record label which was founded in 2018 especially to release London Afro-punk feminist trio Big Joanie’s debut album ‘Sistahs’.

                                                                                                        FORMAT INFORMATION

                                                                                                        2xColoured LP Info: Indies exclusive transparent orange vinyl.

                                                                                                        2xLP Info: 180 gram audiophile black vinyl.

                                                                                                        John Parish & Polly Jean Harvey

                                                                                                        Dance Hall At Louse Point

                                                                                                          Reissue on vinyl of the first collaboration album between PJ Harvey and John Parish – Dance Hall At Louse Point. Produced by Parish and Harvey, and originally released in September 1996, Dance Hall At Louse Point features the single ‘That Was My Veil’. Reissue is faithful to the original recording with vinyl cutting by Jason Mitchell at Loud Mastering, overseen by John Parish.

                                                                                                          FORMAT INFORMATION

                                                                                                          Ltd LP Info: 1LP, 180gsm black vinyl.
                                                                                                          Full colour outer sleeve printed on brown board, with printed inner sleeve.
                                                                                                          Download card.

                                                                                                          Foals

                                                                                                          Collected Reworks - National Album Day Edition

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

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

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

                                                                                                            FORMAT INFORMATION

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

                                                                                                            Robin Turner

                                                                                                            Believe In Magic - Heavenly Recordings: The First 30 Years - Saint Etienne Exclusive Edition

                                                                                                              We're super excited to be able to get our hands on some of these limited edition versions of this fantastic book. 

                                                                                                              We fell in love with Saint Etienne from the off here at Piccadilly, when they released their Kiss And Make Up single back in 1990. This was the year we took over the shop and their debut album Fox Base Alpha was a firm favourite back in our old Brown Street base. 

                                                                                                              This exclusive edition includes a 7" single: Spring b/w Spring (instrumental). 
                                                                                                              Spring is taken from Saint Etienne’s debut LP, Foxbase Alpha. It is the first time it has been released as a single. The instrumental on the flip side is previously unreleased.

                                                                                                              Heavenly was already a state of mind. Seemed like the right time to make it something really special. We were all deeply immersed in music that we loved. None of us could believe our fucking luck, really. (Jeff Barrett)

                                                                                                              It was thirty years ago today - or thereabouts - that Heavenly came to be. In celebration of this big ol’ birthday comes Believe in Magic - a chronicle not only of Foxbase Alpha, Working Men’s Club and 28 of the releases in between that got the label to where it is today, but also of the haircuts, nights down the pub, pencil-eraser-carvings, cheese toasties, acid houses, Sunday Socials and lost Weekenders - Yorkshire and otherwise - that are as much a part of its story.

                                                                                                              As Jeff Barrett puts it at the beginning of the book, if there’s a continuous theme that runs through all of this, I think it’s that everything comes down to conversations with people about music. It might seem like it all starts with someone on one side of the counter who is selling you something, or someone writing excitedly in a magazine telling you about a band you need to hear, but I don’t think I’ve ever really seen things as one-way transactions. It’s more an ongoing dialogue, one that never really stops and helps to build up this growing soundtrack to our lives, something that’s passed from one person to another. That’s really the ever-present thread. That’s why we still believe in magic.

                                                                                                              Though we are three decades distant from The World According to Sly and Lovechild, lineup changes, ups, downs, and a good few office cleanups under the label’s belt, the Heavenly firm continue not to believe their fucking luck; at still being here, keepin’ on keepin’ on doing what they love, and at being able to pass all of this - then, now, and next week - on to you.

                                                                                                              Believe in Magic is a fully illustrated history of one of the most colourful and exciting independent British record labels; a label responsible for creating satellite communities of fans around the country and at all the major festivals.
                                                                                                              After several years working at Factory and Creation, Heavenly Recordings was set up by Jeff Barrett in 1990 as the acid house revolution was in full swing; early releases set the tone and tempo for the mood of the decade to come - their first release was by perhaps the most revered acid house DJ of them all, Andrew Weatherall; and this was quickly followed by singles from St Etienne and Manic Street Preachers.

                                                                                                              Heavenly was always different to other labels; more of a 'club' with a defiant spirit of inclusiveness, and in 1994 they set up The Heavenly Social, which alongside the Hacienda, became perhaps the most famous club in recent British history, where the Chemical Brothers made their name.

                                                                                                              Over nearly 200 releases in thirty years Heavenly have consistently produced some of the most exciting music across all genres - dance, acid house, singer-songwriter, psych-garage - and this book collects rare photographs, ephemera, artwork into a celebration of a label that is, alongside Rough Trade and Factory, one of the most beloved institutions on the independent landscape. Running though the book are thirty stories, mostly told in the form of oral history by artists like James Dean Bradfield, Flowered Up, Beth Orton, Doves and Don Letts, which capture the presiding personality of the label, its bands and the people associated with its success.




                                                                                                              Robin Turner

                                                                                                              Believe In Magic - Heavenly Recordings: The First 30 Years - Working Men's Club Exclusive Edition

                                                                                                                We're super excited to be able to get our hands on some of these limited edition version of this fantastic book. 

                                                                                                                This edition features an exclusive 7" single
                                                                                                                 - Angel (part 1) b/w Angel (part 2) - from Piccadilly favourites Working Men’s Club. They blew us away with their live shows last year and we can't wait for their debut album. 

                                                                                                                You may have heard Angel in all its 12 minute glory in WMC’s legendary live sets. Here’s the studio version, produced by Ross Orton, split over both sides of a 7”.

                                                                                                                Heavenly was already a state of mind. Seemed like the right time to make it something really special. We were all deeply immersed in music that we loved. None of us could believe our fucking luck, really. (Jeff Barrett) 

                                                                                                                It was thirty years ago today - or thereabouts - that Heavenly came to be. In celebration of this big ol’ birthday comes Believe in Magic - a chronicle not only of Foxbase Alpha, Working Men’s Club and 28 of the releases in between that got the label to where it is today, but also of the haircuts, nights down the pub, pencil-eraser-carvings, cheese toasties, acid houses, Sunday Socials and lost Weekenders - Yorkshire and otherwise - that are as much a part of its story. 

                                                                                                                As Jeff Barrett puts it at the beginning of the book, if there’s a continuous theme that runs through all of this, I think it’s that everything comes down to conversations with people about music. It might seem like it all starts with someone on one side of the counter who is selling you something, or someone writing excitedly in a magazine telling you about a band you need to hear, but I don’t think I’ve ever really seen things as one-way transactions. It’s more an ongoing dialogue, one that never really stops and helps to build up this growing soundtrack to our lives, something that’s passed from one person to another. That’s really the ever-present thread. That’s why we still believe in magic. 

                                                                                                                Though we are three decades distant from The World According to Sly and Lovechild, lineup changes, ups, downs, and a good few office cleanups under the label’s belt, the Heavenly firm continue not to believe their fucking luck; at still being here, keepin’ on keepin’ on doing what they love, and at being able to pass all of this - then, now, and next week - on to you. 

                                                                                                                Believe in Magic is a fully illustrated history of one of the most colourful and exciting independent British record labels; a label responsible for creating satellite communities of fans around the country and at all the major festivals.
                                                                                                                After several years working at Factory and Creation, Heavenly Recordings was set up by Jeff Barrett in 1990 as the acid house revolution was in full swing; early releases set the tone and tempo for the mood of the decade to come - their first release was by perhaps the most revered acid house DJ of them all, Andrew Weatherall; and this was quickly followed by singles from St Etienne and Manic Street Preachers. 

                                                                                                                Heavenly was always different to other labels; more of a 'club' with a defiant spirit of inclusiveness, and in 1994 they set up The Heavenly Social, which alongside the Hacienda, became perhaps the most famous club in recent British history, where the Chemical Brothers made their name. 

                                                                                                                Over nearly 200 releases in thirty years Heavenly have consistently produced some of the most exciting music across all genres - dance, acid house, singer-songwriter, psych-garage - and this book collects rare photographs, ephemera, artwork into a celebration of a label that is, alongside Rough Trade and Factory, one of the most beloved institutions on the independent landscape. Running though the book are thirty stories, mostly told in the form of oral history by artists like James Dean Bradfield, Flowered Up, Beth Orton, Doves and Don Letts, which capture the presiding personality of the label, its bands and the people associated with its success. 



                                                                                                                Coil

                                                                                                                Musick To Play In The Dark

                                                                                                                  Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.

                                                                                                                  Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly “iterative” and “a bit of a drug blur,” the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: “This is moon musick / in the light of the moon.”

                                                                                                                  What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as interdimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey. The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming.”

                                                                                                                  FORMAT INFORMATION

                                                                                                                  Coloured LP Info: • Clear vinyl.
                                                                                                                  • Reissued for the first time in over 20 years, for the first time on double LP with the original, unedited tracks in vinyl format.
                                                                                                                  • Completely remastered and restored audio and artwork.
                                                                                                                  • Side D of the double LP includes vinyl etching art: pine tree branches rendered by the band in Bryce software in the 90s for the original album art.

                                                                                                                  2xColoured LP 2 Info: • Clear yellow vinyl.
                                                                                                                  • Reissued for the first time in over 20 years, for the first time on double LP with the original, unedited tracks in vinyl format.
                                                                                                                  • Completely remastered and restored audio and artwork.
                                                                                                                  • Side D of the double LP includes vinyl etching art: pine tree branches rendered by the band in Bryce software in the 90s for the original album art.

                                                                                                                  LP Info: • Reissued for the first time in over 20 years, for the first time on double LP with the original, unedited tracks in vinyl format.
                                                                                                                  • Completely remastered and restored audio and artwork.
                                                                                                                  • Side D of the double LP includes vinyl etching art: pine tree branches rendered by the band in Bryce software in the 90s for the original album art.

                                                                                                                  Mary Lattimore

                                                                                                                  Silver Ladders

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

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

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

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


                                                                                                                    FORMAT INFORMATION

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

                                                                                                                    Dinked Edition LP includes MP3 Download Code.

                                                                                                                    Coloured LP Info: Silver star coloured vinyl.

                                                                                                                    Coloured LP includes MP3 Download Code.

                                                                                                                    LP includes MP3 Download Code.

                                                                                                                    Holy Motors

                                                                                                                    Horse

                                                                                                                      The more hopeful ‘sunrise’ to 2018’s critically acclaimed Slow Sundown, Horse finds Tallinn, Estonia’s Holy Motors acknowledging the Americana and rockabilly strands of their musical DNA without sacrificing any of the otherworldly mystique that keeps them from neatly conforming to the shoegaze and dreampop labels often applied to their music. From the album’s opening moments, songs like “Country Church,” with its major key and classic rhythm and blues guitarline, and “Midnight Cowboy,” which sounds like a lost Buddy Holly 45 played at 33 rpm, make it clear that Horse — even if it may not accomplish the impossible task of demystifying this band of ex-Soviet cowboys — will at least show you that there’s more to them than the near-impenetrable darkness of their work to date may suggest.

                                                                                                                      While tracks like “Trouble” and “Endless Night” gravitate towards the ethereal production and existential subject matter of prior releases, repeat listens will reveal the same complex compositions and humanity that are much more a hallmark of Horse’s eight songs. As a whole, Horse stands as a warmer, more human counterpoint to 2018’s celestial Slow Sundown. As to which of the two entries better approximates Holy Motors’ natural set point, only time will tell.

                                                                                                                      FORMAT INFORMATION

                                                                                                                      Coloured LP Info: Indies exclusive metallic gold LP.

                                                                                                                      Tiña

                                                                                                                      Positive Mental Health Music

                                                                                                                        Pre-order the album to be in with a chance of winning a limited edition test pressing.

                                                                                                                        Freud’s process of therapy was famously labelled the ‘Talking Cure’ - through the act of conversation participants received cathartic relief. Positive Mental Health Music (PMHM), the debut album from South East London band Tiña, stems from this idea. Lead singer/songwriter Josh Loftin explains that he used the songs to “work through a mental breakdown”, and that for him “writing is like solving a mystery”.

                                                                                                                        The 11 track LP provides an honest and intimate portrait into this process of self-examination, covering themes of anxiety, depression, love, sex, isolation, fear and failure. Yet, PMHM is anything but a difficult listen: the tracks are catchy, lively - even danceable at times. Loftin’s cooing vocals, his lyrics poetic yet slightly self-mocking, sit atop a blend of psych-pop keys, drums and guitars, all guided by the shepherding hand of producer Dan Carey.

                                                                                                                        After singles ‘I Feel Fine’ and ‘Dip’, Positive Mental Health Music is the first ever LP to be released on Carey’s Speedy Wunderground label.

                                                                                                                        FORMAT INFORMATION

                                                                                                                        Coloured LP Info: Transparent pink vinyl.

                                                                                                                        Bob Mould

                                                                                                                        Blue Hearts

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                                          FORMAT INFORMATION

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

                                                                                                                          Mildlife

                                                                                                                          Automatic

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

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

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

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

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

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

                                                                                                                            - Bill Brewster

                                                                                                                            FORMAT INFORMATION

                                                                                                                            LP Info: Black heavyweight vinyl with locked groove.

                                                                                                                            Kate NV

                                                                                                                            Room For The Moon

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

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

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

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

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

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


                                                                                                                              FORMAT INFORMATION

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

                                                                                                                              Dinked Edition LP includes MP3 Download Code.

                                                                                                                              Ltd LP includes MP3 Download Code.


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