MAGIC MIX

STAFF PICKS

PRESALES

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

For our latest all-genre presales click here

IDLES

A Beautiful Thing: IDLES Live At Le Bataclan

    ‘A Beautiful Thing: IDLES Live at Le Bataclan’ is the brand new live album from IDLES, recorded at Le Bataclan in Paris on 3rd December 2018, at the close of a 90 date world tour. The album celebrates the band’s success over the last two years, featuring songs from ‘Brutalism’ and ‘Joy as an Act of Resistance’, and highlights their overall message of unity, and of healing through community.

    “Our show at Bataclan was the end of a very long journey for us. On that tour we learnt so much about ourselves, each other and the audiences we have grown with over the past 10 years. That show was nothing short of catharsis and nothing more than love. We love what we do and the people who have carried us here, there was no hiding that at Bataclan and we are so very grateful that the moment was captured in all its glory, love and fatigue. Long live the open minded and long live the moment.” - Joe Talbot

    Available on limited edition coloured vinyl (three variants, with photobook and download card) and double CD. 'A Beautiful Thing: IDLES Live at Le Bataclan' is released on 6th December 2019 on Partisan Records.

    FORMAT INFORMATION

    2xColoured LP Info: Neon Clear Orange Vinyl.

    2xColoured LP 2 Info: Neon Clear Lime Green Vinyl.

    Coloured LP 3 Info: Neon Clear Pink Vinyl.

    Nick Cave And The Bad Seeds

    Ghosteen

      The album was recorded in 2018 and early 2019 at Woodshed in Malibu, Nightbird in Los Angeles, Retreat in Brighton and Candybomber in Berlin. It was mixed by Nick Cave, Warren Ellis, Lance Powell and Andrew Dominik at Conway in Los Angeles.

      Ghosteen is the seventeenth studio album from Nick Cave and The Bad Seeds, following 2016’s Skeleton Tree, and will be released via Ghosteen Ltd.

      "The songs on the first album are the children. The songs on the second album are their parents. Ghosteen is migrating spirit." - Nick Cave.

      Nick Cave - vocals, piano, synthesizer, backing vocal
      Warren Ellis - synthesizer, loops, flute, violin, piano, backing vocals
      Thomas Wydler - drums
      Martyn Casey - bass
      Jim Sclavunos - vibraphone, percussion
      George Vjestica - guitar

      FORMAT INFORMATION

      2xLtd LP Info: Gatefold sleeve.

      2xLtd LP includes MP3 Download Code.

      2xCD Info: Digipack CD.

      Beck

      Hyperspaces

        Hyperspace will be Beck’s 14th album, following 2017’s Colors, which won Best Alternative Music Album and Best Engineered Album, Non-Classical at the 61st GRAMMY Awards earlier this year.

        2014’s Morning Phase also won Album of the Year, Best Engineered Album, Non-Classical and Best Rock Album.

        This album features production credits from Pharrell Williams, Cole M.G.N., Greg Kurstin and Paul Epworth.



        FORMAT INFORMATION

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

        Coloured LP includes MP3 Download Code.

        Indies Exclusive LP Info: Metallic silver coloured 180 gram vinyl in a gatefold sleeve.

        Indies Exclusive LP includes MP3 Download Code.

        LP Info: 180 gram black vinyl in a gatefold sleeve.

        LP includes MP3 Download Code.

        Field Music

        Making A New World - Outstore Wristband Edition

          PRE-ORDER ANY FORMAT FOR 1 FREE WRISTBAND FOR AN INTIMATE EVENING (ONSTAGE AT 7PM) OUTSTORE GIG AT THE SOUP KITCHEN IN MANCHESTER ON ALBUM RELEASE DATE OF FRIDAY JANUARY 10th.

          WE ALSO HAVE A LIMITED NUMBER OF WRISTBAND ONLY PURCHASES AVAILABLE.

          IT'S ADVISED THAT YOU USE THE PICK-UP INSTORE OPTION AT THE CHECKOUT, THAT WAY YOU'LL BE ABLE TO COLLECT YOUR ALBUM AND THE WRISTBAND PRIOR TO THE GIG ON THE RELEASE DAY FRIDAY.


          NB: SOUP KITCHEN IS AN 18's ONLY VENUE. ID WILL BE REQUIRED.

          Field Music’s new release is “Making A New World”, a 19 track song cycle about the after-effects of the First World War. But this is not an album about war and it is not, in any traditional sense, an album about remembrance. There are songs here about air traffic control and gender reassignment surgery. There are songs about Tiananmen Square and about ultrasound. There are even songs about Becontree Housing Estate and about sanitary towels.

          The songs grew from a project for the Imperial War Museum and were first performed at their sites in Salford and London in January 2019. The starting point was an image from a 1919 publication on munitions by the US War Department, made using “sound ranging”, a technique that utilised an array of transducers to capture the vibrations of gunfire at the front. These vibrations were displayed on a graph, similar to a seismograph, where the distances between peaks on different lines could be used to pinpoint the location of enemy armaments. This particular image showed the minute leading up to 11am on 11th November 1918, and the minute immediately after. One minute of oppressive, juddering noise and one minute of near-silence. “We imagined the lines from that image continuing across the next hundred years,” says the band’s David Brewis, “and we looked for stories which tied back to specific events from the war or the immediate aftermath.” If the original intention might have been to create a mostly instrumental piece, this research forced and inspired a different approach. These were stories itching to be told.

          The songs are in a kind of chronological order, starting with the end of the war itself; the uncertainty of heading home in a profoundly altered world (“Coffee or Wine”). Later we hear a song about the work of Dr Harold Gillies (the shimmering ballad, “A Change of Heir”), whose pioneering work on skin grafts for injured servicemen led him, in the 1940s, to perform some of the very first gender reassignment surgeries. We see how the horrors of the war led to the Dada movement and how that artistic reaction was echoed in the extreme performance art of the 60s and 70s (the mathematical head-spin of “A Shot To The Arm”). And then in the funk stomp of Money Is A Memory, we picture an office worker in the German Treasury preparing documents for the final instalment on reparation debts - a payment made in 2010, 91 years after the Treaty of Versailles was signed. A defining, blood-spattered element of 20th century history becomes a humdrum administrative task in a 21st century bureaucracy.

          FORMAT INFORMATION

          Coloured LP Info: + 1 WRISTBAND.
          Limited transparent red 180 gram vinyl housed in a gatefold sleeve.

          CD Info: + 1 WRISTBAND.

          Wristband Only Info: IMPORTANT - this gives you access to the outstore gig on Friday January 10th ONLY.
          It does not entitle you to a copy of the album.
          Max 2 per person.

          Cassette Info: + 1 WRISTBAND.

          Whyte Horses

          Hard Times

            Whyte Horses, whose sound is at once timeless and thoroughly modern. With a back-catalogue of multi-faceted jewels that gleam with a blinding, intoxicating light, Whyte Horses’ reputation is one of being able to piece together gloriously individual pop strands in an endlessly creative fashion.

            If the music seems passionate, then that’s precisely because the people behind it are passionate. Fronted by Manchester’s Dominic Thomas - who moonlights as founder of the vinyl reissue label Finders Keepers - Whyte Horses often operates as a welcoming revolving door for talented vocalists in their own right, but on ‘Ça Plane Pour Moi’ we get to glimpse pure Whyte Horses performing within their own capabilities and hinting at the album to come names ‘Hard Times’ and scheduled for release next year.



            Desert Sessions

            Vols. 11 & 12

              In 1997, Josh Homme (Queens of the Stone Age) and a handful of friends retreated to the desert of Joshua Tree, CA in order to isolate themselves from the distractions and comforts of their everyday lives. What began as a casual writing and recording session amongst friends has since become a project of legend. Spanning twelve volumes over the course of two decades, Desert Sessions has featured some of music’s most cherished icons stepping out of their comfort zones and collaborating with one another to create some of the most exciting music of their careers.

              After nearly sixteen years since its last entry, the longest-running mix tape in existence, Desert Sessions returns with two stunning new volumes in its already storied catalog, Vol. 11 & 12, featuring collaborations from Billy Gibbons (ZZ Top), Les Claypool (Primus), Stella Mozgawa (Warpaint), Jake Shears (Scissor Sisters), Mike Kerr (Royal Blood), Carla Azar (Autolux, Jack White), Matt Sweeney (Chavez), David Catching (Co-founder of Rancho De La Luna studio), comedian Matt Berry (What We Do in the Shadows), Töôrnst Hülpft and newcomer Libby Grace.

              FORMAT INFORMATION

              Ltd LP Info: Limited edition vinyl package includes a one of a kind custom mix & match, body swap booklet.

              A Winged Victory For The Sullen

              The Undivided Five

                Purveyors of contemporary ambient and electronic inspired music, A Winged Victory for the Sullen make a bold return on new album “The Undivided Five”. The pair, made up of Dustin O’Halloran and Adam Wiltzie, have created iconic film scores and forward-thinking ambient groups, releasing a series of game-changing records for Erased Tapes and Kranky. On “The Undivided Five” they rekindle their unique partnership for only their second piece of original music outside of film, TV and stage commissions, creating an album that channels ritual, higher powers and unspoken creative energies. Their fifth release (following their debut album, two scores and an EP), they embraced the serendipitous role of the number five, inspired by artist Hilma af Klint and the recurrence of the perfect fifth chord.

                This album sees them create bold new work built on their foundations in ambient and neoclassical. Since their 2011 self-titled debut, the duo have emerged as part of a much-lauded scene alongside peers like Max Richter, Hildur Guðnadóttir, Tim Hecker and Fennesz. Their 2014 album “Atomos” was the product of a commission to score a new performance by Royal Ballet choreographer Wayne McGregor, while 2016’s “Iris” was the score for director Jalil Lespert’s thriller, “In the Shadow of Iris”. They count the likes of Jon Hopkins among their fans, who included ‘Requiem For The Static King Part One’ on his 2015 Late Night Tales compilation. They composed the score for Invisible Cities, a specially-created performance to herald 2019’s Manchester International Festival, and have played some of the world’s most celebrated venues, including a sold out Boiler Room performance at London’s Barbican, and a 2015 BBC Proms show curated by Mary Anne Hobbs at the Royal Albert Hall.

                They were first introduced by mutual friend Francesco Donadello in 2007, a close collaborator who’s gone on to mix all of the AWVFTS records. O’Halloran launched his reputation with two acclaimed solo piano albums, attracting the attention of director Sofia Coppola, who asked him to score her 2006 film Marie Antoinette, and he has since won an Emmy for his 2015 theme song for Jill Soloway’s Transparent series, and been nominated for an Oscar and Golden Globe for his 2017 score with Hauschka for Garth Davis’ Lion. Wiltzie, meanwhile, founder of iconic drone outfit Stars of the Lid, has scored Hollywood films including Kevin MacDonald’s “Whitney”, Jake Scott’s “American Woman” and collaborated with Jóhann Jóhannsson for 2014’s The Theory of Everything.

                This album sees them pay greater heed to the small details in their sound than previously, something they say has been encouraged by the move to a new label. It’s been their first opportunity since their debut to create something that’s solely guided by their ideas, and it represented an opportunity to call back to that first outing while also building on the various ways in which they’ve grown. “We understand that times have changed,” they say. “We have evolved, but we also didn’t want to forget the beginning.”

                They channel influences such as Debussy, nodded to in the opening track, whose big chords and complicated arrangements inform a lot of their approach – parts that sound simple but require great skill to execute. Likewise, the artist Hilma af Klint – one of the first abstract Western artists – informed their ideas about drawing on spiritual influences to shape their work. “It’s like an invisible hand guiding things,” they say.

                The start of recording sessions for the album were marred by the death of one of their closest friends. Within weeks after the funeral O’Halloran found out that he would be expecting his first child, and it was soon after that a visit to see the art of af Klint brought home a profound realisation of life, death, the afterlife, and the spaces in between. She belonged to a group called "The Five", a circle of five women with a shared belief in the importance of trying to make contact with spirits, often by way of séances. This chimed with the duo’s unspoken approach to collaboration, and nudged them to return to their writing process centered around the harmonic perfect fifth; the five senses, the divine interval – The Undivided Five.

                The album was also shaped by the breadth of locations in which it was created, helping to shape its nuanced sonics. In addition to O’Halloran and Wiltzie’s respective Berlin and Brussels studios, the record took shape across six different sites. They recorded orchestral samples in Budapest’s Magyar Rádió Studio 22, re-recorded album parts in Brussels’ Eglise Du Beguinage’s unique, reverb-heavy surrounds (where Wiltzie has performed with Stars of the Lid and, in 2018, organised a tribute concert for Jóhann Jóhannsson), experimented with overdubs in Ben Frost’s Reykjavik studio, and recorded grand piano parts in a remote woodland studio in northern Italy. The duo pay close attention to the micro-level of sound, and each of these places was chosen for the qualities which could enrich the finished product. And it’s in Francesco Donadello’s studio in Berlin, where all of the previous AWVFTS material has been mixed, that the album was run through the studio’s analog board, binding the record’s different parts together.

                It was their connection to Jóhannsson which partly shaped the direction of their new album. They were asked to create a remix for him, which he heard before his death in 2018, where they unlocked a new process in terms of how they work. They recomposed the strings, using modular synthesis, old synths and string and piano arrangements, a method they applied to album opener ‘Our Lord Debussy’. “It’s about going into the DNA of music and taking different strands,” they say.

                The album is their debut for Ninja Tune, and comes as change is underway for O’Halloran, moving from Berlin – hence the title of ‘Keep It Dark, Deutschland’ – after a decade in the German capital. He’s headed to Iceland, the country where the pair shot their latest press photos and which is an important locale for both of them. The wide-spanning connections which have shaped the record are testament to their deep roots as artists. This album’s powerful energy is driven by the deep-rooted bond between them.

                STAFF COMMENTS

                Barry says: I've been a huge fan of AWVFTS sonce their mindblowing self-titled debut (and before, if you count Stars Of The Lid), this is without a doubt a thematic continuation of that, but is far and away the best work they've put out. Thoroughly, utterly unmissable.

                FORMAT INFORMATION

                Coloured LP Info: 180 gram marbled clear & silver LP housed in a gatefold sleeve.
                Black Inner sleeve.

                Ltd LP Info: 180 gram vinyl in a gatefold sleeve.

                Happy Mondays

                The Early EP's

                  This collection of EPs features very early, rare Happy Mondays tracks originally released on limited vinyl in the late 1980s by Factory Records. Included is the original version of ‘24 Hour Party People’ and feature track ‘The Egg’ - with atmospheric eerie slide guitar and driving bass this is a stand out gem from the band’s back catalogue and transports you in time to late 1980s Manchester.

                  All tracks remastered from original master tapes.

                  ‘Forty Five’ pressed on translucent green vinyl in sleeve with 3mm spine.

                  ‘Freaky Dancin’ / The Egg’ appears on translucent orange vinyl in sleeve with 3mm spine.

                  ’Tart Tart’ is on translucent blue vinyl in 3mm spine sleeve.

                  ‘24 Hour Party People’ on translucent yellow vinyl in sleeve with 3mm spine.

                  All 4 EPs are gathered in a 300gsm carton slipcase.

                  REPRESS!!!

                  The incredibly elusive band Sault release their debut album 5 on Vinyl via independent record label Forever Living Originals. The record fuses African, soul, funk and post-punk vibes amongst other flavours. With support from Radio 6's Lauren Laverne and USA's KWRC and KEXP, the band are set to go from strength to strength becoming one of the most prolific bands of 2020 with a barrage of material up their sleeves.

                  Without pausing for breath and hot on the heels of their exhilarating debut album '5', the elusive SAULT return with their sophomore full length titled '7'. The signature hybrid of funk, dance, post-punk, soul and disco is front and centre once again, confidently delivered with their typical fearless nature. If '5' had you out of your seat, '7' will have you dancing in the streets....Spread the word, SAULT are back at it!

                  Smoke Fairies

                  Darkness Brings The Wonders Home

                    In the making of their new album Darkness Brings The Wonders Home, Smoke Fairies drew inspiration from mysteries both real and imagined: sea monsters, flocks of crows taking flight in extravagant formation, strange creatures dwelling in the mud near their new South London abode. With their mesmeric vocal presence and starkly poetic lyrics, singer/multi-instrumentalists Katherine Blamire and Jessica Davies embed all that odd magic into songs that speak to the realities of modern times—isolation, insomnia, an overall unease with the state of the world—and ultimately uncover an unlikely sense of hope.

                    “Times of darkness are when people are often the most imaginative,” says Davies in reflecting on the album’s title. “It helps you to see all the wonders of the world you hadn’t noticed before—the things you’ve been blind to because you’ve been on autopilot for so long.”

                    Produced by Phil Ek (Fleet Foxes, The Black Angels, The Shins), Darkness Brings The Wonders Home merges Smoke Fairies’ musings and meditations with a decidedly guitar-driven sound, the duo’s unearthly harmonies endlessly floating atop lead-heavy riffs. Over the course of a rigorous month-long session in Seattle, Smoke Fairies adopted a purposely intimate approach to achieving that singular sonic tone.

                    ‘We spent a long time trying to fathom the direction we wanted to take on this album. At times the options seemed overwhelming, but as new songs started to form we realized we needed to take them back to our core sound – our interplaying guitar parts’ says Davies. “So then we had to really step up and do it ourselves, without relying on a band to fill anything in, which was quite a challenge—physically, mentally, everything.”

                    While Smoke Fairies initially intended to return to the earthy folk of early work like 2011’s Through Low Light and Trees, the duo soon found themselves assuming a new boldness in their guitar style and, in turn, pushing into much wilder terrain. In doing so, Blamire and Davies spent much of their time perusing the guitar shop near Ek’s chosen studio, experimenting with countless guitars and amps to augment the album’s sonic palette. “It was like being in a sweet shop, getting to try all these guitars we’d normally never be able to afford,” says Blamire. “We ended up making friends with guitars we never thought to use before, like this weird vintage Kay that sounded great but was so hard to play—to the point where there were days when our fingers were bleeding, or we had blisters in places you didn’t even know you could get them.”

                    Opening with “On the Wing,” Darkness Brings The Wonders Home quickly proves the power of matching that pummeling guitar work with Smoke Fairies’ finespun songwriting. With its woozy intensity and spellbinding rhythms, the song also introduces one of the album’s most prominent themes: the often-futile attempts at true connection at a time when the most impetuous behavior tends to prevail. “When we were little my brother wrote a poem about waking up and finding he’d changed into a swan overnight, with feathers growing out of his arms,” says Blamire of the song’s inspiration. “To me that’s an interesting metaphor for how people can grow into becoming quite flighty, where they’re never really able to settle in one place or with one person.”

                    An album deeply informed by aberrations of nature, Darkness Brings The Wonders Home delves into a different kind of fascination on “Out of the Woods”—a song sparked from Smoke Fairies’ study of the overgrown pond behind their house. “There’s something magical about all these weird things living out there in the mud,” says Blamire. “We started to project onto that, like the idea of something unexpected and good coming from the mud of your emotions.” Another song attuned to the fear of the unknown, the hypnotically ominous “Chew Your Bones” mines inspiration from the titular beast of Sarah Perry’s novel The Essex Serpent and from a local urban myth involving a character called The Croydon Cat Killer. “For years people thought someone was going around killing cats—they put a proper police force on it and everything, and then realized it’s just foxes,” Davies notes. “I’d also recently read an article about how some people feel uncomfortable with the idea of bringing kids into the world at the moment,” she adds, “We needed to write about the growing feeling that the world is on the verge of real change, there is the sense that there is this scary, unknown future lurking just beyond us ’.

                    Despite its many wanderings into otherworldly territory, Darkness Brings The Wonders Home remains rooted in real-life anxieties, particularly on tracks like the fluttering and urgent “Don’t You Want to Spiral Out of Control.” “The modern way of interacting around love seems too empty to me—it feels like it makes us into much colder people than we ever were before,” says Blamire. “It’s like we’re missing that spontaneity, the ability to bind together over something more than an image on a screen. That song came from wanting to just shake people and go, ‘don’t you want to spiral out of control again? Don’t you want to just let loose?’”

                    Throughout Darkness Brings The Wonders Home, Smoke Fairies adorn their observations with so many exquisite flourishes: the swinging melodies and elegant shredding of “Elevator,” the girl-group harmonies and spiky riffs of “Disconnect,” the delicate tension between taut guitar lines and swooning vocals on “Chocolate Rabbit.”

                    For Smoke Fairies, Darkness Brings The Wonders Home signals a strengthening of the inextricable bond they’ve forged through the years. “So many of the songs are about these feelings of disconnection, but the irony is that Jessica and I have each other, and that means so much more than any of the other relationships that come and go,” says Blamire. And because of that connection, the two found the courage essential for bringing such an emotionally trying album to life. “I think what we’re attempting to show is that, in all this chaos that’s so tumultuous and overwhelming, there are always ways to change your perspective,” says Blamire. “Making this album, we conquered so many worries and doubts and felt so much stronger at the end—we went right into the darkness, and somehow brought something incredibly positive out of it.”


                    FORMAT INFORMATION

                    Dinked Edition LP Info: Exclusive Coloured vinyl – Gold & Black Splatter.
                    Exclusive Sleeve.
                    Signed & Numbered 12”x12” Print.
                    Exclusive Lyric Book.
                    Dinked sticker.

                    Coloured LP Info: Gold coloured vinyl.

                    Seahawks & Woo

                    Celestial Railroads - Bonus Disc Edition

                      For a limited period only both formats include a bonus "super space acid temple mix tape" CDR.

                      Emotional Response and Ocean Moon come together for a special collaborative release, where Seahawks take the music of WOO on a journey to the inner sanctum. Immersive, psychoactive and phased to perfection. For those who know not the music of WOO, prepare to behold a rare and magical incarnation of transcendent beauty.

                      Perhaps Seahawks most spaced out voyage since Vision Quest One: Spaceships Over Topanga Canyon, ‘Celestial Railroads’ is a psychedelic odyssey that goes way beyond the norm. 'After the Last Train To Trancentral far Beyond The Wizards Sleeve, Celestial Railroads await….’

                      FORMAT INFORMATION

                      LP Info: Includes a bonus "super space acid temple mix tape" CDR.

                      CD Info: Includes a bonus "super space acid temple mix tape" CDR.

                      Cigarettes After Sex

                      Cry

                        Cigarettes After Sex return with their anticipated sophomore album. Recorded during night time sessions in a mansion on the Spanish island of Mallorca, the album is a lush, cinematic meditation on the many complex facets of love - meeting, wanting, needing, losing...sometimes all at once. The album was self-produced and engineered by Greg Gonzalez, and mixed by Craig Silvey (Arcade Fire, Yeah Yeah Yeahs).

                        FORMAT INFORMATION

                        Coloured LP Info: Indies only clear vinyl edition, includes 12” x 12” poster insert (album art on one side, lyrics on the reverse).

                        LP Info: Black vinyl, includes 12” x 12” poster insert (album art on one side, lyrics on the reverse).

                        Jack Peñate

                        After You

                          Jack Peñate announces the release of his third album ‘After You’. Over a decade in the making, the album was produced in collaboration with Paul Epworth, Inflo and Alex Epton. 

                          Prayer, the first single from the album, features Peñate playing several instruments, as well as the production credit he set out to achieve. It carries more than a nod to gospel, all set around a glorious pop hook, played on a Farfisa organ. Its musical and lyrical complexities belies the fact it was written in twenty minutes. “Once we had written it, all the pieces of the past ten years fell into place. It was like a puzzle coming together.”

                          Former Spankrock member turned producer and jazz drummer, Alex Epton came on board and set to bring together 10 years worth of work into a cohesive album in XL’s New York studio, adding in additional programming and production as well as drums and percussion. Paul Epworth, with whom he created Everything Is New, came back in and worked on several tracks.

                          The album doesn’t just draw on his musical journey of the past ten years, it brings in influences from the music he heard as a child. Loaded Gun has a prechorus that Lennon and McCartney would have liked to have written. As a child his brother would play him Jungle music. There’s elements of that too. His dad ran acid house raves – that’s in there. But perhaps, the most poignant track is Gemini. With nothing more than piano, vibraphone and drum beat, the words of Peñate’s grandfather, the writer and artist Mervyn Peake, are read by his uncle Fabian. And it’s not the only family tie. The artwork for the album, and the first video, has been done by Peñate’s cousin, the acclaimed artist, Eddie Peake. “We both grew up with an uncanny focus on what we wanted to do, but had never worked together,” says Jack. His work is both incredibly joyous and melancholy, and it does something to me that music does to me too.”

                          If Peñate’s ambition was to be able to make a sound that sounded like a feeling felt, and to be able to master studio production, and to be able to have longevity in his career, then it’s safe to say that with After You, that ambition has been realised.

                          FORMAT INFORMATION

                          Coloured LP Info: Indies exclusive blue and red split vinyl.

                          Toy

                          Songs Of Consumption

                            TOY, who released Happy In The Hollow, their fourth, and by far most acclaimed album to date, in January of this year on Tough Love Records, have announced details of Songs Of Consumption, an 8-song collection of unique interpretations of tracks which have inspired the band.

                            The idea was originally birthed when the band recorded four covers for the bonus 7"s that came with the Dinked and Rough Trade versions of the last album. 3 of those songs feature here alongside 5 new recordings completed last month, which comprise tracks by Stooges, Amanda Lear, Nico, The Troggs, Serge Gainsborough, Soft Cell, John Barry and Pet Shop Boys/Elvis/Willy Nelson (depending on how you know the song).

                            Talking about the album, TOY said:

                            Songs of Consumption sonically is a continuation and development of the themes conceived on Happy In The Hollow and it will show people where we are going towards musically. The DIY approach was explored further utilising more of the electronic elements that we touched upon before. Drum machines, stripped down arrangements and rudimentary production give a primitive sound that we thought suited the choice of songs. Some of the songs have very big sounding production, so we wanted to experiment with them by going in a different direction.

                            Music is consumed voraciously now whereas these songs came from a time when the song was of the most important thing and that's what was appreciated. Stripping them back to the essence of what they are was also something we wanted to explore. Also, we wanted to make a covers record with songs by people that influenced us in the past few years and it’s as much about the way they dealt with their ideas, and how they put themselves in uncomfortable situations in order to make something that in the end is simple. It’s a homage to the spirit of these people, that helped us to untangle ourselves from our inherent complicated nature and create a new space where we can exist.

                            Additionally, having played a sold-out tour of the UK in February, including a mesmerising show at Village Underground in London, the band have announced a couple of very special shows at the end of the year.

                            Playing under the banner of ‘Hollowed Out – A night of strange sighting and unhabitual ritual’ the shows will see them re-imagining songs from Happy In The Hollow. In London they will be joined by AV artist Sculpture, live performances from The Thelma Death Stare and Ducasse, DJ sets from Cherrystones and Sheet Noise and live visuals from Daisy Dickinson. In Manchester they will be joined by Mutabase and a DJ set from Sofie K.

                            FORMAT INFORMATION

                            Coloured LP Info: LP is on cream opaque vinyl and is exclusive to Indie stores.

                            Blossoms

                            Foolish Loving Spaces

                              Blossoms have today revealed the details of their new album, Foolish Loving Spaces. Set for release on January 31, 2020, Foolish Loving Spaces is the follow up to the band’s 2018, top 5 album Cool Like You and features recent single Your Girlfriend, released earlier this year.

                              Foolish Loving Spaces was produced by the band’s consistent and talented team of James Skelly and Rich Turvey at Parr Street Studios in Liverpool. Tom Ogden’s increasingly direct lyrical range turns album three into a romantic page-turner of light and shade, while its divergent moods are supplied by Myles Kellock’s piano and keyboard lines, careering from urgent stabs of TV game show-theme synth to more classic, rolling notes. The record’s multi-instrumental colour and widescreen sound is provided by pedal steel / lead guitarist Josh Dewhurst, while Joe Donovan on drums and Charlie Salt on bass bring fluidly danceable grooves throughout, complemented on occasion, by a wall of gospel harmony.

                              Speaking about the inspiration for the album, the band explain:
                              'It’s just a pure celebration of love in all of its splendid and baffling guises, toying with the so-called sins of lust and forbidden infatuation … inspired, in ways, by a summer spent listening to Stop Making Sense, The Joshua Tree & Screamadelica’.

                              FORMAT INFORMATION

                              2xDeluxe CD Info: 2CD Deluxe (includes Acoustic version of the album.

                              Various Artists

                              Kamaal Williams DJ Kicks

                                Game-changing multi-instrumentalist Kamaal Williams has put together the latest DJ-Kicks mix. It features four of his own brand new and exclusive tracks and hints at the wide world of influences that have made him one of the most prominent artists of the last few years.

                                Williams has taken his long standing love of seventies jazz fusion and mixed it up with the contemporary sound of the London underground to devastating effect. House, broken beat, grime, soul, funk, hip hop and jazz all permeate his work, which has seen him evolve from one-man producer Henry Wu to acclaimed live band Kamaal Williams, backed by talented drummers and bassists. His pioneering work in the studio and live arena has influenced a whole new generation of like-minded musicians that have helped make the capital one of the most musically exciting and quickly evolving cities in the world, with Williams' own virtuoso drumming and percussion right at the heart of it all.

                                The exceptional Yussef Kamaal album 'Black Focus' was one of the most talked about records of 2016. Vinyl pressings kept selling out, it received rave reviews, earned the band the Breakthrough Act award at the 2017 Jazz FM awards and led to spellbinding live shows all over Europe. The follow up, The Return, came on Williams' own new Black Focus label and took his band global, all while picking up nominations for best independent album at the AIM Music Awards.

                                Improvised rhythm and spirituality are at the heart of everything Williams does, as is London life, with its diverse people, cultures and musical customs all feeding into his work. That is also true when making more electronic sounds as Henry Wu, who appears here after standout EPs on labels like Rhythm Section International. Williams' music is so individual it is more than deserving of its own tag: the artist himself calls it Wu Funk, and some of the many sounds that feed into it are all showcased on this adventurous new mix.

                                Exclusives include a live take of 'Snitches Brew,' new Kamaal Williams tracks 'Shinjuku' and 'Strings ATL' , as well as 'Wivout U' from Henry Wu. Those vital highlights sit next to classic jams from Southern Freeze, a strong contingent of London innovators from K15 to Dego and Tenderlonius to Kaidi Tatham, with funk driven house from Peven Everett, raw stuff from Steve Julien, lush synth grooves from Lone and feel good grooves from Phil Asher all making this is an honest and uplifting collection that, when necessary, is happy to eschew blends, fades and mixing in favour of red hot selections and sequencing.

                                Kamaal Williams DJ-Kicks is a fascinating insight into the record collection of a true musical alchemist.

                                Pictish Trail

                                Thumb World

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

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

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

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

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

                                  FORMAT INFORMATION

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

                                  Coloured LP includes MP3 Download Code.

                                  LP Info: Standard LP has a Gatefold sleeve and is on BLACK Vinyl.

                                  LP includes MP3 Download Code.

                                  Mark Hollis

                                  Mark Hollis - Reissue

                                    The only solo album by former Talk Talk frontman Mark Hollis, released January 1998. Despite being released as a solo album by Hollis, it was originally intended to be credited to Talk Talk, under the name ‘Mountains of the Moon’.

                                    A beautiful and haunting work, this album picks up where he left off with Talk Talk’s’ Laughing Stock’ seven years before, re-emerging with a suite of music that encompassed jazz, ambient, and folk.

                                    His inspiration came not from ‘pop’ but 20th-century classical music and jazz from the late fifties and sixties (there is a distinct flavour of Miles Davis – ‘In A Silent Way’ here) and is one of the quietest and most intimate records ever made – creating an exceptional atmosphere in which the listener can submerge.

                                    A Life (1895 – 1915), which has been referred to as “the album’s epic centrepiece” refers to Roland Leighton (1895–1915), a British soldier and poet who was the fiancé of Vera Brittain at the time of his death in World War I. Hollis has stated about the song…“That was someone born before the turn of the century…and dying within one year of the First World War at a young age. It was based on Vera Brittain’s boyfriend. It’s the expectation that must have been in existence at the turn of the century, the patriotism that must’ve existed at the start of the war and the disillusionment that must’ve come immediately afterwards. It’s the very severe mood swings that fascinated me”.

                                    The understated artistry and minimalist beauty of tracks like The Colour of Spring and Watershed makes ‘Mark Hollis’ a truly unique and indelible listening experience.

                                    “…open, restful and at times fantastically beautiful”.

                                    “A sound whose ambience is as natural as breathing” – Melody Maker.

                                    This genuine ‘lost classic’ is now available again on heavyweight vinyl, with original artwork – printed inner sleeve with lyrics and credits. Remastered at Abbey Road.

                                    FORMAT INFORMATION

                                    LP Info: Heavyweight black vinyl.

                                    Jeffrey Lewis & Voltage

                                    Bad Wiring

                                      Jeffrey has received jaw-dropping praise from practically every major news and music outlet over the years, as well as awed testimonials from the likes of David (Silver Jews) Berman, Jarvis (Pulp) Cocker, Ben (Death Cab For Cutie) Gibbard, Will Oldham and others… and this new album “Bad Wiring” makes it completely clear why. In all of indie-rock there is no force like Jeffrey Lewis. Although mostly recognized for his lyrical skills (as well as his illustration/comic book skills), the secret weapon in Lewis’s arsenal has been his slow evolution from DIY folkie in the late 90s to barn-burning indie-rock live sensation.

                                      New band name The Voltage is a bit of a slight-of-hand, as the musicians are the same bassist, Mem Pahl, and same drummer, Brent Cole (also of the Moldy Peaches), that Jeffrey has been touring the world with for the past four years as “Jeffrey Lewis & Los Bolts.” But Jeffrey continues his tradition of using a new band name for each release… and as Jeffrey says, “everybody knows most good bands have a ‘v’ in their name… Velvets, Nirvana, Pavement, Vaselines, Violent Femmes, Camper Van Beethoven, Modern Lovers, etc!” Recent Jeffrey Lewis band names like “The Rain”, “Los Bolts” and “The Voltage” are also in reference to the fact that Jeffrey’s middle name is Lightning, the result of being born on the Lower East Side in the 1970s to hippie parents. It was almost his first name but got moved to the middle name when he was born!

                                      The album was recorded and produced in Nashville by Roger Moutenot, the man responsible for producing all of the classic Yo La Tengo albums. Moutenot, who also worked on Lou Reed’s “Magic and Loss” album, and Sleater Kinney’s “Hot Rock” album was definitely the right man to capture these twelve new Lewis songs in the studio. As Lewis explains, “As an experience of working with a producer, it was a dream come true. I obviously worship a number of the records Roger had produced in the past, so I specifically sought him out. The fact that he’s in Nashville was just accidental, we would have traveled to record with him anywhere. Now when people hear we made our album in Nashville, everybody’s like, oh, I guess this is your country album…”

                                      With the endlessly creative musical variety on display from Jeffrey Lewis & The Voltage, and Lewis’s writing as sharp as ever, “Bad Wiring” could be the greatest album of Jeffrey’s 18-year career. Having one solid band line up for a few years in a row has certainly helped. Keep an eye out for a couple other interesting Jeffrey Lewis projects to be released in 2019: Jeffrey’s new giant-size comic book issue (Fuff #12) and Jeffrey’s first book Revelations in the Wink of an Eye: My Insane Musings on Watchmen from Conspiracies to Stupidities. But mostly look for Jeffrey Lewis & The Voltage to be playing at a venue near you, on their UK pre album-release tour in September!


                                      FORMAT INFORMATION

                                      Dinked Edition LP Info: Exclusive Pale Blue vinyl.
                                      Exclusive Die Cut cover.
                                      Bonus 7” (2 additional tracks ONLY available on Dinked Vinyl).
                                      Artworked inner bag.
                                      Sticker Sheet insert.
                                      Numbered Edition of 550.
                                      Download card.

                                      Coloured LP Info: Poppy Red coloured LP.
                                      Sticker Sheet insert.

                                      Gene Clark

                                      No Other - Reissue

                                        Gene Clark’s 1974 masterpiece gets the reappraisal it’s long overdue.

                                        “One of the greatest albums ever made. Initially celebrated for its obscurity, No Other is now celebrated for its magnificence. It was in every way a magnum opus: epic, sprawling, poetic, choral, rococo.” The Guardian

                                        On the eve of what would have been American singer-songwriter and Byrds founding member Gene Clark’s 75th birthday comes the reissue of one of his finest works, No Other. Released in 1974 on Asylum Records, a year after the Byrds shortlived reunion, Gene reached for the stars with No Other; a psychedelic rock, folk, country and soul record that famously cost a small fortune to make. Although received warmly by critics, it flopped and was soon deleted, a failure Gene never came to terms with.

                                        However, as The New York Times wrote around the record’s 40th anniversary in 2014, “hindsight has burnished No Other, as it has redeemed other albums that went on to be reconstructed as rock repertory, like Big Star’s Third/Sister Lovers and Lou Reed’s Berlin,” with the album now being increasingly recognised as one of the greatest of its time, if not all time.

                                        45 years on and recently remastered at Abbey Road, 4AD are giving No Other the reappraisal it deserves. The original eight track album is being released on both CD and LP, while a limited run double CD edition in a hardbound book cover is also coming which includes a bonus disc of alternate studio versions of each track plus a recording of ‘Train Leaves Here This Morning’ (an Eagles hit in 1972, written by Gene and Eagles founding member Bernie Leadon).

                                        Excitingly, the deluxe boxset edition fans have been waiting decades for has also been lovingly curated. An extremely limited item, the box contains the LP, three SACDs (the original album in an authentic Japanese vinyl replica sleeve plus two more discs of session mixes), an exclusive 7”, a comprehensive Blu-Ray disc which includes HD versions of all tracks, a stunning 5.1 surround mix of the album, the original 1974 vinyl master and an exclusive documentary by Paul Kendall (the director responsible for the acclaimed 2013 film, The Byrd Who Flew Alone: The Triumphs and Tragedy of Gene Clark), and a hardbound 80 page book which features essays, extensive liner notes and previously unseen photos.

                                        FORMAT INFORMATION

                                        LP Info: The Original Album Remastered.
                                        Pressed on Black Vinyl.

                                        2xDeluxe CD Info: Hardbound Book Cover.
                                        The Original Album Remastered & Bonus Disc of New Session Mixes.

                                        CD Info: The Original Album Remastered.

                                        Ltd Box Set Info: Beautiful silver box set containing LP, 7”, Three SACDs, Blu-Ray & An 80 Page Hardbound Book.
                                        Multi-layer SACD version of album housed in exclusive Japanese Ichikudo vinyl replica sleeve.

                                        FREE SHIPPING This item has FREE UK shipping!

                                        Dry Cleaning

                                        Sweet Princess / Boundary Road Snacks And Drinks

                                          Boundary Road Snacks and Drinks & Sweet Princess compile together Dry Cleaning’s first two EP releases on vinyl. Firm friends for years, the band (Lewis Maynard, Tom Dowse, Florence Shaw & Nick Buxton) only started making music after a party in 2017 inspired a collaboration. They wrote instrumentally to begin with and six months later Shaw, a university lecturer and picture researcher by day, joined on vocals with no prior musical experience. They recorded their acclaimed debut “Sweet Princess” EP before playing their first show only last year.

                                          Boundary Road Snacks and Drinks takes its name from the location and context of a shared genesis, and marks a significant chapter for the band as the last tracks to be written in their original rehearsal space.


                                          FORMAT INFORMATION

                                          Dinked Edition LP Info: Heavyweight, transparent with black splatter vinyl.
                                          Sticker set.
                                          Hand-numbered.
                                          Signed by the band.
                                          Download card.

                                          LP Info: Standard black vinyl.

                                          Cate Le Bon & Bradford Cox

                                          Myths 004

                                            As sure as if it had been mapped in the stars, or written in a prophecy buried deep beneath the sands of the Marfa desert, a collaboration between Cate Le Bon and Bradford Cox was always something of an inevitability.

                                            Fourth in Mexican Summer’s Myths EP series (and following previous tie-ups between Dev Hynes and Connan Mockasin, Ariel Pink and Weyes Blood, and Dungen and Woods), Myths 004 sees Le Bon and Cox–each a much-revered musical innovator in their own right–finally united.

                                            For both artists, Myths 004 signals a change of tack: meticulousness thrown to the wind as spontaneous, jammy tales of firemen and 5p plastic bags, unbrushed hair and shoelessness and makeup-daubed landscapes–all miraculously written and recorded in just one week– roll effortlessly off their cuffs.

                                            Though this EP materialises after two individual 2019 album campaigns–Le Bon’s Mercurynominated fifth album Reward, and Cox’s eighth with his band Deerhunter, Why Hasn’t Everything Already Disappeared? (which Le Bon co-produced)–the chronologies are tangled: Myths 004 is in fact a snapshot of the pair’s very first meeting. After years of admiring each other’s work from afar, Cox and Le Bon finally converged on Marfa, Texas in 2018, at Mexican Summer’s annual Marfa Myths music, visual art, and film festival.

                                            “Marfa is an extraordinary town,” says Le Bon. “It feels like nothing else exists when you’re in it which is both comforting and unnerving.” In this otherworldly enclave, and with a band of frequent Cate Le Bon co-conspirators on hand to putty the gaps with drums, saxophone, percussion, keys, and additional guitar (Stella Mozgawa of Warpaint, Stephen Black of Sweet Baboo, and Samur Khouja), the EP was assembled whiplash-quick.

                                            “Writing and recording in a week is a tall order - especially when such chemistry exists between all the musicians involved, and the possibilities are boundless,” Le Bon explains. “We committed ourselves to embracing the chaos, surrendering to all moments and moods that travelled through. It’s a crude holiday scrapbook shared by all involved, an amalgamation of the changes in mood and light that shaped the days.”

                                            Indeed, Myths 004 is wondrous in its variety. On the opening song “Canto!”, Cox dons the illfitting leathers of an ageing biker and urges us to come ride with him, baby. He and Le Bon gaze into one another’s eyes with semi-serious sweetness as tough, wiry guitars stab through the romance.

                                            Everything shrinks and softens on the EP’s sole single, the gently melancholic “Secretary,” as Le Bon and Cox spout verse over a mysterious percussive rhythm; perhaps made by miniature cymbals from a mantric parade, perhaps by someone rummaging in the cutlery drawer. Together, they combat the office humdrum of filing, answering the phone, and eating “the same old plastic lunch” with a surreal and beautiful daydream of “mascara brushed across the plains / all of the phone calls you made disconnected.”

                                            Most freeform are the short instrumental interludes–the garage-y, hammily menacing “Companions in Misfortune,” could easily soundtrack a gang sauntering down an alleyway, whilst “Jericho” emulateMost freeform are the short instrumental interludes–the garage-y, hammily menacing “Companions in Misfortune,” could easily soundtrack a gang sauntering down an alleyway, whilst “Jericho” emulates a dog and a brass band falling down the stairs (with jazzy panache, thank you very much).

                                            “Fireman” sees Le Bon and Cox cast themselves as postulating heroes, as in a flash of tongue-in-cheek, lyrical-comic wordplay, Cate sings “I am a fireman / putting out fires, man” and Bradford, in a low faux-macho drawl, rambles immodestly in the background about his fire-extinguishing prowess.

                                            And final track “What Is She Wearing,” drips with cynicism, wit, and parody punk spirit as Le Bon lists universally relatable and not-so-nice, day-to-day shit: having to take the bins out, stepping in chewing gum, taking your jumper off when you’re wearing an ugly t-shirt underneath, finding dirt on the fork at a fancy restaurant, going to the supermarket and paying five pence for a plastic bag you don’t want. It wouldn’t be hard to believe that John Cale is sawing his bow across an electric guitar somewhere in the background as Le Bon lippily gripes: “I’m walking to get myself a croissant from the bakery / and everybody is looking at me as if I have committed a crime.”

                                            But for all their twists and turns, Myths 004’s seven tracks sit perfectly alongside one another - each sounding simultaneously like a Bradford Cox song, and like a Cate Le Bon song. In the true spirit of collaboration, a feeling of sheer joy prevails, uniting the EP’s every shape, character, prang, plod and playful bite.

                                            DJ Shadow

                                            Our Pathetic Age

                                              DJ Shadow has announced an ambitious double album - Our Pathetic Age - out November 15 on Mass Appeal. Our Pathetic Age is the result of an intensely creative period that found the hip-hop and electronic innovator delving further into original composition and experimentation. The first half of Our Pathetic Age features 11 new instrumental works that balance some of Shadow’s most menacing sounds with beams of hope, including his first fully composed orchestral piece. 

                                              The second half of Our Pathetic Age is a full album of vocal collaborations, ranging from Run The Jewels, Nas and Dave East to Sam Herring, Paul Banks and Wiki, Inspectah Deck, Ghostface Killah and Raekwon. Shadow notably reunites with his early Solesides collaborators Lateef The Truthseeker and Gift of Gab (Blackalicious). It also features St. Louis MCs Rockwell Knuckles and Tef Poe, fellow Bay Area musicians Fantastic Negrito and Jumbo is Dr.ama, and Brookyln MC Stro. Full track list with collaborators is below.

                                              More than anything, I try to get a sense of the mood of society as a whole. The subtle signals that humans send each other, the way people behave, their frustrations and ebbs and flows. In my part of the world, people are scared. There's rampant homelessness, and a real fear of falling into generational poverty. People are addicted to, and addled by distraction; they're angry and confused, and disaffected by their own governmental institutions. There's songs on the record that are inspired by this energy and seek to harness it, to make sense of it. In some cases, there's attempts to salve the wound; in others, the songs merely observe but don't offer solutions. I want the album to reflect the times we live in, a signpost in the ground to mark the era...Our Pathetic Age. - DJ Shadow.

                                              The album was produced by DJ Shadow, and the album art was created by Paul Insect, who also designed Shadow’s The Mountain Will Fall and Outsider covers.


                                              Prince

                                              1999 - Super Deluxe Editions

                                                Considered one of the most iconic and influential double albums in rock history, Prince’s 1999 was released at a major turning point in the artist’s career. After years of being relegated to the R&B charts, he experienced his first true crossover moment with the mega-hits “Little Red Corvette,” “1999,” and “Delirious,“ shattering barriers with his revolutionary blend of rock, funk, R&B and new wave pop, and making history by being one of the first black artists to have their videos in heavy rotation on MTV.

                                                The songs included on 1999 were just a small sampling of the work that was pouring out of Prince in the intensely prolific period of 1981 and 1982. In addition to his own material, he was also working up tracks that he would give to his protégés Vanity 6 and The Time, and recording dozens of songs that would be stored for possible later use, archiving them in his growing vault of unreleased material.

                                                This November 29, The Prince Estate, in partnership with Warner Records, will reissue the timeless 1999 album, remastered for the very first time, along with 35 previously unreleased tracks from Prince’s legendary vault that showcase the creative flow Prince had tapped into during this era. 

                                                The Super Deluxe Edition brings fans all the audio material that Prince officially released in and around 1982, as well as 23 previously unissued studio tracks recorded between November 1981 and January 1983, and a complete live audio performance of the 1999 tour recorded at the late show (the second of two that day) in Detroit, MI on November 30, 1982. In addition, this CD set also boasts a brand-new DVD containing another complete, previously unreleased concert from the 1999 tour, recorded in multi-cam live at the Houston Summit on December 29, 1982.

                                                The Super Deluxe Edition set also features Prince’s previously unseen handwritten lyrics for several songs from the era, including the hit “Little Red Corvette,” plus images of the analog tape reels from the vault and rare photography from Prince’s early ‘80s photographer, Allen Beaulieu. The Super Deluxe Edition is completed with brand-new liner notes by longtime Rolling Stone critic David Fricke, revered Guns N’ Roses bassist and author Duff McKagan, Minneapolis historian and radio host Andrea Swensson, and Prince scholar Duane Tudahl.


                                                FORMAT INFORMATION

                                                LP Box Set Info: 180 gram black vinyl + DVD.
                                                A total of 65 audio tracks across 10 LPs.

                                                FREE SHIPPING This item has FREE UK shipping!

                                                CD Box Set Info: 5 CD + DVD.
                                                A total of 65 audio tracks across five CDs.

                                                Squid

                                                Town Centre

                                                  The hotly tipped post-punk, disco-funk phenomenon Squid are back with a new EP called ‘Town Centre’ on vinyl via Dan Carey’s Speedy Wunderground label, the first EP from the legendary singles label. ‘Town Centre’ is a perfect distillation of everything they have done so far, making good on the angular funk of ‘The Dial,’ the disco-punk of ‘Houseplants’ the ambitious songwriting of ‘Terrestrial Changeover Blues’ and through to their more ambient-leaning early work.

                                                  Kicking off with the ambient sprawl of ‘Savage,’ Squid are instantly revelling in the uncertainty and ambiguity found in the searching out of ideas and have created something that feels meditative yet active, capturing their alluring chaos but presenting it in a totally different manner. Next up, the propulsive, guitar-led ‘Match Bet’ was written at guitarist Anton Pearson’s parents house in Norfolk and spawned from an open tuning fingerpicking pattern that sparring partner Louis Borlase had been developing after being inspired by the Don Edwards track ‘Coyotes’ in Grizzly Man.

                                                  On ‘The Cleaner,’ Squid are at their angular best, the lyrics are inspired by moving to London and trying to adjust to the pace and lifestyle of the city. The track is bursting with ideas, and there’s a clear energy and determination within the band to embrace different musical styles, deftly. ‘Town Centre’ closes with ‘Rodeo,’ a cinematic track that features an observational monologue from Ollie Judge. Percussion and keys wunderkid Arthur Leadbetter says of the track: “The song is a story for us. One that feels like your on a movie set while the camera is rolling, but the lead actor has lost the plot and split his mind between those closest to him.”

                                                  For ‘Town Centre’ the band once again team up with producer du jour Dan Carey and emerge with a powerful, intensely angular collection of songs that recall the finest corners of late 70s post-punk alongside a propulsive motorik drive and glimmers of early noughties disco whilst expertly making it all their own.

                                                  Dan Carey on Squid. “I love Squid so much. To record with them is such a joy - the room is a sea of ideas and enthusiasm without any clashes of ego; every suggestion is given full attention. This , combined with their musicianship results in beautifully inventive music, underpinned by a hard steady groove and topped with lyrics that are important and surreal.”

                                                  Swans

                                                  Leaving Meaning.

                                                    'Leaving meaning.' is the band’s fifteenth studio album, the follow up to 2016’s 'The Glowing Man'. Written and produced by Michael Gira, the album features contributions from recent and former Swans, members of Angels of Light as well as Anna and Maria von Hausswolff, Ben Frost, The Necks, Baby Dee and Jennifer Gira.

                                                    Michael Gira explains, “leaving meaning. is the first Swans album to be released since I dissolved the lineup of musicians that constituted Swans from 2010 – 2017. Swans is now comprised of a revolving cast of musicians, selected for both their musical and personal character, chosen according to what I intuit best suits the atmosphere in which I’d like to see the songs I’ve written presented. In collaboration with me, the musicians, through their personality, skill and taste, contribute greatly to the arrangement of the material. They’re all people whose work I admire and whose company I personally enjoy.”


                                                    FORMAT INFORMATION

                                                    2xLP Info: Double vinyl in a brown chipboard sleeve.
                                                    Includes high definition audio download.

                                                    2xLP includes MP3 Download Code.

                                                    2xCD Info: Double CD in a brown chipboard digipack.

                                                    Editors

                                                    Black Gold: Best Of Editors

                                                      Across their six official albums, Editors have achieved major success internationally, selling 2.6M albums worldwide, racking up Mercury nominations, multiple platinum and gold records, No 1s in the UK, Belgium and Netherlands and Top 10s right across the rest of Europe. The album includes 13 of the band’s biggest songs alongside three brand new tracks, including the title track ‘Black Gold’. The album cover was shot by award winning photograper Nadav Kander and designed by Tom Hingston (Massive Attack, Young Fathers, Nick Cave).

                                                      FORMAT INFORMATION

                                                      2xColoured LP Info: Indies exclusive white vinyl.

                                                      Pumarosa

                                                      Devastation

                                                        Aphex Twin

                                                        Peel Session 2

                                                          Vetiver

                                                          Up On High

                                                            Andy Cabic’s musical being is, like many curious 21st century musicians, shaped and sustained by divergent tangents. If he’s not crafting a melancholy folk rock diamond in his Northern California studio, he’s moving a dance floor with bossa nova and house DJ sets, or helping curate a compilation of Japanese City Pop.

                                                            What’s magic about this new Vetiver LP Up On High is the way these tangents colour the ten songs without undermining a distinct move to more elemental, spacious and natural arrangements. At the heart of each of these ten songs is Cabic’s voice: sweet, tender and weathered - a welcome and soothing old friend if ever there was one. There are other familiar friends: the album also features longtime engineer and collaborator Thom Monahan and the same resourceful and versatile band that helped Cabic make the more dense and layered Complete Strangers from 2015.

                                                            Up On High was written on acoustic guitar. Having moved twice since Complete Strangers, increasingly accustomed to a life in and out of boxes, it was the easiest instrument to reach for in moments of inspiration. The basic tracking of the album took place over a few Spring days at a friend’s house in the high desert of California. This simple set-up captured the organic immediacy of a roomful of friends playing together on the floor. It’s alive and ever so subtly crackling with the intensity of a band working together, teasing out the melody and rhythms of songs with warmth and intimacy. Cabic and Monahan took the fruits of this session to Los Angeles and finished the album at Monahan’s studio over the summer as other friends popped by to lend their talents.

                                                            This album reflects the world that Cabic created and lives in: Jorge Ben phrasings peek out from behind Tom Petty's Wildflowers outtakes, a gentle jangle lifts whispers of REM’s Murmur on a breeze up from Compass Point Studios. But Up On High is most clearly Cabic and his band inhabiting the realm the band was born in—sleek, economical, soulful, and sometimes sadness-tinged melodies riding on the gentle choogle and sway of an ensemble moving in beautiful unison. This is an album that breathes with you in real, lived in, natural time.

                                                            Various Artists

                                                            Factory Communications: 1978-92

                                                              Originally released as a limited edition four CD collection in 2009, Factory Communications: 1978-92 is a tribute to the label as well as a dedication to the founder, the late Tony Wilson.

                                                              Making its debut on vinyl, the project celebrates arguably the most important label in UK pop history, collating rare and obscure tracks from a diverse range of acts. It features 63 tracks including cuts from New Order, Joy Division, The Durutti Column, Happy Mondays, Electronic, A Certain Ratio, Section 25 and many others and includes sleeve notes written by Paul Morley.

                                                              Factory records was founded in 1978 when former Granada TV presenter Tony Wilson teamed up with Alan Erasmus, soon to be joined by maverick producer Martin Hannett. The Factory name was first used for a club featuring local bands including The Durutti Column, Cabaret Voltaire and Joy Division. The founding members of the label decided to release an EP of music by the acts who had performed there; “A Factory Sample” - and Factory Records was born.

                                                              Factory was however much more than just it’s headline acts. “Factory Communications: 1978-92” celebrates the label from the first release through an extremely diverse roster of acts from the cutting edge post punk of A Certain Ratio, Cabaret Voltaire, The Railway Children, OMD, James and Joy Division to obscurities such as Section 25, Biting Tongues, Crispy Ambulance, Miaow and Swamp Children via early dance culture - ESG and 52nd Street, to the full flowering of the ‘Madchester scene’, ending fittingly with the last Factory release, “Sunshine and Love” by Happy Mondays. Sleeve notes written by Paul Morley.


                                                              FORMAT INFORMATION

                                                              LP Box Set Info: 8 LP box set.

                                                              FREE SHIPPING This item has FREE UK shipping!

                                                              Underworld

                                                              DRIFT Series 1 - Sampler Edition

                                                                What is DRIFT?

                                                                • It’s precisely one year inside the minds of Underworld.

                                                                • It’s a journey that began on 1st November 2018 when Underworld released the track Another Silent Way and set off with no map, no fixed destination and a simple mantra (“Drift is the opposite of ‘normal’ or ‘usual’ practice; we’ll do this until we’re dust.”) ‘Rick Smith and Karl Hyde’s aim was to create and publish music and film episodically for 52 weeks and see where the journey took them. Within a few weeks, the experiment found its own path, prompting the electronic pioneers to react to previous releases and create new works accordingly. Over time, the duo’s innate curiosity opened up a unique space in which they could experiment, learn and explore new frontiers - together and with others (including Tomato’s Simon Taylor, Australian improv-trance band The Necks, techno producer Ø [Phase], Japanese noise band Melt-Banana, economics writer Aditya Chakrabortty and members of Black Country, New Road). During the 52 weeks, five self-contained episodes were released (respectively in November, January, March, May and August) - collectively, they formed DRIFT Series 1. 


                                                                STAFF COMMENTS

                                                                Matt says: An impressively on-going, interactive, year-long project from the band culminates in the album's actual release in October. Always keen to push the envelope, the idea behind this is very satisfying.

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Gatefold Sleeve, 180g heavyweight limited double opaque yellow coloured vinyl.

                                                                LP Info: Gatefold Sleeve, 180g heavyweight double vinyl.

                                                                Various Artists

                                                                Once Upon A Time In Hollywood - OST

                                                                  The soundtrack for Quentin Tarantino’s heavily anticipated music-laden film Once Upon a Time… in Hollywood.

                                                                  Personally curated by Tarantino himself, the soundtrack is a love letter to the music of 1960s-era Hollywood. The Once Upon a Time… in Hollywood soundtrack features over 20 standout tracks from artists such as Paul Revere & The Raiders, Deep Purple, and Neil Diamond, as well as vintage radio advertisements, creating a true time capsule of a golden era of filmmaking.

                                                                  Quentin Tarantino’s Once Upon a Time… in Hollywood visits 1969 Los Angeles, where everything is changing, as TV star Rick Dalton (Leonardo DiCaprio) and his longtime stunt double Cliff Booth (Brad Pitt) make their way around an industry they hardly recognize anymore. The ninth film from the writer-director features a large ensemble cast and multiple storylines in a tribute to the final moments of Hollywood’s golden age. Written and Directed by Quentin Tarantino. Produced by David Heyman, Shannon McIntosh and Quentin Tarantino. Georgia Kacandes, YU Dong and Jeffrey Chan serve as executive producers. The film also stars Margot Robbie as Sharon Tate plus Al Pacino, Emile Hirsch, Timothy Olyphant, Dakota Fanning, Bruce Dern, Lena Dunham, and more.



                                                                  FORMAT INFORMATION

                                                                  2xColoured LP Info: Indies exclusive limited double translucent orange coloured vinyl in a gatefold sleeve. Includes a (folded) 24" x 36" art poster.

                                                                  2xLP Info: Includes a (folded) 24" x 36" art poster.

                                                                  Poliça

                                                                  When We Stay Alive

                                                                    When Poliça’s Channy Leaneagh fell off her roof while clearing ice in early 2018, she smashed her L1 vertebrae and battered her spine, leaving her in a brace with limited mobility for months. Yet Poliça’s fourth album, When We Stay Alive, is not about one debilitating accident. It’s about the redemptive power of rewriting your story in order to heal, and reclaiming your identity as a result.

                                                                    When We Stay Alive possesses a new confidence in its sound, reflected in its fierce, determined songs and anchored by the heavy synths and punctuating beats of Poliça co-founder and producer Ryan Olson. Over the last several years Olson and Leaneagh have widely collaborated with musicians from all over the world: both with Bon Iver, and Leaneagh individually with Boys Noize, Lane 8, Sasha, Leftfield, and Daniel Wohl; Olson with Swamp Dogg in addition to countless musicians from the Aaron Dessner and Justin Vernon’s 37d03d collective. As a result, When We Stay Alive features one of the largest musical casts of any Poliça record to date. To create the album, Olson brought his favorite collaborators into his studio for all-night sessions. He’d then send Leaneagh the files to write lyrics to while recovering at home, which she’d record alone or with engineer Alex Proctor. Drummers Drew Christopherson and Ben Ivascu colored the songs with a new approach – drastically changing the rhythmic dynamic from previous efforts by creating an indistinguishable hybrid of live and electronic instrumentation--and bassist Chris Bierden provided a melody-laden low-end as well as more layered backing vocals than ever before. On Poliça’s first three albums, Leaneagh focused on restructuring the world and her relationships within it. On When We Stay Alive, she realizes the power in restructuring her inner self. The album’s title references the idea of moving forward through life – our experiences, both good and bad – and what happens next with the strength we find. “I had been living unconsciously in past trauma,” Leaneagh says. “I don’t want to deny something happened – this is not about repression – it’s about taking the power back from the past, holding the power in the present, and creating a new story for myself.”

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: The LP is on crystal clear coloured vinyl with gatefold, spotgloss sleeve.

                                                                    Michael Kiwanuka

                                                                    KIWANUKA

                                                                      The self-titled record usually marks a definable phase of a musician’s career; an embrace of personal mythology, perhaps, or merely a shift to ‘take me as I am’ straightforwardness. But “Kiwanuka”, the single eponymous word that heralds Michael Kiwanuka’s third album, holds a resonant, complex significance. It signals, for one thing, a swift, pointed rejection of the stage personas that artists have historically donned as both a freeing creative mask and a protective shield. It is an act of cultural affirmation and self-acceptance: a young British-African, contemplating the continued struggle for racial equality, and proudly celebrating the Ugandan name his old teachers in Muswell Hill would struggle to pronounce. It is a nod to a suite of arresting, ambitious soul songs that – while they deftly recall the funkified epics of artists as varied as Gil Scot-Heron, Fela Kuti, Bobby Womack and Kendrick Lamar – cement the singular, supremely confident sound that made 2016’s Love & Hate such an undeniable step up.

                                                                      Now, following ‘Money’ – the lauded summer single collaboration with Tom Misch – and a sunset Park Stage set that was the talk of Glastonbury 2019, the long-awaited follow-up to that record can be announced. And “Kiwanuka”, like its creator, contains multitudes; it offers both the triumphal, grin-widening empowerment of opener ‘You Ain’t the Problem’ and the ruminative, candlelit intimacy of ‘Solid Ground’. It looks inward and out, across widescreen sonic landscapes constructed in recording studios in London, Los Angeles and New York, and provides a sumptuous showcase for the honey-poured mahogany of Kiwanuka’s voice. It skilfully crosses the streams of the personal and the political. No other name would really have done.

                                                                      “I remember when I first signed a record deal, people would ask me, ‘So what are you going to be called?’” laughs the man himself, considering the thought process that inspired the title. “And I never thought of that; calling myself Johnny Thunders or whatever, like singers from the past. But I have thought previously, would I sell more records if my name had an easier ring to it? So [on this album] it’s kind of a defiant thing; finally I’m engaging with who I am and I’m not going to have an alter ego, or become Sasha Fierce or Ziggy Stardust, even though everyone's telling me I need to be this, that or the other. I can just be Michael Kiwanuka.”

                                                                      In many ways this self-possession is a direct consequence of Love & Hate. That record added an unexpected Mayfieldian groove and scope to to the scuffed, ‘70s-infused mellowness of Home Again, Kiwanuka’s Mercury-nominated 2012 debut. Album number two, of course, got its own place on the Mercury shortlist (not to mention a No 1 chart position, a Brit Award-nomination and the wide cultural blast radius afforded by songs that featured on shows like The Get Down, When They See Us and, most notably, HBO’s Emmy-winning Big Little Lies).

                                                                      “Kiwanuka” marks a reunion of the team that conjured ’s acclaimed, pulsing soulscape – namely Gnarls Barkley hit whisperer Brian ‘Danger Mouse’ Burton and British hip hop producer Inflo – and it actually began life not long after the 32-year-old had finished touring its predecessor. Early Los Angeles sessions – in May, 2017 – proved wildly productive. Maybe, in fact, too productive. The trio had sketched out around eight songs – including lyricless, early versions of ‘You Ain’t the Problem’ and the spine-tingling, wintry ballad ‘Piano Joint (This Kind of Love)’ – at such a breathless gallop that Kiwanuka felt some of his old doubts and insecurities creep back. “It was all so fast,” he reasons. “I remember having a conversation with Danger Mouse where I even asked, ‘Is this my album?’” He chuckles at the memory. “That was the lack of self-belief and me beating myself up.”

                                                                      An extended recess was called and, when the team fully reconvened in New York in November 2018, Kiwanuka returned to the project with a new vigour, confidence and a clear sense of this new record’s themes and immersive, sonic textures. It was here that he actualised the lyrically knotty, comforting message of ‘You Ain’t the Problem’ (“It almost made me feel like being a rapper,” he grins); where he turned ‘Hero’ into a shape-shifting, thunderously percussive mini-movie, partly inspired by slain civil rights activist Fred Hampton; here that he crafted the hazy refrain – “” – that allied with Danger Mouse’s rhythm guitar playing to give psych-gospel highlight ‘I’ve Been Dazed’ its eerie, hypnotic power.

                                                                      “We had three weeks and every day I would just do this half hour walk from my hotel by the Brooklyn Bridge to the studio in Red Hook, listening to backing tracks and scribbling lyrics on hotel paper or in my little scrapbook,” he says, more than a little wistfully. “It felt like being 15. And that excitement and childish imagination really helped me forget that it was a scary process.” This youthful sense of play also led to the invocation of some, possibly surprising, tonal influences from Kiwanuka’s childhood as a skater kid who loved Nirvana and Green Day as much as Outkast and Lauryn Hill. Using the cinematic skits and interludes of a record like by The Fugees as a springboard, Kiwanuka wondered if the horn-drenched grandeur of previous lengthy songs like ‘Love & Hate’ and ‘Father’s Child’ could be intensified and transformed into something even more atmospheric, more immersive.

                                                                      The result is the unhurried, auterish poise that may be one of “Kiwanuka”’s most striking features. ‘Piano Joint (This Kind of Love) Intro’ sets the scene with windblown harmonies and a rumbling, canyon-deep baritone to rival Isaac Hayes (it’s actually Kiwanuka, detuned). ‘Another Human Being’ features a jolting gun shot and a quote taken from a participant in the Civil Rights ‘sit-in’ protests that swept through North Carolina in 1960 (‘Interlude (Living All the People)’ also features the voice of congressman and activist John Lewis). ‘Hard To Say Goodbye’ is a dawnlit, 7 minute opus that Kiwanuka garnished with the sampled sound of twittering birds. “I was really influenced by the vividness of something like ,” he explains, about the desire to create such a rich, inhabitable world.

                                                                      And he even allowed himself to be coaxed towards stretches of musical terrain that he would never have ordinarily explored. When Danger Mouse first started working towards the skipping, almost ‘80s rhythm of ‘Final Days’ – about as far from “Home Again”’s retro soul as this new record gets – Kiwanuka was hesitant. “It’s kind of spacey so I took a lot of convincing,” he admits. “But we went the whole hog with it and it’s one of my favourite songs now.”

                                                                      It tells its own story that Kiwanuka – who came up in the pub rooms of London’s acoustic scene before winning the BBC’s Sound Of 2012 poll – is now so happily embracing musical touchstones and styles that may have once seemed contradictory. The revelatory, confessional core of ‘Black Man in a White World’ (which grappled with identity and Kiwanuka’s status in communities where he was conspicuously the only ethnic minority) has evolved into something a little more certain. Now, Kiwanuka’s reengagement with his Ugandan heritage (he hopes, he notes, to play some shows there soon) manifests in skittering Afrobeat drums and guitar lines that he hopes possess “the feeling of a Fela track”. Now, the wide-lapelled, shimmering doo-wop of ‘Living In Denial’ implores you to . Now, and here we return to that album title, ‘Hero’ opens with the proud, chest-puffed line: .

                                                                      “The last album came from an introspective place and felt like therapy, I guess,” he reasons, surveying it all. “This one was a bit more about feeling comfortable in who I am and asking what I wanted to say. Like, how could I be bold and challenge myself and the listener? It is about self-acceptance in a bit more of a triumphant rather than a melancholy way.”

                                                                      “Kiwanuka” solidifies one of British music’s more remarkable career progressions. The man behind it has put his immense natural gifts to work in an album that wields difficult subjects – black identity, violence, self-doubt – with a light touch and a dramatist’s sense of mood, space and atmosphere. “The things that end up being enjoyed are often things you want to hide,” he says, quietly. “But obviously that’s the stuff that makes us connect.” Telling people who you are – truly, unabashedly showing yourself – has never sounded more thrilling.

                                                                      By Jimi Famurewa, July 2019.


                                                                      FORMAT INFORMATION

                                                                      2xColoured LP Info: Yellow double heavyweight vinyl with a gatefold sleeve.

                                                                      Deluxe CD Info: Hardcover book deluxe edition.

                                                                      FKA Twigs

                                                                      Magdalene

                                                                        FKA twigs ends months of speculation by announcing details of her highly anticipated second album. Titled Magdalene, the album is the follow up to FKA twigs’ critically acclaimed Brit Award and Mercury Prize nominated debut LP1.

                                                                        Created in a period where her confidence was knocked following heartbreak and laparoscopic surgery, Magdalene is the sound of twigs reconfiguring, emotionally and physically. As she sings on ‘Mary Magdalene’, the Magdalene album track that opened her highly-praised, sold-out live shows earlier in the year, “A woman’s time / A woman’s work / A woman’s time to embrace / She must put herself first”.

                                                                        Magdalene is produced by FKA twigs and, as with LP1, the recording process has been directed by her at every stage. It was recorded between London, New York and Los Angeles over the last three years and features major contributions from Nicolas Jaar alongside a host of other collaborators. Magdalene sees FKA twigs creating a whole new artistic universe and it is, without doubt, her most masterful, innovative work to date.

                                                                        FORMAT INFORMATION

                                                                        Coloured LP Info: Indies only limited red vinyl.

                                                                        Sunn O)))

                                                                        Pyroclasts

                                                                          The Pyroclasts album is the result of a daily practice which was regularly performed each morning, or evening during the two week Life Metal sessions at Electrical Audio during July 2018, when all of the days musical participants would gather and work through a 12 minute improvised modal drone at the start and or end of the day’s work. The piece performed was timed with a stopwatch and tracked to two inch tape, it was an exercise and a chance to dig into a deep opening or closing of the days session in a deep musical way with all of the participants. To connect/reconnect, liberate the creative mind a bit and greet each other and the space through the practice of sound immersion. The players across the four pieces of Pyroclasts are Tim Midyett, T.O.S., Hildur Guðnadóttir, and as always Stephen O’Malley & Greg Anderson.

                                                                          The music on Pyroclasts is inextricably woven to Life Metal. It exists on the very same tape reels, was explicitly recorded by Steve Albini. The brightness and vividity of that glorious session glares through these four tracks, the precision and radiance, prismatic lustrousness of the saturation, the elemental sculptural shapes, the abstract renderings. It is a sister, or perhaps a shadow album. Or perhaps the now apparent miasma or aether. But it also exists in a form of a pause, a time space which exist in between and around the compositional structures of Sunn O)))’s titanic works.

                                                                          For the listener or recipient/participant there are deep rewards within the patience of pulling down the walls and letting the music feel, and feel the music. To be immersed will reveal great detail and colour, clarify image, encourage a depth of focus and stillness which may lead to a quite profound experience. Sitting inside the space of time. A deep form of elementalism, even atomism, and connection with presence moment, time and reality.

                                                                          Sunn O))) would invite their audience to consider these points of perception when experiencing and listening to Pyroclasts. Sunn O))) would also invite and encourage the audience to use Pyroclasts as a lens to review and reexperience the complexity of the Life Metal album, and even to interrupt its sequence with Pyroclasts. This elaboration can bring the astute listener both abyssal, hallowed rewards.

                                                                          Pyroclasts was recorded and mixed by Steve Albini at Electrical Audio on two inch tape July 2018, and mastered by Matt Colton through all analogue AAA process at Metropolis July 2019.

                                                                          Stephen & Greg would like to dedicate this album to the memories of Ron Guardipee, Kerstin Daley & Scott Walker.


                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: UK indies only transparent red coloured vinyl. 1000 only.

                                                                          LP Info: Standard black vinyl edition.

                                                                          Warmduscher

                                                                          Tainted Lunch

                                                                            Warmduscher return.

                                                                            Heavy metals.

                                                                            Disco Peanuts.

                                                                            CCTV in the break room.

                                                                            A little something to get you through the week. There’s enough to go around. Revenge is a dish best served bold. Melt in the mouth disco basslines on a fragrant bed of feedback. Try it with the boom bap tapenade. Here for a good time, not a long time.

                                                                            If you made your way out of Whale City with your faculties intact, this one’s for you. Clams Baker, Lightnin’ Jack Everett, Mr Salt Fingers Lovecraft and The Witherer have been joined by Quicksand on cutting board and cheese wire and commis chef Cheeks on vibes. They’ve been cooking. Michelin stars. The finest ingredients money can buy: Kool Keith and Iggy Pop. Funk, punk, hip-hop and lounge rock. Love is real.

                                                                            Band biographer and revered botanist Dr Alan Goldfarb describes the album as “a sample hole through which to taste another universe. A dramatic warning. A gilded aroma. It is a tale of wanton desire and limitless treachery. A tale of disillusionment – the refusal of exploitation.”

                                                                            Tainted Lunch was recorded in just four days, with soupe du jour Dan Carey (Kate Tempest, black midi, Fontaines DC). Warmduscher continue to live on their razor-sharp wits. Or as Clams Baker puts it “there’s no way to stop now”. Delivering the goods you never knew you needed.

                                                                            If you can’t stand the heat, get out of the kitchen.

                                                                            FORMAT INFORMATION

                                                                            Dinked Edition LP Info: Transparent pink vinyl LP.
                                                                            Bonus glow in the dark vinyl 7” with two tracks exclusive to Dinked Edition.
                                                                            Double sided poster.
                                                                            Printed inner sleeve.
                                                                            Individually hand-numbered.
                                                                            Limited to 400 copies.

                                                                            Coloured LP Info: Indies exclusive red vinyl with poster.

                                                                            LP Info: Black vinyl.

                                                                            The Clash

                                                                            London Calling: The Scrapbook

                                                                              When The Clash’s third studio album London Calling was released in the winter of 1979, it was clear that the band had made an instant classic, an era-defining masterpiece that stands as one of rock's all-time greatest albums.

                                                                              The album is a hugely compelling melting pot of musical styles, driven by a passion for action and a fierce desire for social justice, with lyrics which remain completely relevant today.

                                                                              The London Calling Scrapbook is a 120-page hardback companion to the album, of previously unseen archive material, lyric notes, and other exclusive memorabilia, packaged alongside the iconic album itself.

                                                                              Fenella

                                                                              Fenella

                                                                                ‘Fenella’ is the latest project from Jane Weaver - musical polymath and one of the most respected electronic composers of recent times - and her long-term bandmates Peter Philipson and Raz Ullah.

                                                                                Having already released three critically-acclaimed LP’s within the last five years Weaver’s creativity continues to expand ever further into the (modern) kosmos with this reimagined soundtrack to Marcell Jankovics’ cult animation Fehérlófia.

                                                                                Released in 1981, Fehérlófia is a remarkable animation based in ancient folklore with a narrative culled from mythical tales of the Scythans, Huns and Avars.

                                                                                Weaver’s richly emotional and psychedelic music offers a perfect contemporary dialogue with Jankovics’ astonishing visual aesthetic.

                                                                                A mixture of ambient textures, menacing drones and spine-tingling vocals combine to create a lavish soundscape saturated with hypnotic moods and cinematic atmosphere.

                                                                                Fenella’s self-titled LP is a continuation of Fire Records re-imagined score series.

                                                                                FORMAT INFORMATION

                                                                                Dinked Edition LP Info: Limited Edition ‘Ink Spot’ Vinyl.
                                                                                Individually Foil Numbered.
                                                                                500 copies only.

                                                                                Coloured LP Info: Crystal clear vinyl.

                                                                                Holy Fuck

                                                                                Deleter

                                                                                  Holy Fuck have today announced details of new album 'Deleter', which will be released on January 17th and is further previewed with the video for acclaimed latest single 'Luxe' (ft. Alexis Taylor). Having just concluded a US tour alongside Hot Chip, the seminal Canadian band will play a selection of European headline dates later this month (with a London show at Moth Club on October 23rd selling out immediately).

                                                                                  Arriving at a moment where attention spans are shot and anxieties are going into overdrive, 'Deleter', Holy Fuck’s fifth studio LP, is a defiantly full-bodied affair. Polyrhythmic and pleasure- focused, 'Deleter' sees Brian Borcherdt, Graham Walsh, Matt Schulz, and Matt “Punchy” McQuaid utilises their signature sound - seamlessly fusing the gauzy drive of krautrock and deep house’s dreamy ineffability, expertly blending purring motorik percussion with the sort of fuggy synthetic fizz and tang they are renowned for.

                                                                                  From the thrusting minimalism of opener ‘Luxe’ through to the triumphant chug of closing track ‘Ruby’, via club-ready rollocker ‘Free Gloss’ and the cosmic clatter of ‘San Sebastian’, Deleter is a record that joins the Holy Fuck dots within their widescreen, technicolour, crescendo- heavy sound.



                                                                                  Mikal Cronin

                                                                                  Seeker

                                                                                    Mikal Cronin releases Seeker, his fourth and finest full-length to date. Recorded live with a crew of close friends and engineer Jason Quever at Palmetto Studios in Los Angeles, it finds Cronin pushing his often devastating power pop into darker territory—from the isolation of “Show Me” to the desperation of “Fire” to the unadorned heartache of “Sold.”

                                                                                    It comes with a backstory that feels like fate. Cronin writes:

                                                                                    I was stuck. I’d had a rough few years. Relationships end, begin, and end again. I had to stay active, tour with other bands, make music through various other avenues—writer’s block is real and it can crush you, scratching at an itch you can’t quite get. I needed to clean up, to stop leaning on external crutches to get through the anxiety. I needed to grow the fuck up.

                                                                                    I needed a change.

                                                                                    I went to the woods, to Idyllwild, a small town in the mountains of southern California. I spent a month in a cabin there, alone with my cat, Ernie. It was so quiet and peaceful. I got weird looks at the store. I got bug bites that didn’t heal for months. I walked around a small lake a few times. I wrote. I took literally something that’s usually a hypothetical, something every artist thinks about doing. It worked: A large majority of Seeker was written and demoed there.

                                                                                    But then I had to go, immediately. An arsonist had sparked a series of fires and the woods exploded. I saw the flames coming up the hill as I packed up all my instruments and recording equipment. Ernie hid under the bed and was the last to go. I got him in the car just as the police came up the street to help with evacuations. I ended up home in LA a few days early; a small blessing because I was losing my mind a bit.

                                                                                    Once I was back, I was ready to make something. I needed help. I found Jason [Quever] and his studio. I collected as many friends as I could and brought them in to record live with me. I needed the energy of a group of people in a room playing together—a simple concept but one that I had never tried with my own songs. Most of the record is backed by Ty Segall’s Freedom Band. I play bass in this band. We had been touring and playing together for a long run over a few years, so it seemed natural to stick together.

                                                                                    I aimed for nature. I wanted organic sounds. I wanted to bring you into the room. Jason and I talked about The Beatles’ White Album a lot when placing mics. I brought a charred pine cone from the woods to the studio, just in case it would help. Fire—specifically its cycle of purging and reseeding the landscape—is a central theme to the record. Death and rebirth.

                                                                                    I was looking for something: answers, direction, peace. I am the seeker.



                                                                                    FORMAT INFORMATION

                                                                                    2xDinked Edition LP Info: Edition of 450.
                                                                                    Exclusive translucent green + black swirl vinyl LP.
                                                                                    Includes exclusive bonus 12" with "Arsonist" b/w "Tsinosra" pressed on translucent red + yellow vinyl.
                                                                                    Numbered.

                                                                                    Coloured LP Info: Indie stores exclusive on blue vinyl with matte gatefold.

                                                                                    Jane Weaver

                                                                                    Loops In The Secret Society - Deluxe Edition

                                                                                      This unique package successfully archives the key elements of Jane’s ‘Loops In The Secret Society’ tour. Housed in a concise limited-edition pocket-compendium the new CD version brings Jane’s fully realised ‘Loops Variations’ and sonic installations into your own environment with new illustrations based on the songs by Andy Votel and DVD featuring the experimental film installation featured on the tour by Nick Farrimond. When science fiction turns science fact the effect can be truly momentous. The state demands that no-one wants an unlicensed machine-hum from an outbuilding; no-one wants clever prose mapping the future, no-one wants “music” that is attention-seeking, soul-defining, beneficial, Biblical, baroque and beautiful.

                                                                                      No-one told Jane Weaver that. Jane Weaver’s multi-layered synthetics evolved into a welcoming slew with 2014’s ‘The Silver Globe’, continuing through to 2017’s ‘Modern Kosmology’. ‘Loops In The Secret Society’ is a re-imagined journey through parts of both albums, with new ambient pieces primed and polished; with new tangents explored in a lab-friendly blossoming of the Weaver vision that travels yet further into the psych of our future. A continuous experience with one-line observations set in glorious sense-stimulating sound. That source material was then united in an expansionist experiment in late 2018. The ‘Loops In The Secret Society’ tour fused unrelated sounds set off against sympathetic new textures, tones and drones; hot-housed into an idealistic soundscape that formed the conducive parts of the imminent album of the same name. Co-conspirators include Henry Broadhead, PJ Phillipson and Andy Votel. Renegades all, headed by the enigmatic Weaver all under surveillance. 

                                                                                      FORMAT INFORMATION

                                                                                      2xColoured LP Info: 2LP PINK vinyl, in 5mm spine sleeve.

                                                                                      CD/DVD Info: Deluxe Bookback CD & DVD.

                                                                                      Girl Ray

                                                                                      Girl - Signed Edition

                                                                                        Girl is the second album from the North London band Girl Ray, released on 8th November 2019 via Moshi Moshi. Recorded at Electric Beach Studios in Margate with Ash Workman (Christine and the Queens, Metronomy), the album is a delightful, sun-kissed tribute to their love of pop and R&B.

                                                                                        The three-piece, comprising Poppy Hankin, Iris McConnell and Sophie Moss, today share a taster of the new record with “Show Me More”. According to the band, the song is about “crushing really hard but having to play the long game and wait it out because your boo is playing savage games. It’s your classic pop banger. Steamy dance floor. Drinks on me.” The accompanying video was directed by Crusoe Weston and features the band cycling around the city at dusk.

                                                                                        It was Ariana Grande’s explosion into pop culture that kickstarted a new era for Girl Ray, as well as the realisation that their most-listened-to Spotify playlists contained pure pop music. When Poppy began experimenting with writing songs on a computer using keyboards, a collection of shimmering, foot-tapping, sparkling pop bangers poured out. With this new set of songs, Girl Ray have been brave enough to completely change their sound rather than play it safe, yet still remain unmistakably themselves - it’s Girl Ray, but with added synths.

                                                                                        If their debut, Earl Grey, was a hot cup of tea and a cuddle on the sofa, Girl is being in a cab with the windows down on the way to a beach bar for sundowners. It’s the excitement of Rihanna’s If It’s Lovin’ That You Want, combined with the eye-rolling, impenetrable sardonic humour of a girl gang. Among the grin-inducing, trepidatious and intensely courageous R&B-style tracks on the album, are also beautifully composed piano ballads steeped in the sadness and unrequited love that made Earl Grey feel like a knowing look from an old friend.

                                                                                        Girl is expertly-crafted pop, created by dedicated artists on a mission to make music for people to really enjoy. Music that doesn’t look to confuse or patronise. Music to fall in love to, to dance to. Songs you’d want to send to your friends. They have used the universal, happy medium of pop music to put across joyous, accessible messages of love, friendship and life to the world, like some of the best songwriters before them.

                                                                                        STAFF COMMENTS

                                                                                        Andy says: We loved last year's debut album here at Piccadilly, as it reminded the oldies amongst us of those halcyon DIY mid-80's indie pop days, and the youngsters just felt like they could be in the band! Girl Ray finished their record the day they left school. That's how young they are! And talented, obviously, because this is a joyous follow-up. And completely different. They've swapped guitars for synths and made a sweet pop record that's way more sophisticated, but still manages to display all the quirks and charm which made us fall in love with them in the first place.

                                                                                        FORMAT INFORMATION

                                                                                        Coloured LP Info: Red vinyl! Initial quantities are signed.

                                                                                        CD Info: Initial quantities are signed.

                                                                                        Amy Studt

                                                                                        Happiest Girl In The Universe

                                                                                          Singer, songwriter and multi instrumentalist, Amy Studt has announced that she will release her eagerly awaited new album via the Crocodile Laboratories label on the 4th of October 2019. ‘Happiest Girl In The Universe’, recorded with Hatcham Social’s Toby Kidd, features eleven bold, intimate and heartfelt tracks including the acclaimed singles ‘Sleepwalker’ and ‘I Was Jesus In Your Veins’ together with the albums eponymous titled closer . Haunting cinematic pop that recalls the drama of the late Scott Walker, the new long player is a narrative diary of depression, hope and redemption and is without doubt one of the most personal and innovative collection of songs that is likely to surface this year.

                                                                                          “This is the work of an artist genuinely using their chosen medium to explore and make sense of their life experience. There’s certainly nothing glamorising suffering here”. Aural Aggravation. With parents who are both accomplished classical musicians, Amy Studt’s future as a performer was always inevitable and from an really early age she was a proficient pop musician, playing piano, oboe and guitar. A special talent, at a mere fourteen years of age she was signed to Simon Fuller’s roster of artists and then quickly picked up a deal with Polydor Records. At 16 she released her first single, ‘Just a Little Girl’ which charted at number 14 in the UK pop charts and reached number 1 on US radio play. Her second single ‘Misfit’ reached number 6 and this was soon followed by her debut album ‘False Smiles’ which went on to sell 260,000 copies.

                                                                                          Leaving Polydor in 2004 at the age of eighteen years, Amy stayed out of the public eye for a while, but in 2006 it was announced that she was working on a new album and she’d re-signed to Simon Fuller’s new 19 Entertainment Indie label. A new album ‘My Paper Made Men’ was released in 2008 and after a couple of more singles and the album becoming a cult collectors item, Amy again withdrew from the limelight to a cottage in the countryside. Shying away from the spotlight and constant touring, she built her own recording studio and spent time playing the odd low-key show and writing and recording the songs that have eventually formed the ‘Happiest Girl In The Universe’ record. Returning with a darker and more soulful sound, she is one of the most innovative artists around and is creating some of the most beautifully and inspirational music in the UK right now. “Studt’s always had an exceptional voice and she blows us away with her control and heartfelt emotion with a pure raw vocal which sounds beyond beautiful”. 

                                                                                          FORMAT INFORMATION

                                                                                          2xIndies Exclusive LP Info: Special (limited) edition version, double album in gatefold sleeve, all copies personally signed by Amy, includes extra tracks, exclusive set of postcard prints and special limited edition poster.

                                                                                          Omni

                                                                                          Networker

                                                                                            Enter Networker, the new album by Omni and first with indie giant Sub Pop Records. Their sound is still defined by sparse drums, locked-in bass, blistering guitar, and nonchalant, yet assured vocals, but from the first notes of "Sincerely Yours" you'll immediately notice that Networker sounds much cleaner and more "HI-FI" than their prior two albums, Deluxe (2016) and Multi-task (2017). The departure in fidelity suits the new record and allows the listener to enjoy the nuances of their meticulous arrangements. Don't worry, the riffs of Gang of Four and Wire are still present, but the production is more lush and the harmony is even more expansive.

                                                                                            Despite nods to the sounds of the ’70s and ’80s what comes through is a record fully rooted in the here and now. Thematically, this is apparent on the title track "Networker" taking a candid snapshot of the “digital you” aspect of life in the age of the internet. The otherwise fun romp “Skeleton Key” also acknowledges the “direct message and obsessive” side of social media with lines like “if you don't like what you see, the pretty face on the screen, scroll on by...”  Networker was written half between tours and half during recording sessions. The band, Philip Frobos on bass/vocals and Frankie Broyles on guitars/drums/keys, returned with longtime collaborator Nathaniel Higgins to the studio in South Georgia where they also recorded Multi-task and most recent single "Delicacy." In this case, the “studio” is a cabin near Vienna, GA (pronounced Vye-anna) that was built by Frankie Broyles’ great-grandparents in the 1940s. The band completed four sessions between November 2018 and April 2019.

                                                                                            Omni hit their stride in the cabin with songs such as "Moat,” which cruises along at a nice mid-tempo clip with sounds that are maybe piano or maybe the “behind the bridge” strings of a Jaguar a la Sonic Youth or This Heat. "Blunt Force" provides a nice contrast to some of the more upbeat cuts, getting jazzy with it’s less traditional arrangement and psychedelic outro. Overall, Networker is simultaneously fun, catchy, and contains some truly impressive musicianship. This combo is especially hard to pull off as bands that are great players often don’t have great or memorable songs. Omni and Nathaniel Higgins have done a stellar job of reigning in their diverse influences into a cohesive record by curating their sounds into a tight package that leaves you just on the cusp of understanding where the band is coming from, while still feeling like you’re hearing something totally fresh. While their earlier records had more of a “post-punk” sound, Networker is an amalgamation of the best sounds of the ’70s and ’80s, all arranged with (mostly) guitars, bass, and drums for our contemporary age, and it really works! There are hooks everywhere, vocal and instrumental, that will leave you humming along, even during the first listen. As Philip Frobos says in “Present Tense,” “guess who’s on my mind right now?” Well, Omni’s on mine and will be on yours soon.


                                                                                            FORMAT INFORMATION

                                                                                            Coloured LP Info: Indies exclusive 'Loser' edition ocean blue vinyl.

                                                                                            The Jam

                                                                                            Snap! - Vinyl Reissue

                                                                                              Originally released in 1983, Snap! was the first ‘greatest hits’ collection from The Jam and appeared just after Paul Weller took the shock decision to split up the band at the height of their popularity and success.

                                                                                              The title Snap! originates from the production, the A&R team and the band in the studio listening back to recording sessions and deciding if the track had the necessary distinctive Jam ‘snap’ sound to make the cut…!!

                                                                                              The original 29-track album with chronological sequencing clearly illustrates their brief but stunning story, from explosive debut on the embryonic English punk scene and their meteoric rise to become one of the greatest and best-loved British bands.

                                                                                              From their thrilling debut single – In The City to their farewell – Beat Surrender the collection features 16 top-30 singles – 4 number ones!

                                                                                              Features hit singles – Down In The Tube Station At Midnight, Strange Town, When You’re Young, Going Underground, That’s Entertainment, Start!, Town Called Malice , The Eton Rifles and many more. Also includes remarkable B-side tracks such as The Butterfly Collector and Tales from the Riverbank.

                                                                                              “One of the greatest ‘greatest-hits’ albums of all time”.

                                                                                              FORMAT INFORMATION

                                                                                              Deluxe LP Info: Heavyweight vinyl in a gatefold sleeve, with original artwork – printed inner sleeves and original ‘free’ live 7” EP.

                                                                                              Neil Young & Crazy Horse

                                                                                              Colorado

                                                                                                "Colorado" is the first new Neil Young with Crazy Horse album since 2012's "Psychedelic Pill". The album will be released on October 25th and features 10 new Neil Young compositions. It includes several songs that Neil has been playing live in the past few months (eg: "Rainbow of Colors", "Green Is Blue" and "Milky Way"), and the epic 13+ minute track "She Showed Me Love".

                                                                                                The vinyl version of the album comes with a bonus 7" single, featuring an album outtake "Truth Kills". The 7” also includes a live, solo version of "Rainbow of Colors" from Portland, OR, on May 17, 2019 - the first time Neil ever performed this song live.

                                                                                                This incarnation of Crazy Horse is Neil Young on vocals, guitar, piano, harmonica and vibes, Billy Talbot on bass, Ralph Molina on drums and features the return of Nils Lofgren on guitar and piano, almost 50 years since he last appeared on a Crazy Horse album (1971). The album is produced by Neil Young and John Hanlon and was recorded in Colorado in April & May 2019.

                                                                                                FORMAT INFORMATION

                                                                                                Deluxe LP Info: Double black 140 gram vinyl records (with etching on side 4).
                                                                                                Gatefold jacket with 2 pockets,
                                                                                                Printed inner sleeves.
                                                                                                Bonus 7” vinyl single.

                                                                                                The Pop Group

                                                                                                Y

                                                                                                  Y is the highly influential and innovative debut album by The Pop Group, released in 1979. In the same year The Pop Group released their single She is Beyond Good & Evil / 3:38.

                                                                                                  The band went on to release 2 further singles, We Are All Prostitutes and Where There Is A Will (Split single with the Slits) and 1 further studio album For How Much Do We Tolerate Mass Murder, before splitting up in 1981.

                                                                                                  Frontman, Mark Stewart embarked on a solo career releasing his pioneering album Learning To Live Cope Cowardice in 1983. Gareth Sager and Bruce Smith went on to form Rip Rig & Panic alongside Neneh Cherry.

                                                                                                  The Pop Group reformed in 2010 to tour and have since released 2 new studio albums.

                                                                                                  The Pop Group’s Y regularly appears in ‘Greatest Album’ lists - such as Pitchfork’s Greatest Albums of the 70’s where it is listed at #35, The Wire’s 100 Most Important Records Ever Made and Uncut Magazine’s 100 Greatest Debut Albums.

                                                                                                  STAFF COMMENTS

                                                                                                  Laura says: I first heard The Pop Group in the late 80s at The Wilde Club, a weekly indie night run by legendary Manchester band bIG fLAME (note: correct use of case important). They played "She Is Beyond Good And Evil", which I absolutely loved (still do), and on the strength of that, went out and bought this LP. I played it to death and it became one of my favourite albums (still is).
                                                                                                  Lucky for you guys, you can now buy this amazing LP completely remastered and as an added bonus it also includes a 12" of the track that made me fall in love with them in the first place.
                                                                                                  Totally uncompromising post-punk genius!

                                                                                                  FORMAT INFORMATION

                                                                                                  LP Info: Y album cut using half speed mastering at Abbey Road
                                                                                                  + Bonus 12” + original artwork + high definition audio download

                                                                                                  Tindersticks

                                                                                                  No Treasure But Hope

                                                                                                    Three years since their last album proper, singer Stuart Staples decided Tindersticks’ return called for something special and No Treasure but Hope, is very much that! Rich in intuitive warmth, lush melodies and an inquisitive spirit, it’s an album that casts a fresh light on Tindersticks’ core qualities, bathed in the glow of a band intent on rediscovering what they can do. Expanding the horizon without losing the focus, No Treasure but Hope manages to collect some of the band’s most immediate work in one outsstanding album.

                                                                                                    This will be the bands twelfth record, the earliest Tindersticks release being in 1991. Over the course of the band’s rich history, Staples has found a voice in film composition as well. This includes a soundtrack to Claire Denis’ science-fiction film High Life (2019), which features vocals from actor Robert Pattinson.


                                                                                                    FORMAT INFORMATION

                                                                                                    Coloured LP Info: Indies exclusive clear vinyl. First pressing comes in a limited edition die-cut sleeve.

                                                                                                    Arthur Russell

                                                                                                    Iowa Dream

                                                                                                      Nineteen tracks of Russell’s most personal work. Featuring collaborations with a stacked roster of downtown New York musicians. More than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing.

                                                                                                      Over the past decade, the visionary musician Arthur Russell has entered something close to the mainstream. Sampled and referenced by contemporary musicians, his papers now open to visitors at the Performing Arts Library at Lincoln Center in New York, and his name synonymous with a certain strain of tenderness, Russell is as widely known as he’s ever been.

                                                                                                      Thanks to Russell’s partner Tom Lee and to Steve Knutson of Audika Records, who have forged several records from Russell’s vast archive of unfinished and unreleased work, the world now hears many versions of Arthur Russell. There’s the Iowa boy, the disco mystic, the singersongwriter and composer, and the fierce perfectionist deep in a world of echo. While all of these elements of Russell are individually true, none alone define him. Now, after ten years of work inside the Russell library, Lee and Knutson bring us Iowa Dream, yet another bright star in Russell’s dazzling constellation. Blazing with trademark feeling, these nineteen songs are a staggering collection of Russell’s utterly distinct songwriting.

                                                                                                      And although Russell could be inscrutably single-minded, he was never totally solitary. Collaborating here is a stacked roster of downtown New York musicians, including Ernie Brooks, Rhys Chatham, Henry Flynt, Jon Gibson, Peter Gordon, Steven Hall, Jackson Mac Low, Larry Saltzman, and David Van Tieghem. Musician Peter Broderick makes a contemporary addition to this list: more than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing.

                                                                                                      Field Music

                                                                                                      Making A New World

                                                                                                        Field Music’s new release is “Making A New World”, a 19 track song cycle about the after-effects of the First World War. But this is not an album about war and it is not, in any traditional sense, an album about remembrance. There are songs here about air traffic control and gender reassignment surgery. There are songs about Tiananmen Square and about ultrasound. There are even songs about Becontree Housing Estate and about sanitary towels. 

                                                                                                        The songs grew from a project for the Imperial War Museum and were first performed at their sites in Salford and London in January 2019. The starting point was an image from a 1919 publication on munitions by the US War Department, made using “sound ranging”, a technique that utilised an array of transducers to capture the vibrations of gunfire at the front. These vibrations were displayed on a graph, similar to a seismograph, where the distances between peaks on different lines could be used to pinpoint the location of enemy armaments. This particular image showed the minute leading up to 11am on 11th November 1918, and the minute immediately after. One minute of oppressive, juddering noise and one minute of near-silence. “We imagined the lines from that image continuing across the next hundred years,” says the band’s David Brewis, “and we looked for stories which tied back to specific events from the war or the immediate aftermath.” If the original intention might have been to create a mostly instrumental piece, this research forced and inspired a different approach. These were stories itching to be told.

                                                                                                        The songs are in a kind of chronological order, starting with the end of the war itself; the uncertainty of heading home in a profoundly altered world (“Coffee or Wine”). Later we hear a song about the work of Dr Harold Gillies (the shimmering ballad, “A Change of Heir”), whose pioneering work on skin grafts for injured servicemen led him, in the 1940s, to perform some of the very first gender reassignment surgeries. We see how the horrors of the war led to the Dada movement and how that artistic reaction was echoed in the extreme performance art of the 60s and 70s (the mathematical head-spin of “A Shot To The Arm”). And then in the funk stomp of Money Is A Memory, we picture an office worker in the German Treasury preparing documents for the final instalment on reparation debts - a payment made in 2010, 91 years after the Treaty of Versailles was signed. A defining, blood-spattered element of 20th century history becomes a humdrum administrative task in a 21st century bureaucracy.

                                                                                                        FORMAT INFORMATION

                                                                                                        Coloured LP Info: Limited transparent red 180 gram vinyl housed in a gatefold sleeve.

                                                                                                        Dead Meadow

                                                                                                        Feathers

                                                                                                          Feathers is the fifth album by the time Washington, D.C. based rock band Dead Meadow. It was released in 2005 by Matador Records on CD and LP now about to reissued by Xemu Records under license by Matador Records. The upcoming release will be an exact copy of the original double vinyl and CD packages with original art and masters. In addition to the reissue this new product will include a "demo rarities CD' that will be included additionally in both the CD and LP releases. This demo CD will include outtakes from the 2004 recording session as well as demos with different song structure/ arrangements and even a couple tunes that were axed off the final album. The fourth full-length studio album by Dead Meadow, was the first to include an additional guitar player with Cory Shane. Previously as well as for the majority of the band's career the DC to LA transplants have been a power-trio at essence. This departure in line up wasn't the only other noticeable difference the band was also shifting from pure 60's-70's heavy psych sounds to a more gentle and layered new-psych sound almost more influenced by dark Brit-pop and early new wave bands like the Cure and Stone Roses but through their own hazy interpretation. The different approach shocked current fans and gained lots of new ones as well as garnering solid underground praise at a much needed and delicate time of Dead Meadow's career. Revered and as equally hated this divisional record would be a landmark in the band's history and important piece of the puzzle that has kept the boys rocking and relevant. 

                                                                                                          David Bowie

                                                                                                          Space Oddity (2019 Mix)

                                                                                                            50th anniversary edition of Bowie’s seminal album featuring a brand new mix by original producer Tony Visconti, and a new die cut O-card.

                                                                                                            The vinyl will be randomly distributed worldwide with a mixture of hand-numbered labels; numbers 1 to 1969 on silver vinyl numbers and 1970 to 2019 on gold vinyl, with the remainder being black vinyl.

                                                                                                            Originally released 14th November 1969, the sophomore effort from Bowie was a big turning point from his 1967 debut. The album most famously introduces the character of Major Tom in ‘Space Oddity’ which would go on to be one of his most enduring classics.

                                                                                                            The new mix of the album now features the title track of the boxset ‘Conversation Piece’ restored to the track listing in its initially intended position before it was originally dropped due to time constraints of vinyl.


                                                                                                            FORMAT INFORMATION

                                                                                                            LP Info: 180g Gatefold w/ Die Cut O-card.

                                                                                                            CD Info: CD w/ Die Cut O-card.

                                                                                                            David Bowie

                                                                                                            Conversation Piece

                                                                                                              CONVERSATION PIECE is a five CD box set tracking David’s early development throughout 1968 and 1969, via his home demos, BBC radio sessions, studio recordings with guitarist John ‘Hutch’ Hutchinson and the experimental music and mime group, Feathers. The collection also celebrates the 50th anniversaries of the release of the ‘Space Oddity’ single and David’s second album, David Bowie (aka Space Oddity). The set contains twelve previously unreleased tracks/demos from the period as well as a brand new mix of the Space Oddity (aka David Bowie) album by longtime Bowie producer/collaborator Tony Visconti. The new mix of the album now features the title track of the boxset ‘Conversation Piece’ restored to the tracklisting in its initially intended position before it was originally dropped due to time constraints of vinyl.

                                                                                                              The 120 page hardback book accompanying the box features exclusive memorabilia from the personal collection of David’s former manager, the late Ken Pitt, as well as from the David Bowie Archive®, and includes photos by Ray Stevenson, Vernon Dewhurst, David Bebbington, Ken Pitt, Alec Byrne, Tony Visconti and Jojanneke Claasen. The sleeve notes have been written for the release by Bowie experts Mark Adams, Tris Penna and Kevin Cann along with contributions from David’s lifelong friend George Underwood, Tony Visconti, Vernon Dewhurst, Dana Gillespie and John ‘Hutch’ Hutchinson

                                                                                                              FORMAT INFORMATION

                                                                                                              Box set Info: 5CD + 120 page Hardback Book

                                                                                                              FREE SHIPPING This item has FREE UK shipping!

                                                                                                              The Pooh Sticks

                                                                                                              The Pooh Sticks 7" Box Set

                                                                                                                The Pooh Sticks 7” Box Set. Five different coloured vinyl 7” singles + 24 page booklet.

                                                                                                                This release includes the original five tracks, and for the first time, five tracks on the flipsides. All of the B sides were recorded in 1988 and four of them have never been available before, the other track “Hard On Love”, was released in 1989 on a flexi-disc and has never been available in any other format.

                                                                                                                Originally released in 1988 on Fierce Recordings as a collection of five one- sided singles in a 7” cardboard box (etched on B-sides), with information insert, and hand-drawn designs on the box and labels. It now sells for £250 if you are lucky enough to find a copy. 


                                                                                                                The Pop Group

                                                                                                                Y - Definitive Edition

                                                                                                                  This is the 40th Anniversary Edition of The Pop Group’s highly influential and innovative debut album ‘Y’ released in 1979, remastered (from the original tapes) and cut half speed at Abbey Road.

                                                                                                                  The Pop Group’s Y regularly appears in ‘Greatest Album’ lists - such as Pitchfork’s Greatest Albums of the 70’s where it is listed at #35, The Wire’s 100 Most Important Records Ever Made and Uncut Magazine’s 100 Greatest Debut Albums.

                                                                                                                  The Vinyl and CD deluxe sets will include the debut single 'She Is Beyond Good And Evil' (also remastered).

                                                                                                                  The package will also include the 10 track album Alien Blood, and the album titled Y Live.

                                                                                                                  Alien Blood is the result of the band’s meticulous process of revisiting the original 2” tapes of their studio sessions and recordings, unearthing never-before-heard material, including the studio recording of ‘Kiss The Book’, gloves off version of ‘We Are Time (Ricochet)’, and ‘Words Disobey Me (Dennis The Menace Mix)’ whilst exposing the raw skeletons of iconic tracks such as the original velocity of ‘Thief of Fire (Bass Addict).’ Alien Blood reveals the life of Y before everything was finalized, exposing revelatory dimensions within these iconic works.

                                                                                                                  The Y Live album is an essential addendum to the original release, one that captures all the fierce urgency of The Pop Group’s live performances at the time. Comprised of Y era recordings captured at a variety of locations including New York, Manchester & Brussels – the latter on a bill with William Burroughs and Joy Division – Y Live exemplifies what had proved so thrilling about The Pop Group. A snapshot of a time when the group were sharing stages with future acolytes including Cabaret Voltaire, Linton Kwesi Johnson & Public Image Ltd, Mark Stewart describes the recordings as attempts to ‘paint the impossible’.

                                                                                                                  The Pop Group went on to release 2 further singles, We Are All Prostitutes and Where There Is A Will (Split single with the Slits) and 1 further studio album For How Much Do We Tolerate Mass Murder, before splitting up in 1981.

                                                                                                                  Mark Stewart from the band embarked on a solo career releasing his pioneering album Learning To Cope With Cowardice in 1983. Gareth Sager and Bruce Smith went on to form Rip Rig & Panic alongside Neneh Cherry.

                                                                                                                  The Pop Group reformed in 2010 to tour and have since released 2 new studio albums.

                                                                                                                  FORMAT INFORMATION

                                                                                                                  4xLtd Box Set Info: Signed deluxe vinyl box set - Limited to 500 copies: 4 x 180g gold vinyl, including 12" booklet and signed art prints. Y album cut using half speed mastering at Abbey Road.

                                                                                                                  FREE SHIPPING This item has FREE UK shipping!

                                                                                                                  Boards Of Canada

                                                                                                                  Peel Session

                                                                                                                    Bibio

                                                                                                                    WXAXRXP Session

                                                                                                                      Flying Lotus

                                                                                                                      Presents INFINITY “Infinitum” - Maida Vale Session

                                                                                                                        Kelly Moran

                                                                                                                        WXAXRXP Session

                                                                                                                          Mount Kimbie

                                                                                                                          WXAXRXP Session

                                                                                                                            Oneohtrix Point Never

                                                                                                                            KCRW Session

                                                                                                                              Seefeel

                                                                                                                              Peel Session

                                                                                                                                Plaid

                                                                                                                                Peel Session 2


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