Rhythms' is the debut album by Goatman, a new solo project by one of the mysterious members from the Swedish collective GOAT.

Recorded in GOAT’s northern Swedish home town of Korpilombolo In late 2017 - the 6 tracks on Rhythms reveal a true collision of African Rock, Jazz, Reggae, Gospel and Psych, but all put through the famous GOAT filters.
Rhythms is a very apt title for the album as each track is an exploration of the ‘groove’. From the Fela Kuti‘esqe drums and horns jam of Jaam Ak Salam, to the frantic gospel-jazz of Carry the Load. From the fuzzed Can via the ‘Bristol sound’ track of Hum Bebass Nahin, to the cinematic, Spacemen 3‘esqe drones of the album closer Baaneexu. The end result is quite an astonishing and very unique album, like what you would expect from an album made by a member of GOAT – an album that is hard to put your finger on, but one that you will keep revisiting, the more it’s sounds reveals itself.

Goatman plays all the instruments on the album bar some additional drums by Hanna Östergren from fellow Swedish bands Hills and Träd, Gräs & Stenar, and an added horn section courtesy of Johan Asplund, David Byström. One of the standout highlights of the album though is the collection of great guest vocalists Goatman has enlisted. Tracks Jaam Ak Salam and Aduna feature the very special voice of Senegalese singer Seydi Mandoza. You will also hear the vocals of Swedish based singers Amanda Werne on Carry the Load and Amerykhan on Hum Bebass Nahin. Goatman’s passion for traditional and contemporary music from around the world can be clearly heard when listening to Rhythms.

The level of authenticity and willingness for exploration that Goatman has captured truly shows a fanatical respect for the music he is greatly influenced by. But at the end of the day, Rhythms is an album that has a sole purpose, and that is for to you to enjoy, dance and have fun too! 

FORMAT INFORMATION

Coloured LP Info: Indies exclusive pink/black swirl edition.

LP Info: Black vinyl edition.

FOR PREORDERS ONLY ALL FORMATS COME WITH AN EXCLUSIVE 18 TRACK PNKSLM CD SAMPLER.

PNKSLM Recordings are beyond excited to announce the second full length from Stockholm's Les Big Byrd. Consisting of Jocke Åhlund, Nino Keller, Frans Johansson & Martin "Konie" Ehrencrona, Les Big Byrd have been consistently one of the most exciting bands at the forefront of the Swedish music scene. Following on from 2014's "The Worshipped Cats" LP (A Recordings). 

Long awaited second album from this stargazing psychedelic pop collective, with a slick production that ensures the trip is an aural joy.

Fans of follakzoid / hookworms / will find much to lose themselves in on this album!!

FORMAT INFORMATION

Coloured LP Info: Ultra limited white vinyl edition - limited to just 350 copies worldwide.

30th Anniversary Deluxe Edition of Pixies’ Debut EP and Album, Come On Pilgrim and Surfer Rosa, includes Bonus 1986 Radio Concert Live From The Fallout Shelter

“An unparalleled example of rule-smashing innovation in independent music.” Pitchfork

“Smack in between hardcore punk and alternative, their secret weapon was leaping from sweet to screaming, driving a spike into Eighties rock.” Rolling Stone

“Surfer Rosa quickly cemented itself as a must-have album (and) 30 years on, its aged into timelessness rather than becoming a period piece.” The Quietus

It’s been thirty years since the release of Surfer Rosa – a record made up of rage, religion, gore, incest and superheroes named Tony – a debut album so good that it’s since seen as a masterpiece. A year prior came Come On Pilgrim, an eight-track mini-album released in 1987 which contained cuts culled from their first ever studio session, where they famously recorded seventeen tracks in just three days (in full, this session makes up the band’s much bootlegged and now officially released The Purple Tape).

These formative records showed the Pixies to be an alien breed; four oddball outsiders from Boston blending US underground thrash rock, indie surf pop and Spanish-language flamenco with the Biblical mythology of Frances’s childhood. They would go on to record another masterpiece in 1989’s Doolittle but it’s the gruesome glory of Surfer Rosa, and the ruined sexuality of its cover image (a topless flamenco dancer in a crumbling Mexican bar) that set a fresh blueprint for an indie rock dynamism that not only planted the seeds of grunge (Kurt Cobain would admit that he was trying to imitate the record while writing Nevermind) but of much of the best rock music made since.

To celebrate this milestone, Pixies are playing fi ve sold-out intimate shows at London’s Roundhouse this October and preceding them is the release of Come On Pilgrim… It’s Surfer Rosa, the thirtieth anniversary edition which contains Come On Pilgrim, Surfer Rosa and Live From The Fallout Shelter, a concert-cum-session that first aired in late-1986 on WJUL in Lowell, MA.

In addition to both a three CD and three LP edition, there’s also a super-limited and stunning deluxe clothbound hardbook three LP version, which will be a must for all fans. Like all other Pixies sleeves, Vaughan Oliver returns as designer, stunningly reinterpreting his original artwork with Simon Larbalestier’s iconic photographs remaining these record’s crowning glory.

FORMAT INFORMATION

3xColoured LP Info: Wide Spine Cover, Gold Vinyl, Download Card of Live From The Fallout Shelter Included.

3xDeluxe LP Info: Clothbound Hardbook, Clear Vinyl, Lyric Booklet, Art Book & Download Card of Live From The Fallout Shelter
Included.
Release date TBC but likely to be around November.

FREE SHIPPING This item has FREE UK shipping!

3xCD Info: Hardbook Wallet Case with Lyric Booklet.

The legendary Aphex Twin returns bringing the heat to this summer of love! One of the most spectacular and critically lauded artists in the world, the Collapse EP is one surely not to be missed!!!

For nearly three decades Aphex Twin has reigned as The God of Electronic Music. His tunes have packed dancefloors, soundtracked late night sessions and highlighted festivals around the globe. The emotional crescendos he manages to sculpt from his melodies take the listener on a roller coaster of feelings. Also known as Richard D. James, the Duke of Rave has built a career on frollicking visuals and beastly bangers, but this doesn’t mean the man cannot trade in a whole plethora of emotions, Avril 14th is a sumptuous celestial patchwork of sadness and euphoria, whilst Come to Daddy is without doubt the most petrifying song in the universe. The Collapse EP falls between these, affirming him as the very best electronic wizard in the game!

The Collapse EP is a juicy bag of delights. Extending the flamboyant paths that Aphex Twin has consistently managed to forge through his dizzying career. From the utterly exhilarating T69 collapse to the complete and utterly bonkers, instantaneous and life affirming abundance10edit[2 R8's, FZ20m & a 909] featuring vertigo inducing high hats and sauntering arrangements with some brain scrambling noise thrown in for good measure!

FORMAT INFORMATION

Ltd 12" Info: 12” in paper inner in Procédé Heliophore silver foil sleeve. First pressing only. DL card insert (includes bonus track pthex)

12" Info: 12” in printed inner in printed outer sleeve. DL card insert (includes bonus track pthex).

CD Info: CD in 4 panel wallet.

JON SPENCER, THE BLUES EXPLOSION MAN who put the BELLBOTTOMS on BABY DRIVER!

The Top Cat who spread the Secret Sauce in BOSS HOG!

The Rockabilly Right-Hook from Heavyweight Outlaws HEAVY TRASH!

The Swank-Fucking Master of PUSSY GALORE!

Jon Spencer is back! Often imitated, never duplicated, the original NYC underground-rock legend returns from the wilderness with twelve red-hot hits, each more powerful than the last!

This is Garage Punk for Now People! A wizard’s brew of rhythm & blues and subversive dance grooves, weaponized with sci-fi skronk and industrial attitude, calibrated for the Revolution, a Molotov cocktail of sound guaranteed to destroy any post-modern hangover!

Pulsing with energy, clanging with excitement, and dripping with radioactive soul and raw emotion, Jon Spencer opens up his heart like never before, exploring man’s modern condition with caustic guitars and outerworld crooning, asking and answering the musical question, “Is it possible to torch the cut-throat world of fake news and pre-fab, plastic-coated teen rebellion with the power of rock’n’roll?”

THE ANSWER IS YES!

SPENCER SINGS THE HITS!

This is the truth serum America has been craving, the beginning of a rock’n’roll rebellion that takes no prisoners and puts the squares on ice!

Recorded and mixed with Bill Skibbe at the Key Club in Benton Harbor, MI.

Featuring the talents of Sam Coomes (Quasi, Heatmeiser) and M. Sord (M. Sord).

FORMAT INFORMATION

Coloured LP Info: Very limited indie store exclusive coloured vinyl. 500 copies only!

“Each record I make is more of an amalgamation of who I truly am,” says John Grant. “The more I do this, the more I trust in myself, and the further along I go.”

Even when the Michigan-born man released his debut solo album Queen Of Denmark in 2010, Grant laced sumptuous soft-rock ballads with an array of spacey, wistful synthesiser sounds, increasingly adding taut, fizzing sequencers, nu-synth-disco settings and icy soundscapes to the mix on 2013’s Pale Green Ghosts and 2015’s Grey Tickles, Black Pressure, the latter The Guardian described as, “variously agonising, hilarious, uplifting and moving: another bravura display from a unique songwriting talent.”

Now, with his fourth solo album, Love Is Magic, Grant has continued evolving, creating his most electronic record yet, in collaboration with Benge (Ben Edwards), analogue synth expert/collector and a member of electronic trio Wrangler, Grant’s collaborators earlier this year under the collective name of Creep Show on the album Mr Dynamite.

Produced by Grant, and engineered by Benge at his Cornish studio, the diamond-hard, diamond-gleaming Love Is Magic, “is how I’ve always wanted my records to sound, but I didn’t know how until now,” Grant says. He also called on Paul Alexander of Denton, Texas maestros Midlake, renewing a working relationship that began on Queen Of Denmark. “Paul’s trained in theory and harmonies and was responsible for a lot of the backing vocals,” Grant enthuses. “He comes up with interesting angles rather than the obvious and plays some of the best bass lines I’ve ever heard.”

Besides the quest for sound, “the lyrics are exactly as I want them to be,” says John. “They’re not just the doom and gloom of the past, they’re a snapshot of everyday life - the ridiculousness, the pain, the deep longing.”

Anyone familiar with Grant’s story will recognise his battles - with addiction and health, with trusting love and relationships. From this turbulence he’s forged another riveting collection of often brutal diatribes and confessionals, where humour, fear, anxiety and anger overlap as Grant, with trademark candour, figuratively exposes the machinations of his saturated brain. It’s epitomised by the album’s brilliant opener ‘Metamorphosis’, almost as if his warring psyches are facing up to one another, as impervious synth-pop and brain-on-fire imagery (“Tiki bar, rat soufflé, Buik regal, Marvin Gaye”) melts into dream-ballad introspection (“Questions left unanswered, spiritual extortion”) and back to synth-backed mania.

“Metamorphosis is about going down the road of insanity because of the inability to process feelings, and properly grieve for someone, and getting bogged down by mental illness and addiction,” Grant explains. “There’s the randomness at the beginning and the end, and the truth in the middle. It’s the mess of the human mind.”

The human mind is further discombobulated by the concept of love – we crave it, obsess over it, and are invariably traumatised by it, as the album’s title track explores. “Love’s a shitshow that requires work, it’s not all lollipops and rainbows. But nothing can distract from the fact that, in spite of it all, love is still magic.”

The magic of love also pervades two gorgeous, magisterial ballads toward the end of the album, ‘Is He Strange’ and ‘The Common Snipe’ - referring to the wader bird that makes a unique ‘bleating’ sound by rubbing its tailfeathers together: “it’s about truly seeing another human being and not projecting onto them what you want them to be” says Grant.

In the same elegant, eloquent fashion, the album’s heartbreaking finale ‘Touch & Go’ is another kind of love story, centred around Chelsea Manning, the former US soldier turned WikiLeaks activist who transitioned to a woman while in prison. “I was very touched by her incredible story,” says Grant. “What kind of strength does it takes to survive like that, hated by people who say she’s a pervert who doesn’t deserve to live?”

Grant closely identifies with that scenario as he experienced prejudice himself, growing up in conservative, religious Michigan, and then Colorado, where he came to terms with being gay while being subjected to a deeply ingrained hatred of anyone perceived as homosexual at school and further alienated at home. Music, especially the new and gratifyingly gay/androgynous-leaning synth-pop sound imported from Britain, was a life-saver, while Grant also escaped, “the nasty world we grew up in,” through video games, as the gorgeous ‘Tempest’ recalls. But hormonal anxiety would rise up, which Grant recalls in the irresistibly danceable ‘Preppy Boy’, a paean to, “those cunts at school, who I hated, but a lot were very sexy. It’s a fantasy about getting what I wanted with one of them.”

The 80s-synth-pop-perfect ‘He’s Got His Mother’s Hips’ is a similar backhanded depiction, a #MeToo-related saga of “a cheeseball doing all he can to get into a woman’s pants, making a total ass of himself. It’s a fun song built on disgust.” ‘Smug Cunt’, however, is pure disgust, where a gorgeous beatific arrangement clashes with a vitriolic lyric about, “maladapted narcissists…the political system in America is built to produce the kind of buffoon we now have in charge.”

In Grant’s most hysterical (in both senses of the word) assassination yet, the narrator of Italo-disco strut ‘Diet Gum’ is simultaneously revolted by and attracted to a lover referred to as Dr. Turd-Face and Stupidzilla, and their time together, “a cross between Cannibal Apocalypse and Lassie 9”. “It’s the absurd extreme of a relationship,” he explains. “I’m exaggerating aspects of my own personality. It’s a lot of fun, but there’s a lot of truth in there too, about how people treat each other.”

There’s much else to tell about Grant: how the demise of his first band The Czars led him to abandon music for five years before an instantly acclaimed solo career, chart success (Grey Tickles… went Top Five in the UK) and a Best International Male Solo Artist nomination at the 2014 BRITS alongside Eminem and Justin Timberlake. Sinead O’Connor and Tracey Thorn have guested on Grant’s records, he’s sung live with Alison Goldfrapp and Kylie Minogue, performed at the 2017 Songs Of Scott Walker (1967-70) BBC Prom, and co-written/sung on Hercules And Love Affair and Robbie Williams albums. Last Autumn he recorded the “Kindling” duet with Elbow then went on to tour with them this Spring. His music has been used in films such as Andrew Haigh’s drama Weekend and Daisy Asquith’s Queerama. In 2016, he fronted BBC Radio 4's Reimagining The City, taking listeners around Reykjavik, where Grant has lived since 2012; in April 2017 he curated North Atlantic Flux: Sounds from Smoky Bay in Hull, showcasing thrilling and innovative musicians from Scandinavia and Iceland. But that is the past, just as Grant’s autobiography, for publishers Little, Brown, is the future. The present is Love Is Magic, the latest instalment in Grant’s astonishing story.

FORMAT INFORMATION

2xColoured LP Info: This deluxe version is 140g clear vinyl. Includes 16 page 'Hymn Booklet' containing lyrics along with a 24 page photo booklet which includes photos taken by John Grant.

2xLP Info: 140g black vinyl. Includes 16 page 'Hymn Booklet' containing lyrics.

In July 2014, Jungle released their self-titled debut album. Featuring the singles ‘Platoon’, ‘Busy Earnin’’, ‘Time’, ‘The Heat’ and ‘Julia’, neo-soul classics all, it was the aspirational sound of young London, a soundtrack of escapism, an unmistakable Jungle sound and a unique, vivid, visual Jungle world. The whole thing was dreamed up by Josh “J” Lloyd-Watson and Tom “T” McFarland, a production and multi-instrumentalist duo who never expected to leave their bedroom studios, far less become the core of a talent-filled seven-strong collective that morphed into a killer live outfit. Cue online word-of-mouth and IRL buzz, rave reviews, a Mercury Music Prize nomination, songs of the summer (two summers, even), viral videos, Noel Gallagher declaring the album “fucking amazing”, half a million sales, burgeoning DJ careers, a global tour that lasted two solid years. It all just happened.

Today, Jungle announce news of the follow-up to that defining debut record. The album is titled For Ever and will be released on 14th September via XL Recordings. If Jungle’s first album was their imaginary soundtrack to the places they had never been, For Ever is inspired by real life experiences of the places they’d dreamed of for so long. Swapping Shepherds Bush for the Hollywood Hills, J and T set up camp in Los Angeles to write and record the album. Over time however, their romanticization of The Californian Dream clashed with the reality of actually living it, the feeling of being adrift on the West Coast compounded by the collapse of long-term relationships. Returning home to London, they teamed up with highly regarded young producer Inflo where they sought to create a "post-apocalyptic radio station playing break up songs”, whittling down loads of ideas this concept spawned into the core 13 tracks you have before you. That station and those songs and that journey are the sound of Jungle’s second album For Ever. They had to go away to come home. And what J and T lost in love, they gained in music. For Ever is for real, deeper and higher, more intimate and more expansive, feelgood and, just occasionally, feelbad. It is, then, a proper second album.

FORMAT INFORMATION

Coloured LP Info: Limited Yellow LP.

Coloured LP includes MP3 Download Code.

LP includes MP3 Download Code.

Mogwai's first venture into the world of the feature film soundtracks is for the upcoming KIN (directed by the producers that bought you Stranger Things and Arrival, Jonathan and Josh Baker and in cinemas 31st August 2018).

Mogwai fans won't be disappointed and it will appeal to lovers of sci fi film soundtracks.

Includes the previously released single 'Donuts'.

FORMAT INFORMATION

Coloured LP Info: Limited red vinyl LP

Coloured LP includes MP3 Download Code.

CD includes MP3 Download Code.

Produced in its entirety by Marshall, Wanderer includes appearances by long-time friends and compatriots, as well as guest vocals courtesy of friend and recent tour-mate Lana Del Rey. Written and recorded in Miami and Los Angeles over the course of the last few years, the new album Wanderer is a remarkable return from an iconic American voice.

Wanderer’s 11 tracks encompass “my journey so far,” says Marshall. “The course my life has taken in this journey - going from town to town, with my guitar, telling my tale; with reverence to the people who did this generations before me. Folk singers, blues singers, and everything in between. They were all wanderers, and I am lucky to be among them.”

FORMAT INFORMATION

Coloured LP Info: Indies exclusive clear vinyl.

Joe Oxley is the self-styled one-man electro / psych machine behind TVAM - arguably producing the biggest dancefloor action Wigan has seen since the legendary Casino closed its doors in the 1970’s . As 6Music’s Lauren Laverne observed “It’s like someone took Spiritualized to the club!!”

Hypnotic tracks which straddle an impressive spectrum of influence; with Boards of Can-ada’s irresistible nostalgia, Suicide’s deconstructed rock ’n’ roll and My Bloody Valen-tine’’s infinite noise all becoming touching points in Oxley’s musical output.

TVAM gigs blur the boundary between art and performance; via a large television sat on an 80’s secondary school-style podium, a VHS video recorder projects long-forgotten Mondo movies alongside vintage footage often sourced from hours spent poring through charity shop shelves – “What started as a passing interest became an obsession. I found so many seemingly random videos, each with its own individual meaning, now estranged from their owners. Did these people ever take up calisthenics? Did they install a model railway in their spare bedroom? Did they learn to communicate more effectively with their teenage children? Did they find something in those high-speed rally crash videos unseen by us today..?

I love the process of chopping things up and splicing back together; creating new meaning out of thin air. Combining this with the music I was making, I knew the performance had to fit. Somewhere between Adam Curtis and BBC Schools… somewhere between ‘Threads' and ‘Words & Pictures’.”

Self-produced and home-recorded, the album was mixed by the steady hands of Dean Honer (Moonlandingz, I Monster, Add (N) To X) - “It was great working with Dean. I’m a massive Add N To (X) fan and, after hearing what he was doing with Moonlandingz, I knew he’d get where I was coming from. Though having seen his collection of synths I now need to up my game.”

TVAM has remixed Amber Arcades, The KVB, TOY, FEWS and is currently putting fin-ishing touches to a remix for Tunng (who are returning the favour, watch this space…)

Crafting a world which touches on our memories but toys with our fears, a world in which information seeps under your door and pools by your feet, a world in which he seeks to define everything from abandoned meanings to subconscious desires, Psychic Da-ta invites us to experience the psychodrama first hand.

FORMAT INFORMATION

Coloured LP Info: Indies exclusive orange vinyl.

Released through Heavenly Recordings, ‘Sugar & Spice EP’ is presented on blue vinyl in a clear PVC sleeve.

Hatchie is one Harriette Pilbeam, a native of Brisbane who has already attracted plaudits at home prior to unsurprisingly picking up wider acclaim from the likes of NPR and Beats 1.

Having played with various friends and bands in Brisbane, Hatchie is her first foray into solo territory, one she is quick to admit is positive, that allows her to make her own decisions, assert herself and make so many positive changes.

Her world is a dreamy landscape inhabited by cascading synths, jangling guitars and undeniable, irresistible pop melodies. ‘Sure’, prompted by a melody, was composed on a whim and completed in a day. As she explains; “All of my songs start with singing. I hear the melody first and then work out the chords I’m imagining under that and despite not knowing chord names I have a good ear so can kinda figure it out.”

“You can’t fault their own immaculate take on dream pop” - Clash; “The Aussie dream-pop auteur joining the dots between Cocteau Twins and Carly Rae Jepsen” - NME; “A masterclass in driving and swirling indie-pop, ‘Sugar & Spice’ is hard not to love, even on first listen.” - The Independent; “Pure, twinkling sunshine.” - Noisey; “Hatchie swoops into earshot... a marvellous mesh of Cocteau Twins-y atmospherics & jangly 90’s pop” - The Line of Best Fit

In 2018, Low will turn twenty-five. Since 1993, Alan Sparhawk and Mimi Parker—the married couple whose heaven-and-earth harmonies have always held the band’s center—have pioneered a subgenre, shrugged off its strictures, recorded a Christmas classic, become a magnetic onstage force, and emerged as one of music’s most steadfast and vital vehicles for pulling light from our darkest emotional recesses. But Low will not commemorate its first quarter-century with mawkish nostalgia or safe runs through songbook favorites. Instead, in faithfully defiant fashion, Low will release its most brazen, abrasive (and, paradoxically, most empowering) album ever: Double Negative, an unflinching eleven-song quest through snarling static and shattering beats that somehow culminates in the brightest pop song of Low’s career.

To make Double Negative, Low reenlisted B.J. Burton, the quietly energetic and adventurous producer who has made records with James Blake, Sylvan Esso, and The Tallest Man on Earth in recent years while working as one of the go-to figures at Bon Iver’s home studio, April Base. Burton recorded Low’s last album, 2015’s Ones and Sixes, at April Base, adding might to many of its beats and squelch and frisson beneath many of its melodies.

This time, though, Sparhawk, Parker, and bassist Steve Garrington knew they wanted to go further with Burton and his palette of sounds, to see what someone who is, as Sparhawk puts it, “a hip-hop guy” could truly do to their music. Rather than obsessively write and rehearse at home in Duluth, Minnesota, they would often head southeast to Eau Claire, Wisconsin, arriving with sketches and ideas that they would work on for days with Burton. Band and producer became collaborative cowriters, building the pieces up and breaking them down and building them again until their purpose and force felt clear. As the world outside seemed to slide deeper into instability, Low repeated this process for the better part of two years, pondering the results during tours and breaks at home. They considered not only how the fragments fit together but also how, in the United States of 2018, they functioned as statements and salves.

Double Negative is, indeed, a record perfectly and painfully suited for our time. Loud and contentious and commanding, Low fights for the world by fighting against it. It begins in pure bedlam, with a beat built from a loop of ruptured noise waging war against the paired voices of Sparhawk and Parker the moment they begin to sing during the massive “Quorum.” For forty minutes, they indulge the battle, trying to be heard amid the noisy grain, sometimes winning and sometimes being tossed toward oblivion. In spite of the mounting noise, Sparhawk and Parker still sing. Or maybe they sing because of the noise. For Low, has there ever really been a difference?

FORMAT INFORMATION

Coloured LP Info: Very limited crystal clear vinyl in an embossed jacket with custom dust sleeve.

Coloured LP includes MP3 Download Code.

LP Info: Gatefold digipak with embossed cover.

CD Info: Embossed jacket with custom dust sleeve.

CD includes MP3 Download Code.

Cassette Info: Four-panel J-card in clear case.

The sleeve tells you so much about the process. It’s a picture of a lone figure. Suited up and immersed in interplanetary protective gear, he walks out across unmapped terrain. In the distance, a mountain range towers over the roughly gridded sand he’s striding. This is very much a solo mission – giant steps into the unknown. Inside the helmet, there’s all the uncertainty and madness that such a pursuit brings.

That sleeve (designed, as ever, with Mark Farrow), comes wrapped around And Nothing Hurt - Spiritualized’s eighth album, the follow up to 2012’s Sweet Heart, Sweet Light. From the opening lullaby of A Perfect Miracle through to the fading Morse Code at the close of Sail on Through, it painstakingly wraps layer upon layer of gloriously transcendent sound together to create a mesmerizing and cinematic collection of songs.

There are points – the thunderous climax of On the Sunshine; the spectral waltz of The Prize; the towering guitar solo on I’m Your Man – where the waves of blissful noise are almost overwhelming, where one can imagine the studio’s speakers vibrating themselves off of the walls. Which is an incredible feat when you discover that the album was conceived and recorded almost entirely by one man – Jason Pierce, AKA J.Spaceman - in an upstairs room in his east London home. Sat in an edit suite in Whitechapel a month or so after finishing recording, Jason talks honestly about the painstaking, frustrating process of creating And Nothing Hurt.

“Making this record on my own sent me more mad than anything I’ve done before. We’d been playing these big shows and I really wanted to capture that sound we were making but, without the funds to do, I had to find a way to work within the constraints of what money I had. So I bought a laptop and made it all in a little room in my house.”

Whereas bedroom recording is commonplace for a generation of musicians who’ve grown up with horizon-expanding tech, Spiritualized have long used the studio as they would an extra member of the band – as a vital building block in the construction of some of the most cherished records of the modern era. This time would be very different. With no grounding in digital recording, Jason had to learn everything from scratch.

“The biggest thing for me was to try to make it sound like a studio session. There are bits that I went to a studio to record – mainly drums and percussion. I mean, there’s no way I’m going to get timpani up my stairs. When I came to terms with how I was going to make the record, I assumed it was going to sound like Lee Perry - all flying in from different angles; all extraordinary and not hi-tech in construction. But I was new to it all, I didn’t have all the short cuts people use when they’re making records – I just sat there for weeks… for months… moving every level up bit by bit just to try to get the sounds right.”

For the listener, the nine tracks on And Nothing Hurt effortlessly replicate the scale and power of Spiritualized’s previous releases, whether it’s the sonic blowback of On the Sunshine, the last dime in the jukebox love letter of Let’s Dance or the swell of an imaginary orchestra that seems to lift Damaged towards the heavens as it plays out.

“With a bit of trial and lot of error, I found ways of doing something that’s quite simple, if you’ve got the resources. I spent two weeks listening to classical records and strumming the chord that I wanted on my guitar. When I found something to match what I wanted, I’d sample that bit and go for the next chord and try to match that. It took weeks, trying to put together and layer convincing string sounds. But, if I’m honest, all I wanted was for someone to come and play the part and bring their own thing to the record.”

One of the biggest influences on the final sound of the record was a series of shows played in 2016 celebrating the (near) 20th anniversary of the band’s peerless 1997 release Ladies And Gentlemen We Are Floating In Space. Those shows, played with a fifteen-piece orchestra and a gospel choir, forced Jason to revisit songs that he’d already been working on for years.

“Part of the reason for doing those gigs was to inform the songs I’d been working on. Trying to sing convincingly in a little room at home was really difficult. The big shows helped remind myself what it’s like to sing with that kind of backing. I can’t really describe it… when you’re singing with a choir behind you and there’s all this noise coming off the stage, you sing things very differently to how you would A) in a studio or B) sitting on your bed at home recording into a laptop.”

Lyrically, And Nothing Hurt touches on thoughts of passing time and acceptance of one’s age – never more beautifully than on Let’s Dance (‘The hour is getting late, they’re putting all the chairs away / they’ve got Big Star on the radio, they’ll let us stay’).

“I didn’t want to be fighting against my age; it’s very much about acceptance. And not with any dissatisfaction either – I’m not raging against the inevitable. I spent a lot of time thinking about the way that the songs should hold together, trying to make the narratives make sense rather than just throwing together a couple of lines that rhymed. Let’s Dance was very much a ‘last orders’ kind of song, about grasping at the finality of that moment.”

During the making of And Nothing Hurt, Jason kept returning to the thought that this would be the last Spiritualized record – interviews over the last couple of years made it clear that the frustration of trying to replicate the sounds in his head whilst sat on his bed were proving too much. With the record finally finished and a new UK label (Bella Union – Fat Possum continue to release Spiritualized records in the States), does he feel the same way now?

“I was quite sincere about that and I still feel like it might be the case. It was such hard work. I found myself going crazy for so long. It’s not like there’s no coming back, I’m fine now… it’s just such a hard thing to do, to make a record like this on your own. It’s almost as if, if I’m not pushing myself to point of madness, it’s not going to be right. And I know it’s going to be like that every time. What’s the definition of madness? Doing the same thing over and over and expecting different results. I kind of do that. I think the biggest goal is to make something that’s worthy of all that time and effort. And the more time and effort, the bigger the goal. I knew I had to make something that was good enough that it should be made. And a massive positive about making the record is that we get to play it live. That’s always the most joyous thing; everyone gets to contribute to the sound, this amazing thing that seems to come right through the roof.”

If the last set of Spiritualized gigs helped set the course for how And Nothing Hurt now sounds – alternately intimate, hypnotic, cyclonic and downright spiritual - maybe… just maybe… this next set will encourage Jason to flip open the laptop to press record again. Here’s hoping.

FORMAT INFORMATION

Coloured LP Info: Indies exclusive white vinyl.

2xDeluxe LP Info: Deluxe edition orange vinyl.

NUMBERED SLIPCASE featuring ‘Champion Versions’ EP (red vinyl 12” in single sleeve), ‘The Patty Patty Sound’ EP (double yellow 12” vinyl ) and ‘Los Amigos Del Beta Bandidos’ EP (blue 12” vinyl in single sleeve).

CD included in clear plastic sleeve with flap (includes all tracks)

Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation.

After acquiring the Beta Band’s catalogue last year, Because Music will reissue their releases, starting on September 14th with a deluxe vinyl edition gathering in a slipcase the EPs ‘Champion Versions’, ‘The Patty Patty Sound’ and ‘Los Amigos Del Beta Bandidos’ with remastered tracks and coloured vinyls, to celebrate the 20th anniversary of the 1998 compilation. Because Music will release at the same time a double CD Best-Of compiling all their best hits and a live show recorded at the Shepherd’s Bush Empire (London) in 2004. 

FORMAT INFORMATION

Ltd Box Set Info: 4x12” EP + CD.

Written over the last year and, for the most part, written and recorded live in the Invada studios, the band continue to forge their own path through their own genre of oddness.

To celebrate the album announcement, Beak> released a new single entitled “Brean Down”. Showcasing the lyrical side of Beak>, “Brean Down” sounds as though Nirvana are gatecrashing a Bronx B-Boy convention.

“>>> definitely sounds like a step forward. The production and feel of the first two albums was like listening through frosted glass; a band playing behind a curtain. Now we are hearing Beak> in sharp focus, but without forfeiting what the band see as its ‘wrongness’. This could be the result of having played bigger stages and festivals - something that was never part of the plan - or perhaps it is just a reaction to the infinite cut & paste fuzz pedal kraut bands on the planet.” 

FORMAT INFORMATION

Ltd LP includes MP3 Download Code.

Christine and The Queens announces her eagerly anticipated second album. Titled Chris, the record will be released by Because Music in digital and physical formats, including double CD and vinyl versions, as well as limited edition boxset, There are two versions of the album; one sung exclusively in English and one sung exclusively in French.

Chris was written, arranged and performed by Christine and the Queens. It is the follow up to her already-iconic debut record Chaleur Humaine, released to near-universal acclaim in France in 2014 and the UK in 2016, and selling more than 1.3 million copies to date.

FORMAT INFORMATION

Ltd Box Set Info: 2LP+CD French Edition + 2LP+CD English Edition
Limited numbered edition (10 000 copies worldwide. 3K in the UK)
Contains: French version: 2 black vinyls with discobag inner-sleeves in gatefold sleeve with exclusive alternate cover.
30x60cm French version poster.
1CD French version included

English version: 2 black vinyls with discobag inner-sleeves in gatefold sleeve with exclusive alternate cover.
30x60 alternate English version poster. 1CD English version included.

Iron & Wine follow up their 2018 Grammy-nominated full-length Beast Epic with Weed Garden, a collection of material that began about three years ago. The six-song EP features songs that were part of the writing phase for Beast Epic, but went unfinished. They were part of a larger narrative for principal songwriter Sam Beam, who ran out of time to get them where they needed to be for inclusion on Beast Epic. Weed Garden also includes the fan favorite “Waves of Galveston.”
While on tour last fall, the final pieces of material took shape and a sense of urgency prevailed in bringing these characters full circle. To resolution. To completion. In January, Beam and company hunkered down in Chicago at The Loft recording studio to capture these six songs.  No more, no less.
Weed Garden joins the good company of previous Iron & Wine EP’s – The Sea and Rhythm, Woman King, In the Reins – and in 2018’s attention-span challenged world that's not a bad thing.

FORMAT INFORMATION

Coloured LP Info: Loser Edition on opaque orange coloured vinyl

The Lemon Twigs emerged in 2016 with their debut LP, Do Hollywood, which was praised by Rolling Stone for its “toting hooky songs that stand out for their intricate arrangements and delectable melodies” and NPR Music who mused, “like listening to music from a time that never was…a baroque rock romp.”

Their second album, Go To School is their most ambitious work yet; a conceptual musical, conceived by brothers Brian and Michael D’Addario, which tells a heartbreaking coming of age story of Shane, a pure of heart chimpanzee raised as a human boy as he comes to terms with the obstacles of life. Todd Rundgren and their real-life mother Susan Hall play Shane’s parents. The album also features contributions from Jody Stephens (Big Star), Natalie Mering (Weyes Blood) and their father Ronnie D’Addario.

FORMAT INFORMATION

Indies Exclusive LP Info: Indies exclusive includes bonus 7" featuring "Foolin' Around" / "Tailor Made".

Bristol, UK 5-piece Idles (aka “the UK's best punk band" - The Guardian) release their sophomore LP - ‘Joy as an Act of Resistance.’ 

Produced by Space and mixed by Adam Greenspan & Nick Launay (Arcade Fire, Yeah Yeah Yeahs, Kate Bush), ‘Joy as an Act of Resistance.’ takes aim at everything from toxic masculinity, nationalism, immigration, and class inequality - all while maintaining a visceral, infectious positivity. Singer Joe Talbot summarizes: “This album is an attempt to be vulnerable to our audience and to encourage vulnerability; a brave naked smile in this shitty new world. We have stripped back the songs and lyrics to our bare flesh to allow each other to breathe, to celebrate our differences, and act as an ode to communities and the individuals that forge them. Because without our community, we’d be nothing.”

FORMAT INFORMATION

Coloured LP Info: Pink vinyl.

Deluxe LP Info: Gold glitter embossed sleeve with 18 different artwork variation inserts.

Raised in England, Hynes started out as a teenage punk in the UK band Test Icicles before releasing two orchestral acoustic pop records as Lightspeed Champion. In 2011, he released Coastal Grooves, the first of three solo albums under the moniker Blood Orange. His last album, Freetown Sound, was released to critical acclaim in 2016, and saw Hynes defined as one of the foremost musical voices of his time, receiving comparisons to the likes of Kendrick Lamar and D’Angelo for his own searing and soothing personal document of life as a black man in America. He has collaborated with Solange Knowles, Skepta, fka twigs, Carly Rae Jepsen, A$AP Rocky, Charlotte Gainsbourg, Blondie, and many other artists, and was recently one of four artists invited to the Kennedy Center to perform alongside Philip Glass. In addition to his production work, he scored the film Palo Alto, directed by Gia Coppola.

Negro Swan was written and produced by Hynes. Says Hynes:

“My newest album is an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color. A reach back into childhood and modern traumas, and the things we do to get through it all. The underlying thread through each piece on the album is the idea of HOPE, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness.”

FORMAT INFORMATION

2xColoured LP Info: Independent retailers exclusive on heavyweight
orange coloured vinyl with digital download code.

2xLP Info: Double LP pressed on heavyweight vinyl with digital
download code.

Doncaster bred and Manchester based, The Blinders are Thomas Haywood (guitar, vocals, word), Charlie McGough (bass guitar), Matthew Neale (drums, backing vocals). Influenced as much by the daily news as music, their impact, even at this early stage, cannot be over stated.

Out 3rd May, ‘L’etat C’est Moi’ is the new single from Manchester based trio The Blinders and the second track to be taken from their forthcoming debut album. Described by the band as “A self-proclaimed war-dance told by the Idiot King himself. The first-person perspective of a madman, and his obsessive fantasies for power over all, and insolence from none.” The quote is attributed to Louis XIV declaring “I am the state” at the end of the 18th century.

The track is the follow up to ‘Gotta Get Through’ which has been featured heavily on 6 Music (they played their first session for the station last week on Steve Lamacq’s show who described them as "the fastest emerging UK band at the moment") and hit the number 1 slot on Amazing Radio. The band have been playing several shows since the start of the year including many sold out dates. The have a busy summer planned live with headline shows in Manchester and London and festivals, many more of which are to be announced.

The track was produced by Gavin Monaghan at Magic Garden Studios in Wolverhampton and is released on Modern Sky UK.

For the first time since 2007’s Our Love to Admire, Interpol have opened themselves up to the input of a producer. For two-week spells between December of 2017 to April of 2018, they travelled to upstate New York to work with Dave Fridmann – famed for recording with Mercury Rev, Flaming Lips, MGMT, Spoon, Mogwai, and countless more.

In the run up to writing and recording, Sam found himself immersed in soul drummers such as Al Jackson Jr (Otis Redding’s drummer) and 80’s funk producers Jimmy Jam and Terry Lewis. “How can I make shit swing?” was the question Sam repeatedly asked himself, and the answer is in the striding gallop of opener “If You Really Love Nothing,” the embellished skip ‘n’ bounce of “Stay in Touch” and the R&B swagger of closer “It Probably Matters.” Interpol have always been world-beaters at creating a feeling, but Marauder is where the feel is just as crucial.

Paul may have stepped out of the shadows as a bassist, but he’s stepping into an even brighter light as a songwriter. During Interpol’s previous albums, the singer largely kept himself out of his own work, preferring to fill his lyrics with detached thoughts, characters, and observations, often phrased in abstract. But more than 20 years on since forming at NYU, the frontman is finally allowing himself to play a role in his own stories.

“This record is where I feel touching on real things that have happened to me are exciting and evocative to write about,” he explains. “I think in the past, I always felt autobiography was too small a thing for me to reference. I feel like now, I’m able to romanticize parts of my own life.”

FORMAT INFORMATION

Coloured LP Info: Indies only cream coloured vinyl.

Coloured LP includes MP3 Download Code.

Remastered edition of a compilation of Stereolab’s first three singles, first issued in 1992.

Remastered edition of a compilation of Stereolab singles and rarities, first issued in 1995.

Remastered edition of a compilation of Stereolab singles and rarities, first issued in 1998.

FORMAT INFORMATION

3xColoured LP includes MP3 Download Code.

Anthology box set of Stereolab’s Switched On compilations of singles and rarities, originally issued between 1992 and 1998. Contains Switched On, Refried Ectoplasm [Switched On Volume 2], and Aluminum Tunes [Switched On Volume 3].

Mac DeMarco’s second album, 2, cleaned up the songwriter’s warped take on soft rock and brought it to a broader audience. Given DeMarco’s affinity for keeping things lo-fi—2 was the first time he’d bothered to record demos—it’s revealing to hear these songs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like “Annie” and the Lennon-esque “Sherrill.”

FORMAT INFORMATION

Coloured LP Info: Captured Tracks Tenth Anniversary Edition, Pressed on Green Vinyl

FORMAT INFORMATION

Coloured LP Info: Indies exclusive clear vinyl with yellow splatter.

Mac DeMarco’s breakthrough sophomore album, Salad Days – released on April Fools’, 2014 – garnered widespread critical acclaim, landing on over 30 Year End lists. It was the album that catapulted DeMarco from “loveable slacker” to “mature songwriter with a gaptoothed grin,” all at the tender age of 23. DeMarco’s demos for Salad Days, originally included in an expanded edition of the album only available on Captured Tracks Mail Order site, peel back the curtain of said artist, who, up until then, may have been more known for his raucous live shows than his genuine talent as a songwriter and craftsman. This collection of demos and sketches as well as previously unreleased instrumental demos offer a rare insight into Mac’s world and process.

FORMAT INFORMATION

Coloured LP Info: Captured Tracks Tenth Anniversary Edition, Pressed on White Vinyl

Drenge are Eoin Loveless and Rory Loveless, from Castleton, Derbyshire. They have released two critically acclaimed albums, Drenge (2013) and Undertow (2015), headlined shows worldwide and toured with the likes of Wolf Alice, the Maccabees and Arctic Monkeys.

“We are very proud to unveil our first foray into the Extended Player format,” say the band. “Recorded at McCall Sound on Sheffield’s own Sunset Strip with Ross Orton. Autonomy showcases some of our recent work, by way of verses, choruses, middle eights and all that other stuff you learn at BRIT school. There’ll be a limited run of Robot-Coloured ® vinyl which will be about the size and shape of a supermarket pizza. On the cover you can see our temporary mascot, DR3-NG3, a scientific research robot nearing the end of his functional capabilities and pursuing a quest for validation. Made in Sheffield.”

FORMAT INFORMATION

Coloured LP Info: Limited edition Robot-Coloured vinyl.

Over the last decade, Lanegan and Garwood have worked in tangent on 2013’s Black Pudding as well as on Lanegan’s solo records (Garwood contributed to 2012’s Blues Funeral and 2017’s Gargoyle after which he toured as part of Lanegan’s band). Writing and recording was split between studio collaboration and sharing music between Garwood’s home in London and Lanegan’s in Los Angeles. Elsewhere, technology helped make the duo’s transatlantic working relationships relatively easy.

“Over the years, we’ve recorded together and apart. This time, I started this record alone, with many animals as company,” says Garwood. “It flowed, I set to work and out it came. Our music is instinct, there is not much talking about it, just creating. I think that if you are at peace with your work, and feeling it right, it flows, and can feel ‘easy’. Music isn't meant to be hard. Though sometimes it can burn you to ashes. Making music for a singer, so they can inhabit it with a song means hitting the right soul buttons. There is no hit without a miss. It is a healing record, for us the makers, and for the listeners. It grows natural. We are gardeners of sonic feelings.”

While Black Pudding put Garwood’s mercurial guitar centre stage, With Animals is constructed from a different set of tools. Analogue and dust flecked, it sounds like Lanegan and Garwood have been holed up in a ’60s recording studio while the apocalypse rages outside. Tracks sit on loops that sounds like they’re straight out of There’s A Riot Goin’ On while sparse melodies nod in the direction of British electronic producers like Burial or Boards of Canada. Which is not to say it sounds like any of those things – this is a weird world all of their own design.

The record’s 12 songs are spectral and sinewy, often defined by the spaces in between the sounds. A ghost’s whistle weaves itself around a pulsing single note on Lonesome Infidel; Feast to Famine’s hard luck story floats above a guitar part so strung out and washed with distortion it’s become barely recognisable. It’s soul music for anyone who’s long since left the crossroads.

FORMAT INFORMATION

LP Info: Limited edition 180 gram vinyl.

LP includes MP3 Download Code.

Sleaford Mods are pleased to announce their self-titled new EP “Sleaford Mods” which is released via Rough Trade Records on September 14th 2018. The EP will be available on 12”, CD & DL.

This is the band’s first new music since last year’s top 15 album “English Tapas” The EP was recorded in Spring 2018 in Nottingham, and features five new tracks including lead track “Stick in a Five & Go”. The band are confirmed to play two nights at London’s Roundhouse on September 21st & 22nd 2018 and also their biggest hometown show at Nottingham’s Concert Hall on September 30th. They also play their biggest Paris show too at Le Triannon on 26th Sept, some Scottish dates in November with shows in Copenhagen and Amsterdam planned for November too.

The band are currently in the studio in Nottingham working on tracks for a new album planned for March 2019.

Jason Williamson says about the new songs “the lead tracks are mostly full of violent tendencies that only transpire through imagination. People are powerless under the political monster and the intense anger and frustration morphs into illusions of attacking each other through the bravado of social media, depression and paranoia.”

"It’s about the concepts and stories we invent to understand our experienced reality and feel like we matter somehow, and about the fluid and sometimes contradictory nature of these stories. Like the concept of romantic love, for example. Is this actually a thing? Sometimes it seems so tangible it becomes my whole world, other times I’m convinced it’s just a scam I keep falling for. Both of these sentiments feel equally true at different times. The same with politics and identity. When I’m in the Netherlands I don’t really pay much attention to being “Dutch” or “European”, and I think politicians who focus on a shared Dutch culture are lame at best and dangerous at worst. Then when I’m in the US being Dutch all of a sudden seems to be a huge part of my identity. I guess the point is, whatever idea I have about myself or about love, politics, morality, and anything at all, is so fluid and relative that I’m finding it hard to say that I trust any of my own views, ideas or perceptions anymore. Which sucks, because I really want to find meaning to this life, and it’s hard to find that when you don’t trust any of your own experiences. For example, happiness: I have this Calvinistic idea that in order to achieve happiness, I have to struggle, I have to earn it by overcoming challenges, developing myself, etc. But the end-result will just be the same as if I did nothing: you die and then nothing you’ve done or achieved matters anymore. So does a human life move upwards towards a certain goal, or is it just a chain of random events? And what about our collective history, does it move towards a goal, is there progress, or is it just a random collection of events? I think most people like to think there is progress, both in their personal life as well as in the world at large, that we are working towards being a better more developed person and also towards collectively building a better world. At the same time, we tend to romanticize the past and think everything was better “back in the days”. Something I’ve always wondered is whether these concepts and experiences can be translated from the individual to the masses, and from the psychological to the physical. For example this last sentiment: that the past somehow always feels like it was better in some way than the present. I’m definitely guilty of this on a personal level. When I think about being a kid and growing up, all those memories are kind of covered in a warm and golden haze. You remember the good stuff very clearly, and all those moments when you were just bored sitting in front of the TV or staring at the clock in school waiting for the bell to ring kind of fade away, even though that was probably about 50% of your time being a kid. This same process seems to happen in whole nations, too, where we collectively decide that the past was better than the present and we feel the need to “take back control” or “make something great again” and all that jazz. And the same with romantic love. The minute you’ve broken up with someone and you’ve walked out the door, you start to idealize and romanticize what it was like being in that relationship and forget about all the fucked up thing that came with it. In a way it makes sense to romanticize the past. Maybe it’s one way to feel like the time we’ve spent in this mortal life was worth something, that it wasn’t all bad. We need to be able to tell a story about it, if we encounter a challenge we want to feel like it meant something, it made us grow. Just accepting that some bad shit happened to us for no good reason is hard. It’s pretty impressive how positive and hopeful we are as a species. Just like most of the movies we make always have a happy ending. It wouldn’t feel right if they didn’t. And even in these times, when we’re apparently on the brink of a sixth wave of extinction, climate scientists who say that they are certain the human species doesn’t have much of a future still also say they are sure something will happen or be invented to save us, even if they have no idea what or how. In a way being a tourist is like a condensed version of all these hopes and dreams and disappointments. We went on a road trip in California right after we finished recording in LA and it was pretty fascinating. Like, why do people even go on vacation? I guess for a lot of people it’s a way to escape fixed patterns, to go out and have “real experiences”, to “feel alive”. But then you’re on this road trip and internally you’re still the same old human, who is still plagued by the same insecurities and boredom and is wondering where the nearest bathroom is and are we there yet because it’s so hot in the car and the AC sucks.

And voila, I guess the record is about my personal, mundane, relative and subjective experience of the human condition so far in this life." - Amber Arcades

Soundtrack album to the forthcoming documentary The Man from Mo’ Wax that charts the life of pioneering UK electronic/trip-hop figure James Lavelle, whose presence in the scene as a DJ, producer and label head remains pivotal today, nearly three decades into his career.

The soundtrack features tracks from the film that chart the life of Lavelle + his label Mo’ Wax including:
- artists that inspired him to create Mo’ Wax such as Hiroshi + Kudo, Zimbabwe Legit, Marie 'Queenie' Lyons + The Wild Bunch
- trip-hop classics from Mo’ Wax by DJ Shadow, La Funk Mob, Attica Blues, Dr. Octagon, DJ Krush + RPM
- essential Lavelle productions/co-writes with Thom Yorke, Ian Brown + Queens of the Stone Age.

The film features interviews with DJ Shadow, Joshua Homme of Queens of the Stone Age, Massive Attack’s Robert Del Naja (3D), Ian Brown, Futura, Thom Yorke and Grandmaster Flash who help tell the remarkable story of one of the most enigmatic yet influential figures in contemporary British culture. Unearthed from over 700 hours of footage including his exclusive personal archive spanning three decades, The Man from Mo’ Wax is an exhilarating, no holds-barred ride through Lavelle’s career highs and lows.
The film will be released in selected cinemas nationwide on the 31st August – celebrating the 20th anniversary of the seminal UNKLE/Mo’Wax album release of Psyence Fiction. There will a launch event at the BFI Southbank, the home of British cinema. Album will be released same day as the film to combine marketing efforts

FORMAT INFORMATION

2xColoured LP Info: Coloured vinyl – 1 disc red, 1 disc blue.

Seasick Steve, fresh from a fantastic performance at London’s Hyde Park (6th July), is announcing the release of his new album, ‘Can U Cook?’, on the 28th September 2018 via BMG Rights Management.

‘Can U Cook?’ has Steve mixing up all of his much-loved ingredients to deliver a fresh new record that’s full of sunshine, as well as being a good ol' Seasick mix of boogie, blues, rock, americana and folk-music.

FORMAT INFORMATION

Coloured LP Info: Limited Edition RSD stores exclusive clear LP.

Coloured LP includes MP3 Download Code.

To celebrate 40 years since their formation in Leeds in 1978, Soft Cell, aka Marc Almond and Dave Ball, release some brand-new remixes this summer on their own Big Frock imprint.

Soft Cell have been synonymous with the club scene since their debut single release Memorabilia in 1981, (produced by Mute Records’ Daniel Miller) which is widely cited by many dance music luminaries as the first ever acid house record. The band cut their teeth and built their notoriety in clubs across the world, from Leeds Warehouse right across the Atlantic to New York’s legendary Danceteria. Second single Tainted Love/Where Did Our Love Go went on to become one of the biggest club (and chart) hits of all time, reaching Number 1 in 17 countries later in 1981. The first true electronic UK duo, the band have sold over 30 million records throughout their career and have been covered or sampled by artists as diverse as Rihanna, Nine Inch Nails, a-Ha and Marilyn Manson, and well as influencing many others. The EP features remixes chosen by two internationally-renowned UK DJs, both massive fans of Soft Cell. Hifi Sean has remixed Insecure Me, B side to 1982 single Torch, as well as So, flip side to the single What. Jon Pleased Wimmin has remixed one of Soft Cell’s earliest compositions, A Man Could Get Lost.

While intended as a club tool for DJs, Soft Cell are making available a strictly limited number of the 12” picture disc EP, for their fans, on a first come, first served basis. These mixes will not be released on any other format, and do not feature on the upcoming Keychains & Snowstorms: The Soft Cell Story box set.

FORMAT INFORMATION

Ltd 12" Info: Very limited edition 12" picture disc.

Featuring a collection of songs written with now-dormant experimental recording group Great Thunder while Crutchfield was also writing the Waxahatchee albums Cerulean Salt and Ivy Tripp, the original recordings have mostly faded into obscurity. Unearthing and reimagining them with producer Brad Cook at Justin Vernon’s April Base studio in Wisconsin was a cathartic experience, she says. On the heels of last year’s critically acclaimed Out in the Storm, Crutchfield found herself looking to take a sharp turn away from the more rock-oriented influences of her recent records towards her more folk and country roots.

“I would say that it is a complete 180 from the last record: super stripped-down, quiet, and with me performing solo, it’s a throwback to how I started,” writes Crutchfield. “Overall, the EP is a warm, kind of vibey recording.” Some of the songs on Great Thunder, like “Chapel of Pines” and “Singer’s No Star,” stayed the same and will be recognizable to those intensely familiar with Crutchfield’s catalog to date, while closer “Takes So Much” was built back up on piano from the bones of the original version, surprising even the songwriter: “Until then, I didn’t realize how beautiful this song was.” As Crutchfield entered April Base to record, she became ill but opted to forge on, beautifully stretching her voice to its emotional limits. 

For one night only in April of this year, Nick Cave & The Bad Seeds shared a show from their celebrated 2017 world tour on cinema screens worldwide.

Filmed at Copenhagen's Royal Arena in October 2017, Distant Sky captured an extraordinary and triumphant live concert from Nick Cave & The Bad Seeds.

Performing new album Skeleton Tree's beautiful compositions alongside songs from their essential catalogue.

Remaining quantities of Autechre NTS Sessions LP, NTS Sessions was originally aired as part of a month-long residency at NTS Radio through the month of April and featured eight hours of new music across four shows.

FORMAT INFORMATION

LP Box Set Info: Mammoth 12LP Box Set!

FREE SHIPPING This item has FREE UK shipping!

CD Box Set Info: 8CD Box Set!

Leeds-based Menace Beach return with news of their third album 'Black Rainbow Sound', which is due out August 31st via Memphis Industries.
New album Black Rainbow Sound is the band's first new material since early 2017’s Lemon Memory, and after a self-imposed break from tour duties, the album exhibits a profound shift in their sound, whilst still mainlining the blasts of noise, visceral power, and timeless pop songsmithery of their previous releases.

Unlike the bands previous records, Black Rainbow Sound came to life in the bands studio, where Liza Violet and Ryan Needham built dense late-night orchestrations from drum machines, synthesizers, loops and guitar noise, before being ripped apart and reimagined by the full Menace Beach cast at The Nave studio in Leeds with co-producer Matt Peel (Eagulls).

Never ones to shy away from an intriguing collaboration, Black Rainbow Sound contains songs featuring Brix Smith of The Fall, and Brix and the Extricated. “The synchronicity of the universe just forced us and Brix together. The very day l finished reading her biography she played us on her BBC 6music show along with a wonderfully out-there monologue of how the song made her feel. I said thanks, we got chatting and it went from there. She’s a burning comet of positive energy”.

On Black Rainbow Sound, Menace Beach continue to explore their own unique aesthetic, venturing much further into a colourful world of bizzaro no-wave analogue synths and static drenched electronic euphoria, which they have been circling for some time.

Lustrous, dizzying, and bursting with cacophonous vintage electronics - the sounds on Black Rainbow Sound act as an otherworldly backdrop for the album's enigmatic lyrics to play out. Celestial conversations, night terrors, love, anti-love, good vs evil, light vs dark, friendly crows, death, depression, and teenage tongues and are all here to absorb; the more introspective topics often hidden in plain sight atop celebratory choruses, and melodic hooks.

FORMAT INFORMATION

Coloured LP Info: Limited edition white coloured vinyl.

Coloured LP includes MP3 Download Code.

Indies Exclusive LP Info: Indie exclusive limited edition white coloured vinyl. ALSO INCLUDES A HAND-PRINTED (BY THE BAND) SCREEN PRINT.

LP includes MP3 Download Code.

Although civilization’s transition into a cyborg world seems inevitable, there are still those who recognize the beauty and power of a human touch to complement the circumvention. Jack Tatum understands this balance, and through a decade making music as Wild Nothing he has learned to embrace both sides of that dynamic—but perhaps never as distinctly as on Indigo, the fourth Wild Nothing album. On one hand, it is a return to the fresh, transcendent sweep of his debut, 2010’s Gemini , and on the other, a culmination of heights reached, paths traveled, and lessons learned while creating the follow-ups, Nocturne and Life of Pause . Indigo finds Tatum at his most efficient, calculated, and confident—resulting in an artful blend of hi-fi humanity and technology that fires on all circuits and synapses.

To make Indigo , Tatum confronted the Man vs. Machine dichotomy by seizing on the surrounding synergy. Finding the right people to work on the album was integral, as was the proper place to record it. So, Tatum booked four days at legendary Sunset Sound’s Studio. Afterwards, producer Jorge Elbrecht (Ariel Pink, Gang Gang Dance, Japanese Breakfast) and Tatum built out the rest of the album’s sound by adding new parts and repurposing sounds from Tatum’s demos. The resulting Indigo is its own cyborg world, utilizing the artful mechanisms of human touch with the precision of technology to create the classic, pristine sound Tatum had been seeking his entire career. From the opening drum beat, chiming guitar, and sweeping synth of “Letting Go” to Tatum’s Bryan Ferry vocal turn on “Oscillation” to the ’80s-heavy blips, clicks, and strut of “Partners in Motion,” it’s clear that Indigo is at once vintage Wild Nothing and a bold, new leap into a bigger arena.

FORMAT INFORMATION

Coloured LP Info: Transparent Blue vinyl.

As always with Hell Yeah, the next release comes from an artist label boss Marco fell utterly in love with before forming a close musical relationship. His name is Calm, and this summer he releases his eighth studio album, by Your Side. It is an effortlessly evocative long player and magical ten track trip into soothing sonic waters, glistening harmonies and horizontal rhythms.

Calm is legendary Japanese artist Fukagawa Kiyotaka, someone who has been making deep house, ambient and downtempo grooves since the late nighties, and always teasing spine tingling emotions out of his machines.

His last album—2015's From My Window—cast a real spell on Marco and encouraged him to reach out. The pair eventually hooked up in Tokyo and found real musical kinship while playing records together.

“Apart being a wonderfully calm person, he went straight into my top five selectors," says Marco. "His taste and music programming are simply delicious.

His set was one aural discovery after the other." The album comes with special artwork by Andrea Amaducci and takes in some sure-to-be-big tunes that are already being supported by those who know such as Moonboots, Chris Coco, and Phil Mison.

Majestic opener 'Space Is My Place' transports you straight to a blue sky paradise with rippling chords reflecting the warm sun and is ripe to become a modern classic.

From there Calm's masterful synths keep you flat on your back and gazing up to the heavens as gently drums roll beneath the brilliant 'Afterglow and First Star' and then 'Ending of Summer, Beginning of Autumn' is a little more reflective as it rues the end of warmer days.

‘Sky, Colour, Passing' is floating celestial bliss with angelic harmonies, 'Shadows and Lights' is a lazy Sunday soundtrack with delicate piano keys and the gentle chug of 'Before Landing' glows with cosmic light and warms you with astral disco grooves that will be the jewel in any open air DJ set.

After the sensuous moments of 'Mellow Mellow Sadness' encourage you to reach out and hug someone close, 'Shade of Tree' washes over you like a seaside breeze before the final two tracks layer up synth modulations and quietly epic guitars into rousing pieces of slow motion euphoria.

By Your Side is a quietly epic album of wide open synth tracks that reach for the skies and leave you castaway on a breathtaking desert island.

With their second album Pre Strike Sweep, GØGGS add a new level of primordial anxiety to their already catastrophic symphony. Recorded and mixed in 2017 by GØGGS guitarist and co-founder Ty Segall, the album explores the damaging affects of modern life before blowing them up one by one.

Singer Chris Shaw uses terms like “space rinse” and “roadside surgery” to inform the listener that this is a strange and different trip, far and away from the “Glendale Junkyard” he romanticized in 2016 on their self-titled album. In fact, all expectations brought on by that acclaimed debut are crushed into dust, revealing a new standard by which the GØGGS march thumps.

FORMAT INFORMATION

Coloured LP Info: Coloured vinyl edition - limited to just 100 copies for the UK.

Some musical partnerships are so strong, intuitive and natural that they almost can’t be separated due to the natural magnetism present in the relationship. One such tight knit songwriting family are Tunng, and their new album Songs You Make At Night reunites founding members Sam Genders and Mike Lindsay (fresh from his LUMP side project with Laura Marling) and the rest of the Tunng gang for the first time since 2007’s Good Arrows.

“We really wanted to do a Tunng record going back to the original line up,” Lindsay says. “there was a real magic in the early records that we all wanted to capture again in this one.”

Since forming in 2003 and over the course of five albums, Tunng are a group that have explored the boundaries between acoustic and electronic music, becoming synonymous with the folktronica genre before moving into territory that managed to both evade that label and continue to redefine it. Songs You Make At Night finds a group of people reconnecting with a previous collective state to bring out something new and forward-looking. “We're all so different but each bring something essential, something Tunng to the party. Be that to the studio, to the stage, to the van, or to the pub. I think that the new songs Mike and Sam have crafted between them have brought out the best in all of us.” confirms singer Becky Jacobs.

Songs You Make At Night is also Tunng's most electronic-leaning to date. Take lead single ABOP which brings the Moog right to your face, with a heavily swung frazzled 808 pigeon beat whilst sampling a speech from the 1970s pornographic actor Mary Millington that builds into a magical pop feast. 

Songs You Make At Night’s tone, theme, lyrics, mood and characters exist in a fluctuating state between night and day ("I got very much into the idea of a dark underwater world suffused with pockets of light and beauty and some of the songs grew out of that." says Sam Genders), the conscious and unconscious. Crepuscular in its nature, Lindsay explains the all-encompassing title. "I think it’s also important to stress the songs you make at night not, we make at night. Then the word “songs” can mean a multitude of things. It can mean songs, or dreams, pillow talk or actions and decisions, moves, and can be very personal... the thoughts that keep you awake at night."

FORMAT INFORMATION

Coloured LP Info: Indies exclusive deluxe coloured vinyl in a gatefold sleeve with a limited 7".

Coloured LP includes MP3 Download Code.

LP includes MP3 Download Code.

CD Info: Digipack CD.

Most people know Aaron Lee Tasjan as one of the wittiest, most offbeat, brilliant, weed-smokin’ and LSD microdosin’ Americana troubadours writing and singing songs today. The New York Times, NPR and Rolling Stone will all gladly corroborate. Steel yourselves, folk fans, because he’s about to follow his restless muse straight out from under the weight of everyone’s expectations into the kind of glammy, jingle-jangle, power-pop and psych-tinged sounds he hasn’t dabbled in since his younger days playing lead guitar for a late-period incarnation of The New York Dolls.

‘Karma For Cheap’ is Tasjan’s third album and second for New West Records. The record was coproduced by Aaron and his friends Jeff Trott (Stevie Nicks, Liz Phair, Meiko, Joshua Radin) and Gregory Lattimer (Albert Hammond Jr.) and features Aaron Lee’s road band - guitarist Brian Wright, bassist Tommy Scifres and drummer Seth Earnest - with whom he’s been touring heavily for the last two years.

While the stylistic shift from Tasjan’s palpably stoned 70s-country-channeling 2015 debut, ‘In The Blazes’, to his more sophisticated, introspective and lushly produced 2016 follow-up, ‘Silver Tears’, was relatively incremental, Karma’s rocked-up Brit-pop-influenced Beatles-Bowie-Badfinger vibes underscore a significant departure. The album boldly reimagines these vintage sounds, pushing the boundary of what can be considered Americana.

The roots of Tasjan’s ‘Karma For Cheap’ stretch deep, drinking up the sounds of a Southern California childhood spent listening to The Beatles while riding around with his mom at the wheel of their navy blue Volvo station wagon - back to the very first pre-teen year he picked up a six-string and started figuring out all the pretty little chords in those Lennon-McCartney tunes. Back to the pure, blissful unfiltered innocence of falling in love with music for the first time. A huge sonic touchstone for Aaron’s new record is ‘The Beatles Anthology’, one of his childhood favourites. In songs like ‘If Not Now When’, ‘Songbird’ and ‘The Rest Is Yet To Come’ you can hear echoes of George Harrison’s vibrant guitar riffs and Jeff Lynne’s lavish production on those lo-fi John Lennon demos the surviving Beatles dug up and polished off in the mid 90s.

Perhaps the most poignant moment on ‘Karma For Cheap’ is the anthemic, hypnotic ‘Heart Slows Down’, a tune rife with musical and lyrical references to The Beatles and Tom Petty, anchored by an unforgettable chorus with a Traveling Wilburys vibe that finds the sweet spot between Tasjan’s two earliest musical heroes. “When I was a kid, my favorite CD to fall asleep to was Tom Petty & The Heartbreakers’ ‘Greatest Hits’, and the last song is a cover of that Thunderclap Newman song ‘Something In The Air’. From the time I was a little kid to when I was teenager, I used to listen to that song on headphones almost every night - I heard it in that space between wake and sleep so many times. And Tom’s passing - he was a really big hero of mine, so it hit me pretty hard. We were in Seattle playing a show when I heard, and it was a heavy thing to process. But all of those elements are there in ‘Heart Slows Down’. The chorus, ‘I will always be around,’ is a reminder that all the good you ever got out of listening to this music is still around you. You’ll always have that.”

Aaron Lee Tasjan says he aims to use his music for good but he’s no protest singer. And ‘Karma For Cheap’ isn’t some heavy-handed, didactic political record cramming a set of talking points down anyone’s throat. It’s a finely tuned rock & roll seismograph measuring the dark and uncertain vibrations of the time in which it was created. A cracked mirror reflecting back the American zeitgeist. With ‘Karma For Cheap’ Tasjan establishes himself as an artist who not only evolves over time but isn’t afraid to risk reinventing himself completely from one record to the next.

For fans of Tom Petty, Harry Nilsson, The Beatles, David Bowie.

FORMAT INFORMATION

Coloured LP Info: Split orange / red coloured vinyl.

London’s Teleman have already set a precedent for 2018 with the release of Submarine Life via label-home Moshi Moshi. Today, the foursome excitedly unveils details of their third studio album; the alluringly named Family of Aliens, set for release in early September. Armed with a freer, more collaborative approach to both writing and recording, their new 11-track album Family of Aliens, is a fluid collection of glorious pop-songs fluent with new electronic textures and united by the sharp lyricism, buoyant guitars and instantaneous melodies that are synonymous with Teleman.

“We want to keep evolving and keep discovering. This band is one long journey for us, and we never want to stop developing and finding new ways of creating music. I'm always wanting to better what we've done before. To go deeper, to find something more beautiful, more catchy, more challenging, more interesting … just more.”

It’s evident the much-loved quartet have evolved, cultivating and honing their sound as a very-welcome and anticipated proposition for 2018. Teleman will also be playing a slew of festival dates this summer including Greenman, The Great Escape and Tramlines amongst others, before embarking on a headline tour across the UK, this Autumn.

To mark the occasion, Teleman offer another insight into their flourishing electronic-inspired sound, with new single Cactus. Flaunting the harmonious marriage of their beguiling pop sensibility accompanied by pulsating electronic undertones, Cactus is anchored by an unrelenting riff that crescendos to a cacophony of thrashing guitars and unbridled synth-sounds, bound by a palpitating, monotonous drum-loop.

Depicting the familiar esoteric ideas nestled amongst lead vocalist-guitarist Tom Sanders’ abstract lyrics; the accompanying video manifests the themes of loneliness, youthful ideals and how materialism can be a pretense to mask solitude.

“[This song is] for people who spend a lot of time, money and thought on looking good but can’t actually let anyone get close to them. In youth, most preoccupations are base and wasteful - what to wear, what party to go to, who said what to whom. If you carry these on into later life you might be deeply unfulfilled” explains Sanders.

FORMAT INFORMATION

Coloured LP Info: Limited red vinyl.

“You shouldn't have a tough time finding the angle to Deportation Blues,” claims Brian ‘BC Camplight’ Christinzio. “The past few years have been a fucking nightmare.”

But what a fucking great record he’s made off the back of his nightmare. His second album for Bella Union, Deportation Blues is an exhilarating, dynamic document of calamity and stress, relayed through richly melodic and bold arrangements spanning singer-songwriter classicism, gnarly synth-pop, ‘50s rock’n’roll and various junctures between, mirroring their maverick creator’s jarred emotions and fractured mindset.

For the full story, you have to head back to before Christinzio’s Bella Union debut, 2015’s How To Die In The North. Born in New Jersey, but living in Philadelphia, Christinzio had released two albums while battling addiction and mental illness. Both albums won rave reviews and earned Christinzio a reputation as one of independent music’s most forward-thinking artists. Soon after, however, as illness rendered him unable to function as a working songwriter, Christinzio retreated to a life squatting in an abandoned church. Despite some notable appearances as a session pianist (Sharon Van Etten) and occasional live work for Philly faves The War On Drugs (Robbie Bennett and David Hartley were in the original BC live band) he knew a sea change was needed in order to regain his career and sanity.

Feeling he’d be “dead or in jail if I stayed”, he acted on a friend’s suggestion to cross the ocean to Manchester. There, Christinzio found new inspiration, new friends, a girlfriend, a dog, and finally a new album (his first in eight years).

So, imagine his mood when he fell foul of UK immigration. “I’d had such high hopes for How To Die In The North, and I was told I was being deported two days after it came out, and banned from the UK. The next thing I know, I’m playing Pac Man in my parents’ basement, thinking, this is my life now.”

Occasional gigs in Europe, where his Manchester-based band could meet him, and extended sojourns in Dublin and Paris, broke up the monotony, but it was still like “living in a constant panic attack.”

But then the cavalry arrived! Courtesy of his grandparents, Christinzio secured Italian citizenship. It cost time, money and a portion of his sanity, “but after a year and a half I could finally shove my Italian papers in their faces at the airport and return to sunny Manchester. The thing is, despite being American, I feel Mancunian, and I couldn’t think about making another record, until I got back.”

To add insult to injury, “Brexit happened, like a day after I got back. Can I get a fucking break here, please?”

Once the dust had settled, Christinzio realised, “I didn’t feel any better, I had so much anger, I felt destroyed. The demons were back and had lost me friends, I’d drunk too much, and I felt nothing but dread and disease. I thought, I can’t wait to hear what this next album is going to sound like.”

Recording in Liverpool’s Whitewood studios, Christinzio locked himself in the windowless studio and recorded almost exclusively in the dark. “The thoughts and sounds that began to flow out of me were pretty scary. I’m pretty sure the engineer started carrying a shiv in his pocket after about the second day. Nothing playful sounding came out. If the last album had elements of whimsy, the thought of any on this album made me want to vomit.” “A couple of months later we had finished Deportation Blues and emerged from the studio like mole people”. Christinzio recorded the album mostly on his own, plus drummer Adam Dawson, occasional guitar by Robbie Rush, and a couple of session horn players. The lead track is ‘I’m Desperate’, “an ominous synth burner,” says Christinzio, with a Suicide-style throb and a haunting female vocal counterpoint that underlines the album’s manic, careering edge, fantastic hooks and instrumental verve. It’s an uncompromising way to introduce Deportation Blues, likewise the album’s title-track opener. Bookended by metallic power chords, cascading synths and a gorgeous downbeat mood lead into slower doo-wop complete with howling falsetto. “It’s instantly a different, darker record than How To Die In The North,” Christinzio notes. Deportation Blues is also noticeably more electronic than its predecessor. “I was feeling cold so every time something sounded pretty, I replaced it with something that sounded like an ice pick. The apocalyptic nuclear feel really appealed.” Throughout, Christinzio sounds as if he’s walking a knife-edge. Take second track ‘I’m In A Weird Place Now’, a heady conflagration of Spector and Springsteen, with Christinzio confessing “And there’s something about Manchester town / And the silly little things she makes me do.” “I like the oppressiveness of the weather in Manchester, it brings everyone down to my level” he explains. The fried mood continues on ‘Hell Or Pennsylvania’, splicing woozy noir jazz lounge-drunk cabaret by way of ‘50s legend Jerry Lee Lewis - Christinzio’s entry point to music through his mother’s record collection. “It’s the first time I’ve reflected that on a record,” he says. “Jerry Lee was this guy bashing at a piano who didn’t give a shit, and I didn’t give a shit.” The lyrical reference to “lemon twirls” meanwhile, represents Brian’s struggle with substance abuse: “The big choruses are a celebration of cocaine whilst the jazz sections represent the lament, the familiar loathsome aftermath.” The sudden changes of mood and style are also metaphorical. For example, ‘Am I Dead’ embraces cinematic horns, broody pop and synth-bass afro-funk. “I go through highs and lows and have trouble staying entertained,” he admits. “A musical part can state its purpose in fifteen seconds, sometimes it doesn’t need repeating. The trick is tying everything together without it sounding confusing.” ‘Am I Dead’ is segued between ‘When I Think Of My Dog’ and ‘Midnight Ease’, two plush, heart-aching piano ballads with rippling saxophone. After ‘Fire In England’, a greasy, nervy rocker, is a bitter ode to British PM – and former immigration controller (as Home Secretary) Theresa May (“dresses like a bus seat, doesn’t she?”). It’s a complex, bleak record I guess” Christinzio concludes. “As dramatic as it may sound, this album was made by a dude who wasn’t sure he’d be alive the next day. Nothing is there for any other reason than it’s the truth. It’s not trying to sound cool or get on the radio.” Though Christinzio points out “this is no redemption I-saw-the-light story,” he is allowing himself a little bit of hope for once: “I’ve never been as pleased with where I am artistically as I am right now.” On top, his new band, “is phenomenal.” Alongside trusted drummer Dawson is Luke Barton (guitars, synths), guitarist Tom Rothery and multi-instrumentalist/ backing singer Ali Bell. Leading them is a man that a bartender in Manchester recently described as “like Mozart and Tony Soprano had a kid." Brian Christinzio, and BC Camplight, genius and pain, may be here to stay at last.

FORMAT INFORMATION

Coloured LP Info: Limited edition silver vinyl.

Coloured LP includes MP3 Download Code.

After the critical and commercial success of the top 10 album – ‘Night Thoughts’ (2016) Suede are set to release their stunning new album ‘The Blue Hour’ on the 21st September 2018.

The Blue Hour was produced by Alan Moulder and Suede; it shares the same line-up as 1996’s Coming Up – vocals by Brett Anderson, guitars by Richard Oakes, bass by Mat Osman, drums by Simon Gilbert, synthesizers and piano by Neil Codling.

FORMAT INFORMATION

Coloured LP Info: RSD stores exclusive blue vinyl.

Box set Info: Boxed set contents are tbc.

Collaboration between Bon Iver’s Justin Vernon and The National’s Aaron Dessner · Other collaborators include Phoebe Bridgers, Lisa Hannigan, Richard Reed Parry and more.

In 2008, Aaron Dessner sent Justin Vernon an instrumental sketch of a song called “Big Red Machine” for Dark Was The Night. This was before they had met in person. Justin wrote a song to it, interpreting the Big Red Machine title as a heart. 10 years of friendship later, there are 10 more songs. Big Red Machine. Each song includes a large number of collaborators via the PEOPLE platform and the record was produced by Justin and Aaron with longtime collaborator Brad Cook and engineered by Jonathan Low primarily at Aaron’s studio Long Pond in Upper Hudson Valley, NY

People is a steadily growing group of international artists who have come together to create and share our work freely, with each other and everyone. It was born outo a wish to establish an independent and nurturing space in which to make work (generally around music) that is collaborative, spontaneous and expressive in nature and where all unnecessary distractions or obstacles that get in the way are removed. People is for the benefit and development of the artists involved and just as importantly, for those who would like to access and enjoy the output. It is as much about the process of making work and showing all that openly, as the final outcome.

Since so many European labels have been reissuing lost and obscure 1980s Japanese ambient albums of late, it was probably inevitable that at least one label would put together a compilation paying tribute to the sound. It turns out that Jazzy Couscous has won the race with Kumo No Moko, a superb double album that does a terrific job in putting Japan's '80s ambient scene in context. As you'd expect, the majority of the tracks feature either dreamy electronic sounds or a mixture of acoustic and electronic instrumentation, with nods to jazz coming thick and fast. There are naturally a couple of fairly well-known names on show, but for the most part the compilers have done a terrific job in highlight lesser-known tracks from unsung heroes.

The power of words isn’t lost on longstanding Americana triumvirate The Devil Makes Three - Pete Bernhard, Lucia Turino and Cooper McBean. For as much as they remain rooted in troubadour traditions of wandering folk, Delta blues, whiskey-soaked ragtime and reckless rock ‘n’ roll, the band nod to the revolutionary unrest of author James Baldwin, the noholds barred disillusionment of Ernest Hemingway and Southern Gothic malaise of Flannery O’Connor.

In that respect, their sixth full-length and first original material since 2013, ‘Chains Are Broken’ resembles a dusty leatherbound book of short stories from some bygone era. As the band began writing ideas for the record they veered off the proverbial path creatively. 

Instead of their typical revolving cast of collaborators, The Devil Makes Three stuck to the signature power trio, with one addition. This time they invited touring drummer Stefan Amidon to power the bulk of the percussion.

Another first, they retreated to Sonic Ranch Studios in El Paso, TX a stone’s throw from the Mexican border to record with producer Ted Hutt (Dropkick Murphys).

The incorporation of new sounds as well as the experimentation in space finds The Devil Makes Three crafting a new yet still familiar sound. Coupled with a continued focus on in-depth lyricism that tells a story in every song, ‘Chains Are Broken’ is a liberating, rump-shaking collection of past, present and future.

FORMAT INFORMATION

Coloured LP Info: Independent retailers exclusive on navy / cream split
coloured vinyl.

Having burst onto the scene in their homeland, releasing their first two LPs to widespread national acclaim, alongside supports with Royal Blood, Dune Rats & Black Mountain, the band have developed a staunch grassroots following with their captivating blend of psychedelia. Ahead of their debut UK tour this September, the quartet have delivered an entrancing video for Cornflake, discussing their ideas in detail: “Existence is a strange concept so we wanted to create an animation that explores the idea of how weird life is. Even after all the soul-searching, religious preaching and spiritual journeys there is not one answer to anything”. “The video salutes to the song perfectly, venting more energy, colour and strangeness that leaves most people perplexed. It’s sometimes hard to grasp we’re one of a billion grains of rice in a huge sushi roll; the video reinstates that awareness, so stop worrying and do something you care about before the aliens invade”. Psychedelic Porn Crumpets is Jack McEwan (lead vocals, guitar), Luke Parish (guitar), Danny Caddy (drums), Luke Reynolds (bass).

FORMAT INFORMATION

2xColoured LP Info: A double LP gatefold with Orange/Oxblood splatter and Mint Green/Electric Purple splatter. Limited to only 1000 Copies.

BAFTA award winning actor Matt Berry looks to his formative years in this fascinating and unique take on the TV themes that have influenced and inspired him in his life.

Recorded in his brand new studio with his regular band The Maypoles, Matt tackles eleven classic themes including well known titles such as Are You Being Served, Rainbow, The Liver Birds & The Good Life alongside some less obvious choices such as Picture Box, Wildtrak & World In Action.

A highly personalised sociopathic gem delivered as a futuristic rewriting of how music works, a melodious breeze with a tail wind of venomous din. A ten-track album, her tenth studio set.

Enveloping the juxtaposition of the concept of ‘dark sunshine’, a brooding solo record creating with friends to expand her off-kilter sonic vision; a squally, squeaky mix of discordant beauty.

Feedback and phasing gyrate from simply strummed normality, imagine Dinosaur Jr and My Bloody Valentine cranking up a Dylan couplet. Messing with both extremes of the sonic spectrum: atonal and arrhythmic, a unique sound and a glorious return to form for one of alternative rock’s true innovators.

“Sometimes the most subversive thing I can do musically is adhere to standard song structure, sometimes the creepiest chords are the ones we’ve heard before, twisted into different shapes, and sometimes a story is lived a thousand times before we can ride it like a roller coaster. Nothing wholly unfamiliar is gonna make you look twice. When you can describe a record as being “deceptively” anything, you’re hinting at the sociopathic nature of music. Something I love. Imagine truly buying your own sunshine and charm, but also your darkness and violence; the two sides of your psychology showing each other off in relief. Songs can do that...we can’t, really. Darkness we’ve seen.” Kristin Hersh, July 2018.

“She's still as powerful a presence as she ever was.” Pitchfork

“The prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician.” The Quietus.

FORMAT INFORMATION

Coloured LP Info: Silver coloured vinyl LP is for Indie stores only.

".this small town (Woodstock), housing as it did so many maverick talents, fostered a scene of damage and dysfunction that endures to this day. It pulled in all manner of wannabes and hangers-on, alcoholic philanderers, dealers in heroin and cocaine, and left at least one generation of messed-up children with no direction home." - from 'Small Town Talk' by Barney Hoskyns.

Longtime Woodstock resident, guitarist Peter Walker recorded two albums for the Vanguard label in the late Sixties in a style best described as American folk-raga. He studied with Ravi Shankar and Ali Akbar Khan, and was Dr. Timothy Leary's musical director, organizing music for the LSD advocate's "celebrations." He was also a close friend of fellow Woodstock resident, the late folksinger Karen Dalton, and helped produce 'Remembering Mountains : Unheard Songs by Karen Dalton' (Tompkins Square), which features unrecorded Dalton compositions brought to life by Sharon Van Etten, Patty Griffin, Lucinda Williams and others.

Rediscovered by Tompkins Square in 2006 after decades out of sight, Walker has remained active into his 8th decade, recording for Jack White's Third Man label, and now, collaborating anew with fellow Upstaters, Harmony Rockets. Joined in a mighty super-session with Harmony Rockets (Mercury Rev), Martin Keith, Nels Cline (Wilco), and Steve Shelley (Sonic Youth), 'Lachesis/Clotho/Atropos' is a mind-melting inter-generational collaboration that could only have coalesced around the wool-sweaters, warm teacups and moldering bookstores of "Old Old Woodstock", both the real and mythologized versions.

Following on from the phenomenal success of the RSD 2018 white vinyl edition of David Sylvian's album from 1999, we now present the album on 180gram black vinyl for the first time. Now expanded with the addition of four non-album tracks, "The Scent of Magnolia", "Albuquerque (Dobro #6)", "Cover Me With Flowers" and "Aparna and Nimisha ( Dobro #5)".

The artwork differs from the RSD edition and features a photograph by David's ex-partner Ingrid, plus some rare photographs by Anton Corbijn. 

FORMAT INFORMATION

2xLtd LP Info: 180 gram black vinyl.

The expansive American experience Lonnie Holley quilts together across his astounding new album, MITH, is both multitudinous and finely detailed. Holley’s self-taught piano improvisations and stream-of-consciousness lyrical approach have only gained purpose and power since he introduced the musical side of his art in 2012 with Just Before Music, followed by 2013’s Keeping a Record of It. But whereas his previous material seemed to dwell in the Eternal-Internal, MITH lives very much in our world — the one of concrete and tears; of dirt and blood; of injustice and hope.

Across these songs, in an impressionistic poetry all his own, Holley touches on Black Lives Matter (“I’m a Suspect”), Standing Rock (“Copying the Rock”) and contemporary American politics (“I Woke Up in a Fucked-Up America”). A storyteller of the highest order, he commands a personal and universal mythology in his songs of which few songwriters are capable — names like Bob Dylan, Joni Mitchell, Joanna Newsom and Gil Scott-Heron come to mind.

Mith was recorded over five years in locations such as Porto, Portugal; Cottage Grove, Oregon; New York City and Holley’s adopted hometown of Atlanta, Georgia. These 10 songs feature contributions from fellow cosmic musician Laraaji, jazz duo Nelson Patton, visionary producer Richard Swift, saxophonist Sam Gendel and producer/musician Shahzad Ismaily.

Hunter, the third album from Anna Calvi, is the embodiment of the feeling of truly letting go. For the art-rock singer-songwriter it was a catharsis, and an opportunity to be more truthful than she ever had been been before. Revered in the British music industry since she emerged in 2011 (BRIT Award and twice Mercury Prize nominated), she has teamed up with esteemed producer Nick Launay (Nick Cave, Grinderman), Adrian Utley (Portishead) and Martyn Casey (The Bad Seeds) to bring this galvanising record to life.

Hunter is an album of visceral guitars and vocals, exploring sexualityand breaking the laws of gender conformity. Passionate subject matter calls for passionate delivery, and on Hunter, Calvi pushes the limits of her guitar and her voice beyond anything she’s recorded before. It was important to Calvi that the record was as vulnerable as it is strong; as beautiful as it is ugly. To be the hunter and the hunted.

White Denim are back - regenerated and resolute. The Austin quartet have long pulled hard at the parameters of rock & roll, admitting garage punk, soul, psychedelia, prog, jazz and blues while holding onto its vital goodtime core. Their up-tempo drive has produced a body of work defined as much by stellar musicianship as off-the-chain exhilaration. Energy and adventurism have always been paramount. Here are nine songs with clarity and renewed purpose as well as a truckload of attitude. A new studio, new collaborators, and new techniques for writing and recording influenced the elastic possibility and liberation felt throughout.

Theirs is music that aims for the whole body, while equally satisfying the mind. While it has morphed, expanded, and even burst apart, White Denim’s sincere, human drive and ability to spark true exhilaration have been unerring constants of the band’s existence. Ever progressing, never content to camp out on a plateau of their creative accomplishments, there is no other band quite like White Denim – unique in talent and legendarily potent as a live band, they are quite simply a very special band.

FORMAT INFORMATION

Coloured LP Info: 140g clear vinyl - indies exclusive.

For the next Collector's Cuts record; Hamburg is the destination and Basso is the collector.

Basso is the owner of Growing Bin Records, a DJ and a collector of mind blowing music.
Growing Bin Records is a fantastic place to dive deeply into the wonderful but slightly off the wall genres like Krautrock, Balearic, Yacht Rock, Synth, New-Wave and many other styles.
Originally started as a blog it is has grown to become a great online resource and small label where there are no rules or formulas.

Here Basso has delved into his vast record collection to splice together some rather exquisite selections. Dive in to the Bin!
Pressed heavy for late nights, early mornings or afternoons on the yacht.

The follow-up to the awarding winning and critically acclaimed DAVID BOWIE ‘FIVE YEARS (1969 – 1973)’ and DAVID BOWIE ‘A NEW CAREER IN A NEW TOWN (1977 – 1982)’ will be released on 12th October.

The box contains newly remastered versions of David’s most commercially successful period ‘LET’S DANCE’, ‘TONIGHT’, ‘NEVER LET ME DOWN (ORIGINAL and 2018 VERSIONS)’, the live album ‘GLASS SPIDER (Live Montreal ’87)’, the previously unreleased ‘SERIOUS MOONLIGHT’ live album, a collection of original remixes entitled ‘DANCE’ and the non-album / alternate version / b-sides and soundtrack music compilation RE:CALL 4.

The highlight of this latest box is the brand new production of the 1987 album ‘NEVER LET ME DOWN’ by Bowie producer / engineer Mario McNulty with new instrumentation by Bowie collaborators Reeves Gabrels (guitar), David Torn (guitar), Sterling Campbell (drums), Tim Lefebvre (bass) as well as string quartet with arrangements by Nico Muhly and a guest cameo by Laurie Anderson on ‘Shining Star (Makin’ My Love)’.
The seeds of this new reimagining of the albums were first sown in 2008 when David asked Mario McNulty to remix the track ‘Time Will Crawl’ and record new drums by longtime Bowie drummer, Sterling Campbell along with strings. The track was issued on the iSelect compilation to much acclaim, and in the notes, for that record, David remarked ‘Oh, to redo the rest of that album’.
The new re-workings have revealed ‘Never Let Me Down’ as a very strong collection of songs with a dark thematic thread running through them. Fans listening to ‘NEVER LET ME DOWN (2018)’ would be forgiven for thinking that they were listening to a brand new ‘lost’ Bowie record.

Also in each box is the never before released ‘SERIOUS MOONLIGHT’ live album recorded in Montreal in 1983. Originally mixed at the time by Bob Clearmountain, the double album captures Bowie on what at that time was his most successful tour. The artwork features shots taken by photographer Denis O’Regan.

Exclusive to each box is ‘RE:CALL 4’ and ‘DANCE’. The former a new compilation featuring remastered contemporary single versions, non-album singles, album edits, b-sides and songs featured on soundtracks such as Labyrinth, Absolute Beginners and When The Wind Blows. ‘DANCE’ features 12 contemporaneous remixes some of which are appearing on CD and vinyl for the first time and is named after an unreleased Bowie remix album that was originally slated for release in November 1985.

The box set’s accompanying 84 page book features rarely seen and previously unpublished photos by photographers including Denis O’Regan, Greg Gorman, Herb Ritts and many others as well as historical press reviews and technical notes about the albums from producers/engineers Nile Rodgers, Hugh Padgham, Mario McNulty and Justin Shirley-Smith. 

FORMAT INFORMATION

LP Box Set Info: 88 Page hardback book
Let’s Dance (remastered) (1LP)
Serious Moonlight (Live ’83) (previously unreleased) (2LP)*
Tonight (remastered) (1LP)
Never Let Me Down (remastered) (1LP)
Never Let Me Down (2018) (previously unreleased) (2LP - side 4 is etched)*
Glass Spider (Live Montreal ’87) (previously unreleased on vinyl) (3LP)*
Dance (2LP)*
Re:Call 4 (non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (3LP)*

FREE SHIPPING This item has FREE UK shipping!

CD Box Set Info: CD Box Set:
128 Page hardback book
Let’s Dance (remastered) (1CD)
Serious Moonlight (Live ’83) (previously unreleased) (2CD)
Tonight (remastered) (1CD)
Never Let Me Down (remastered) (1CD)
Never Let Me Down 2018 (previously unreleased) (1CD)*
Glass Spider (Live Montreal ’87) (2CD)
Dance (1CD)*
Re:Call 4 (non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (2CD)*

FREE SHIPPING This item has FREE UK shipping!

The eighth album from Marissa Nadler, For My Crimes, is the sound of turmoil giving way to truth. The songs stare down the dark realization that love may not be enough to keep two people together through distance and differing needs. By asking these difficult questions about her relationships, Nadler has found a stronger sense of self and a sharper voice as both a songwriter and a vocalist, culminating in her most evocative entry in an already impressive discography. 

Following the release of 2016’s acclaimed Strangers, Nadler’s relationships were put to the test as she left the Boston area on tour. She wrote throughout 2017 about this tension, and ended up with three times as many songs as she needed. But after reviewing the demos with her co-producers Justin Raisen and Lawrence Rothman, Nadler wrote a flurry of tight but no less intense new songs in the week before arriving at Rothman’s Laurel Canyon studio, House of Lux, in early January. She considered it a challenge to herself, applying new strategies and structures to the craft of “slow music” she’s honed over the last 15 years. From that group of songs came nearly all of the singles on For My Crimes, some of the most indelible of Nadler’s career.

The opening title track is classic Nadler: a sweeping, vaguely Southern drama of voices, strings, and acoustic guitar, that walks the fine line between character song and personal indictment by metaphor. “For My Crimes” spawned out of a songwriting exercise in which Nadler wrote from the perspective of someone on death row, but the song casts a dark shadow over an album that turns marital conflict into inner reflection. Helping Nadler dig down into the song’s remorseful soul is her old friend Angel Olsen, who serves as a distraught echo from beyond in the chorus.

“Blue Vapor” has an intoxicating raw energy luring you in, somewhere between Springsteen and a grunge band playing MTV Unplugged back in the day. It feels at once tight and improvisational, balancing on little more than Nadler’s steady strumming and vulnerable harmonies with Kristin Kontrol (of Dum Dum Girls), until the heavy, purposeful style of Hole drummer Patty Schemel conjures chaos in the second half. This slow burn feeling is all too appropriate for a song centred around repeating patterns and creeping numbness in a relationship. “Blue Vapor” names that strange ambivalence and turns it into a chant that hangs in the air long after the song ends.

Dreaminess and eeriness have often been two sides of the same coin in Marissa Nadler songs. Where “For My Crimes” and “Blue Vapor” come from her dark side, the album has plenty of moments that twinkle in their sadness and sentimentality. “I Can’t Listen to Gene Clark Anymore” is one of those highly specific songs you’ll get if you’ve ever lost a favourite band to your own broken heart. It sways perfectly in its bittersweet-ness, like a slow dance you never want to end. After the strings swell and the bass pedals kick in, Nadler coos, “Cause I remember/The songs you sang/To me when it was you/I was falling for.” Later, closing track “Said Goodbye To That Car” turns a final odometer reading into a rhythm for a catchy, wistful hook: “1-1-9-6-5-7, and the engine blew/“1-1-9-6-5-7, and I thought of you,” Nadler lulls, harmonizing with herself. It’s an ingenious way to capture the end of an era in one small moment, and she moves as delicately as you would handling an old photo with her sweet oohs.

Bolstering the intimacy of these songs is the strong feminine energy that defined their recording. Between Rothman’s fluidity with both gender and genre (as heard on his 2017 album The Book of Law), and Raisen’s track record of successful collaborations with strong women (Olsen, Kim Gordon, Charli XCX), Nadler felt empowered to explore without judgement in the studio. With the exception of a single saxophonist, every player on the album is a woman of notable pedigree and distinct style, many of whom have played with Nadler over the years. In addition to the cameos by Angel Olsen and Kristin Kontrol, Sharon Van Etten sings backup on “I Can’t Listen to Gene Clark Anymore” and “Lover Release Me.” Mary Lattimore joins on harp for “Are You Really Gonna Move to the South,” while the great experimental multi-instrumentalist Janel Leppin plays strings throughout the record.

These women and others helped make For My Crimes as dynamic as it is intimate, but Nadler’s mesmerizing voice—stripped of nearly all reverb—is what sits at the center of these songs. You can hear the emotional range of her performances more than ever before, from the spectral harmonizing of “Are You Really Gonna Move To The South” to the cheeky boredom of “All Out Of Catastrophes,” two other highlights. As a singer, she has never sounded more confident than she does here.

Adding to the album’s deeply personal feeling is its abstracted artwork, featuring Nadler’s original oil paintings. Though Nadler is a graduate of the Rhode Island School of Design and a semi-retired art teacher (she has one student left—a 95-year-old named Doris), For My Crimes marks the first album cover bearing one of her paintings. 

Benjamin Smith and Paul "Mudd" Murphy are back with a Balearic gem - The Distance. Featuring a vocal and instrumental on the A-side, and a remix on the flip by legend and consummate production ace - Ron Basejam. Lyrics and vocals are by Quinn Lamont, who's captivating earthy tones playfully tease us with emotional yearning, and it's Quinn who provides a stunning jazzy guitar performance that will have you air guitaring all over the dance floor, and which sits splendidly alongside the beautiful layers of rich electric piano and Balearic disco grooves. The remix by Ron Basejam recasts the track as an instantly affable yacht-rock-esque anthem, that will fill your hearts and have you reaching for the Campari. This is a sumptuous summer groover, with layer upon layer of blissed out disco warmth. A sublime masterclass in musicianship and production that will bring joy to the most discerning of ears.

This raw, intimate recording, which took place at the start of Prince’s career right before he achieved international stardom, is similar in format to the Piano & A Microphone Tour that he ended his career with in 2016. The nine track, 35-minute album features a previously unreleased home studio cassette recording of Prince at his piano captured in 1983.

The private rehearsal provides a rare, intimate glimpse into Prince’s creative process as he worked through songs which include “17 Days” and “Purple Rain” (neither of which would be released until 1984), a cover of Joni Mitchell’s “A Case Of You”, “Strange Relationship” (not released until 1987 on his critically acclaimed Sign O’ The Times album), and “International Lover”.

The album also includes a rare recording of the 19th Century spiritual “Mary Don’t You Weep” which will be featured during the end credits of Spike Lee’s BlacKkKlansman in theatres August 2018.

FORMAT INFORMATION

Deluxe LP Info: The Deluxe CD+LP format includea a 12” booklet featuring brand new liner notes written by Prince’s then engineer Don Batts, as well as candid shots of Prince including never before seen photos.

“What species is this? What century?” Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England’s rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that “there is horror in every idyll, and danger lurking beyond the “quaint” ”.

The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui.

Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz’s J.G. Ballard-inspired A/V show ’Kingdom Come’ (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England.

As its sole creator, Gazelle Twin “The Composer, Musician and Producer” has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz’s signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of ‘90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory.

In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin “The Artist and Performer”, constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century.
The colours of Neo-Nationalism. Coke cans, and DANGER. “It” (not “she”) hints at folkloric traditions with a footy mascot twist. The “Ye Olde” and “The Everyman” of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle’s, and a mad, fixed GRIN - first glimpsed in the single, ‘Hobby Horse’ (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.

FORMAT INFORMATION

Coloured LP Info: Indie stores exclusive red vinyl.

MC5 only released three albums, but they were ferocious, adventurous, and confrontational enough to secure the group’s place as one of the greatest rock ’n’ roll bands ever. Singer Rob Tyner, guitarists Wayne Kramer and Fred “Sonic” Smith, bassist Michael Davis, and drummer Dennis Thompson came together as the MC5 in 1965. The band performed for several years before making its first record. This year is the 50th anniversary of the recording of the band’s incendiary debut, Kick Out The Jams, which was recorded live over two nights at Detroit’s Grande Ballroom in October 1968. To celebrate, MC5 will release Total Assault: 50th Anniversary Collection, a limited-edition boxed set that features all three of the band’s albums pressed on coloured vinyl.

It includes Kick Out The Jams (red vinyl), Back In The USA (white vinyl) and High Time (blue vinyl). The albums come in sleeves that faithfully re-create the original releases, including gatefolds for Kick Out The Jams and High Times. All three are housed in a hard slipcase with new art and previously unseen photographs by world renowned photographer Raeanne Rubenstein. The music on TOTAL ASSAULT shows why the MC5 is held is such high regard today with indelible tracks like “Kick Out The Jams,” “Human Being Lawnmower” and “Sister Anne.”

FORMAT INFORMATION

3xLP Box Set Info: Triple coloured LP's (Red / White / Blue) housed in a hard slipcase.

For those who shine darkly......

During the transitional period in which Coil’s primary leadership, Peter “Sleazy” Christopherson and John Balance, reorganized their creative direction by taking on new membership in the group through their inclusion of Drew McDowall, Coil took a drastic turn towards the metaphysical unknown.Employing the subtle handiwork of Coil’s“real life”members, as well as the cleverlyguised aliases and spiritual collaborators, the band chose to filter their identity through a the nome de guerre, Black Light District,setting the precedent of Coil’s future exploration of other worldy influence.

Recorded during the Winter of 1995/96, Black Light District reflects more on their formal avant-garde pursuits and academic interests rather than their industrial pedigree resume. Starting off with an obvious nod to John Cage with their introductory “Unprepared Piano”, the tone is prepared in exactly the same way... unpredictable. Conceptually abstract, Black Light District shows Coil’s old guard disregarding the pop rhythms found on previous albums, such as Love Secret Domain,and fully embracing their experimental electronic trajectory. Subtle patterns of looping melancholy and malaise are placed delicately underneath ghostly electronic timbre. Approaching their creative method as something from the beyond, another realm in which sounds blur and performers seemingly appear from the ether.

Dais Records announces the official reissue of "Coil presents Black Light District -A Thousand Lights in a Darkened Room". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the double LP vinyl release is packaged in a beautiful matte 24pt stock gatefold jacket Also available on digipack CD with booklet and digital.

FORMAT INFORMATION

2xColoured LP Info: Limited edition of 500 on TRANSLUCENT YELLOW.

2xLtd LP Info: Limited edition of 500 on BLACK VINYL.

When Escape-ism—nom de guerre of mythic rock ’n’ roll provocateur / theorist / revolutionary Ian Svenonius (performer, author, filmmaker, etc.) announced the imminent release of its second long-player, The Lost Record, it shook the foundations of the hermetic swamp / tundra known as “underground music.” In the music world, a “lost record” is the term for an LP that was passed over, unappreciated maybe not even released but is later discovered, unearthed, and celebrated by in-the-know tastemakers and canny connoisseurs. Many of our culture’s favorite records are “lost” records; once despised or unheard, they’re now in heavy rotation in the clubhouse and in the car. However, the process a record has to go through to be “lost”and then found again is arduous. It’s also quite risky, since most lost records are really just lost: tossed aside and forgotten forever. So, when Escape-ism—the most exciting group in the world announced its new and highly anticipated release The Lost Record, it created a commotion. For some, it seemed unfair for Escape-ism to jump ahead of the usual protocol and not go through the degradation that a historic “lost record” suffers: the endless time spent in a bin in the basement or a remote warehouse. Unshipped, unloved, unappreciated. But for Escape-ism, it seemed easier to circumvent the rigmarole and just get on with it. The Lost Record is a classic, destined to bewitch the minds, hearts, and dancing shoes of any rock ’n’ roll fan who happens to discover it, for as long as such creatures exist. Without the high-octane hype machine of the mind-control minstrels who hypnotize the hapless through the mass media, The Lost Record is bound for inevitable obscurity, but with its timeless tunes, poignant message, and innovative sound rediscovery and immortal status is equally assured! The Lost Record, being what it is, has enormous selling potential. Music enthusiasts will be thrilled to be the ones clever and kind enough to have rescued this platter from oblivion. It’s a no-brainer that The Lost Record will be both unfairly neglected but also enshrined as a pinnacle achievement for subterranean civilization. Listen to Escape-ism. See Escape-ism. Feel Escape-ism. Breathe Escape-ism. Live Escape-ism.

FORMAT INFORMATION

Coloured LP Info: Clear swirl vinyl and ltd to 1,500 worldwide, this is for Indie stores only.

Coloured LP includes MP3 Download Code.

LP includes MP3 Download Code.

The Goon Sax are James Harrison, Louis Forster and Riley Jones from Brisbane, Australia. Still in high school when they made their first album Up To Anything in 2016, their brand of awkwardly transcendent teenage guitar pop took earned them wide-spread critical acclaim.

For album number two, they flew to Melbourne to record with James Cecil and Cameron Bird, respectively former/current members of Architecture In Helsinki, and 'We're Not Talking' shows how much can change between the ages of 17 and 19. It's a record that takes the enthusiasms of youth and twists them into darker, more sophisticated shapes. Relationships are now laced with hesitation, remorse, misunderstanding and ultimately compassion.

Drummer Riley Jones really comes to the fore here, joining Louis and James in singing lead and writing songs for the first time, making the band the musical equivalent of an equilateral triangle (the strongest shape in physics).

Delivering brilliantly human and brutally honest vignettes of adolescent angst, The Goon Sax brim with personality, charm and heart-wrenching honesty. 'We’re Not Talking' is a record made by restless artists, defying expectations as if hardly noticing, and its complexity makes 'We're Not Talking' even more of a marvel.

Delicate Wash presents its second fine selection of gentle cuts.

This time it will take you on a 80's electronic funk adventure filled with analog drum machines and sharp synth leads.

All four tracks are fresh, perky, futuristic, and thrilling.

Add this jewel to your collection.