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

Cate Le Bon

Reward

    It was on a mountainside in Cumbria that the first whispers of Cate Le Bon’s fifth studio album poked their buds above the earth. “There’s a strange romanticism to going a little bit crazy and playing the piano to yourself and singing into the night,” she says, recounting the year living solitarily in the Lake District which gave way to Reward. By day, ever the polymath, Le Bon painstakingly learnt to make solid wood tables, stools and chairs from scratch; by night she looked to a second-hand Meers - the first piano she had ever owned - for company, “windows closed to absolutely everyone”, and accidentally poured her heart out. The result is an album every bit as stylistically varied, surrealistically-inclined and tactile as those in the enduring outsider’s back catalogue, but one that is also intensely introspective and profound; her most personal to date.

    This sense of privacy maintained throughout is helped by the various landscapes within which Reward took shape: Stinson Beach, LA, and Brooklyn via Cardiff and The Lakes. Recording at Panoramic House [Stinson Beach, CA], a residential studio on a mountain overlooking the ocean, afforded Le Bon the ability to preserve the remoteness she had captured during the writing of Reward in Staveley, Lake District.

    Over this extended period a cast of trusted and loved musicians joined Le Bon, Khouja and fellow co-producer Josiah Steinbrick - Stella Mozgawa (of Warpaint) on drums and percussion; Stephen Black (aka Sweet Baboo) on bass and saxophone and longtime collaborators Huw Evans (aka H.Hawkline) and Josh Klinghoffer on guitars - and were added to the album, “one by one, one on one”. The fact that these collaborators have appeared variously on Le Bon’s previous outputs no doubt goes some way to aid the preservation of a signature sound despite a relatively drastic change in approach.

    Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum, Cate Le Bon’s solo work - and indeed also her production work, such as that carried out on recent Deerhunter album Why Hasn’t Everything Already Disappeared? (4AD, January 2019) - has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster.

    The multifaceted nature of Le Bon’s art - its ability to take on multiple meanings and hold motivations which are not immediately obvious - is evident right down to the album’s very name. “People hear the word ‘reward’ and they think that it’s a positive word” says Le Bon, “and to me it’s quite a sinister word in that it depends on the relationship between the giver and the receiver. I feel like it’s really indicative of the times we’re living in where words are used as slogans, and everything is slowly losing its meaning.” The record, then, signals a scrambling to hold onto meaning; it is a warning against lazy comparisons and face values. It is a sentiment nicely summed up by the furniture-making musician as she advises: “Always keep your hand behind the chisel.”

    FORMAT INFORMATION

    Dinked Edition LP Info: Exclusive Red, Black & White Splatter LP.
    Reverse board, die-cut, gatefold sleeve (die-cut exclusive to Dinked Edition).
    Hand numbered.
    Exclusive signed print.
    Download code.

    Coloured LP Info: Limited red vinyl in a gatefold sleeve.

    Jesca Hoop

    Stonechild + WRISTBAND

      PRE-ORDER ANY FORMAT FOR 1 FREE WRISTBAND FOR AN INTIMATE EVENING (6PM) OUTSTORE GIG AT THE SOUP KITCHEN IN MANCHESTER ON FRIDAY JULY 5TH. 

      A culmination of life and musical experience, uncompromising in its vision, STONECHILD, the new studio album from Jesca Hoop is a self-described “compassion project.”

      Released by Memphis Industries, STONECHILD is Hoop refined and defined. Beautiful, subtle and stark, her fifth album, the follow up to 2017’s highly acclaimed ‘Memories Are Now’, is her best yet.

      Despite being a long-term resident of Manchester, Hoop, has until now, returned to her native California to record. This time round however, “it was” according to Hoop “time to step out of my comfort zone, my safe place”, venturing south to Bristol to team up with producer John Parish (PJ Harvey, Aldous Harding, This is the Kit). Parish’s minimal and purist approach helped clarify Hoop in her ideas and subtly yet effectively realigning her sound. The simplified arrangements draw focus to the fundamental sophistication of the songs.

      While Hoop’s trademark finger-plucked guitar and ethereal textures remain, the songs and their presentation are ever more direct. Parish “was a gentle collaborator until he killed one of my darlings” Hoop jests. “I’ve never been so brutally edited, and I wasn’t shy about expressing my discomfort at the sight of my work on the cutting room floor. He said, you will forgive me, and in some way, I think I actually enjoyed that treatment…being stripped back to the bare basics…albeit painfully”. STONECHILD ventures further into fresh territory with other voices joining the narrative, with Kate Stables (aka This is the Kit) Rozi Plain and Lucius singing the choruses and expanding the sensual depth of the sonic bloom.

      STONECHILD, Hoop says, is intended to “wrap its arms around our human planet spinning in its increasingly precarious wobble”. These rich and curious songs derived from themes of our troubled times speak Hoop’s heart and mind from her empathetic yet tough loving centre point. With writing so fluid, so natural the result is an album where everything is truly meant.

      FORMAT INFORMATION

      Dinked Edition LP Info: • Mirror board sleeve.
      • Signed 12 x 12 lyrical scrawl art print, by Jesca.
      • White and black 180g marble vinyl.
      • An exclusive flexidisc featuring non-album song “Waking Andreas”.
      • Numbered.

      Dinked Edition LP includes MP3 Download Code.

      Coloured LP Info: Indies Exclusive Limited Edition White and Black Marble vinyl (180 gram).

      Coloured LP includes MP3 Download Code.

      The National

      I Am Easy To Find

        I Am Easy To Find is the band’s eighth studio album and the follow-up to 2017’s GRAMMY®-award winning release Sleep Well Beast. A companion short film with the same name will also be released with music by The National and inspired by the album. The film was directed by Academy Award-nominated director Mike Mills (20th Century Women, Beginners), and starring Academy Award Winner Alicia Vikander. Mills, along with the band, is credited as co-producer of the album, which was mostly recorded at Long Pond, Hudson Valley, NY with additional sessions in Paris, Berlin, Cincinnati, Austin, Dublin, Brooklyn and more far flung locations. The album features vocal contributions from Sharon Van Etten, Brooklyn Youth Chorus, Lisa Hannigan, Mina Tindle and more.

        I Am Easy to Find is a 24-minute film by Mills starring Alicia Vikander, and a 68-minute album by the National. The former is not the video for the latter; the latter is not the soundtrack to the former. The two projects are, as Mills calls them, “Playfully hostile siblings that love to steal from each other”—they share music and words and DNA and impulses and a vision about what it means to be human in 2019, but don’t necessarily need one another. The movie was composed like a piece of music; the music was assembled like a film, by a film director. The frontman and natural focal point was deliberately and dramatically sidestaged in favour of a variety of female voices, nearly all of whom have long been in the group’s orbit. It is unlike anything either artist has ever attempted and also totally in line with how they’ve created for much of their careers.

        As the album’s opening track, ‘You Had Your Soul With You,’ unfurls, it’s so far, so National: a digitally manipulated guitar line, skittering drums, Berninger’s familiar baritone, mounting tension. Then around the 2:15 mark, the true nature of I Am Easy To Find announces itself: The racket subsides, strings swell, and the voice of long-time David Bowie bandmate Gail Ann Dorsey booms out—not as background vocals, not as a hook, but to take over the song. Elsewhere it’s Irish singer-songwriter Lisa Hannigan, or Sharon Van Etten, or Mina Tindle or Kate Stables of This Is the Kit, or varying combinations of them. The Brooklyn Youth Choir, whom Bryce Dessner had worked with before. There are choral arrangements and strings on nearly every track, largely put together by Bryce in Paris—not a negation of the band’s dramatic tendencies, but a redistribution of them.

        “Yes, there are a lot of women singing on this, but it wasn't because, ‘Oh, let's have more women's voices,’ says Berninger. “It was more, ‘Let's have more of a fabric of people's identities.’ It would have been better to have had other male singers, but my ego wouldn't let that happen.”

        FORMAT INFORMATION

        2xColoured LP Info: Indies only 140gram clear vinyl – limited edition, one pressing only.

        3xDeluxe LP Info: 140g set on opaque red / yellow / grey colours.
        5th side contains 22 minutes of music from the I Am Easy To Find Original Film Score – EXCLUSIVE to this format.
        Etching on the 6th side.
        Tri-fold LP jacket.
        3x printed innersleeves.
        24 page booklet.
        24” x 24” poster folder.
        Housed in printed plastic sleeve.

        2xLP Info: Black vinyl.

        Black Peaches

        Fire In The Hole

          Black Peaches follow up their acclaimed 2016 debut with a dazzling display of musicianship on their explosive new album Fire In The Hole – released worldwide on May 17th, 2019.

          “Black Peaches existed inside me before I was aware of it,” says the band’s Rob Smoughton, also known as a member of Hot Chip and Scritti Politti. “It’s the culmination and continuation of the music I love. I started to notice how Brazilian rhythm, funk, soul, classic country and pop were all combining in the music I was writing, and I looked for other band members to join me to bring it alive.”

          And he found other members to bring that combination alive in Susumu Mukai, Charlie Michael, Nick Roberts and Thomas Greene. Together they released 2016’s acclaimed Get Down You Dirty Rascals and now return with an album that continues to throw genres together with all the seamless grace of a seasoned cocktail maker but free of the postured affectations associated with such moves.

          Black Peaches are a place where genres collide and musical eras meld. On their second album the band has absorbed all the tropical sounds, glistening melodies and funk-ridden grooves into a sound that is truly their own. “I wanted the combination and layering of our influences to be organic,” says Smoughton. “To create Black Peaches music. To take the ideas from the first record further into our own place.”

          The result is a record that skips with the vibrancy and buoyancy of a band still in love with the idea of bringing their record collection to life, but the band now understand themselves as much as the music that inspires them and have created something new and refined.

          Given the eclectic styles rooted in the make-up of the band, to enter into the world of Black Peaches is often to feel like one is flying from country-to-country with each new song. For Smoughton this musical traversing is a key part of the experience of the band. “I find the combination of mythology, history and geography to be romantic and I want our music to elicit the same thrill. I think the album conjures up the adventure of moving from one place to another; from Spain into Northern Africa, where North America tips into the South. Narratively the songs inhabit a place between the conscious and subconscious - between dreams and waking life.”

          This globetrotting sonic voyage creates a sense of the unknown in the record, where each track exists as a new and unpredictable path. This is all done under the mission of creating a record that is capable of pure musical transcendence. “I really believe that music has the ability to transcend and move people emotionally and spiritually,” Smoughton says. “Our music is not about the separation between musician and audience but about the space in between.”

          Yet the album also works on an intuitive and physical level. On top of its narrative of the world between the conscious and the subconscious, it is also simply a collection of songs to make you dance and move. Whether it’s the Delta blues influenced strut of “Lemonade”, the “slinky and naughty” dance floor pounce of “The Black Peach Boogie” or the Afro-Brazilian skip of “Cuatro Berimbau.”

          Perhaps the most emblematic song of all when it comes to capturing the essence, power and groove of the album is the title track “Fire in the Hole”. “It comes from a phrase that miners would shout it to warn others that they had charged an explosive,” Smoughton says. “It’s to tell you something is about to explode. In this case it’s about being unable to resist the urge to dance. About giving over to rhythm and sound.”


          FORMAT INFORMATION

          Dinked Edition LP Info: Teal Vinyl.
          Numbered.
          Signed Art Print 11” x 11”.
          Bonus 7” two exclusive tracks (never to be repressed).
          Card with Download Codes.

          Doves

          Lost Souls - 2019 Reissue

            Lost Souls is the debut album by Doves. Originally released in 2000 the album was nominated for a Mercury Prize of that year. The album contained three UK top 40 singles ‘The Cedar Room’, ‘Catch The Sun’ and ‘The Man Who Told Everything’. 180g grey vinyl.

            FORMAT INFORMATION

            2xColoured LP Info: Double 180 gram grey coloured vinyl.

            Doves

            The Last Broadcast - 2019 Reissue

              The Last Broadcast was the second studio album from the Doves. Released in 2002 the album went straight in to the #1 spot in the UK album chart. Also nominated for the Mercury Prize the album features three UK top 40 singles ‘There Goes The Fear’, ‘Pounding’ and ‘ Caught By The River’. 180g orange vinyl re-issue.

              FORMAT INFORMATION

              2xColoured LP Info: Double 180 gram orange coloured vinyl.

              Doves

              Some Cities - 2019 Reissue

                Some Cities was the third studio album from the Doves. It was also the band’s second consecutive #1 album in the UK album chart.
                180g white vinyl re-issue.

                FORMAT INFORMATION

                2xColoured LP Info: Double 180 gram white coloured vinyl.

                Sigur Rós

                Ágætis Byrjun - A Good Beginning (20th Anniversary Edition)

                  In 1999 the band released Ágætis Byrjun (‘A Good Start’), Q magazine deemed Ágætis Byrjun ‘the last great record of the 20th century’. By the end of the year, it had won the inaugural US Shortlist Prize for Artistic Achievement in Music.

                  This year celebrates the 20th Anniversary of Ágætis Byr-jun, and the band expand their breakthrough album with demo and archive versions of songs from the album, plus never-before-heard newly unearthed material from the time, rare b-sides and the full 95 minute concert played in Reykjavík on the day the record was released.

                  FORMAT INFORMATION

                  2xDeluxe LP Info: Double heavyweight vinyl. As released June 12th 1999 Original album plus download insert of rarities & live album.
                  DOWNLOAD INSERT OVERVIEW: The band expand their breakthrough album with demo and archive versions of all songs on the album, plus never-before-heard newly unearthed material from the time, rare b-sides and the full 95 minute concert played in Reykjavík on the day the record was released in 1999.

                  4xCD Box Set Info: 4 CD discs containing original album, live album and rarities with a soft back book:
                  CD1: Original Album - as released June 12th 1999
                  CD2: Live at Íslenska Óperan (includes previously unreleased tracks)
                  CD3: Live at Íslenska Óperan & Rarities (Live at Íslenska Óperan plus 3 previously unheard and unreleased tracks).
                  CD4: Rarities

                  Flamingods

                  Levitation

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

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

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

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


                    FORMAT INFORMATION

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

                    Jane Weaver

                    Loops In The Secret Society

                      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

                      2xDeluxe LP Info: Deluxe 2xLP Black vinyl in Silver foiled Gatefold sleeve.

                      Shellac

                      The End Of Radio

                        Both the 2LP and the 2CD version are packaged in a top-load single pocket wide-spine jacket with two printed inner sleeves.

                        Audio quality is paramount, as always, with Shellac. The LP was mastered by Chicago Mastering Service. The vinyl is manufactured at RTI in Camarillo, CA. The pressings are 180 gram audiophile quality.

                        Other than the informational sheet you hold in your hand (or virtual hand), this record will have no formal promotion. There will be no advertisements, no press or radio promotion, no promotional or review copies, no promotional gimmick items, and otherwise no free lunch. Photos of the band are available. And the band is available for email or telephone interviews.

                        The band will continue to play shows or tour at the same sporadic and relaxed pace as always. There is no correlation between shows and record releases.

                        The Band: Steve Albini / Guitar, Todd Trainier / Drums, Bob Weston / Bass.

                        FORMAT INFORMATION

                        2xLP Info: 2LP is on 180g vinyl and includes a CD of the full album.

                        "Hi, Mac Here.
                        First off, thank you for listening to my new record. This one is my cowboy record.
                        Cowboy is a term of endearment to me, I use it often when referring to people in my life.
                        The rusty old grinning pin on the front and back covers of the record was purchased from a man in the mountains somewhere in the Nantahala National Forest between Chattanooga, TN and Asheville, NC.
                        Where I grew up there are many people that sincerely wear cowboy hats and do cowboy activities, these aren’t the people I’m referring to. Before realizing that your surroundings don’t necessarily define who you are, I felt very uncomfortable in the company of that culture.
                        This record was recorded in my garage during the first two weeks of January 2019. I played all the instruments, except for a little bit of keyboard here and there, which was played by my touring keyboard player, and friend for most o me life now, Alec Meen. My travelling sound man Yakitori Santar helped me track it and put it together as well. It was raining a lot in Los Angeles while we were recording, you can hear it tapping on the windows of the garage here and there if you listen closely."


                        FORMAT INFORMATION

                        Coloured LP Info: Indies exclusive green/black mix coloured vinyl, with reverse artwork, gatefold sleeve, 4 page 12" insert, sticker.

                        LP Info: Black vinyl, gatefold sleeve, 4 page 12” insert, Sticker.

                        Hot Chip

                        A Bath Full Of Ecstasy

                          A Bath Full of Ecstasy is a fresh, invigorating and essential new chapter in Hot Chip's career, taking in their huge breadth of influence and melody as only Hot Chip can. This is the first time the band have chosen to use outside producers from the offset, working with Philippe Zdar (Cat Power, Beastie Boys, Phoenix, Cassius) and Rodaidh McDonald (The XX, Sampha, David Byrne), and there is a marked dynamism in Zdar’s mixing that brings out the boldness of the songs collected here.

                          The record is a celebration of joy but recognises the struggle it can take to get to that point of happiness. You can hear the pleasure Hot Chip had in creating this album and they want to pass on that feeling to the listener. It is time to get lost in A Bath Full of Ecstasy.

                          FORMAT INFORMATION

                          2xColoured LP Info: Double LP pressed on crystal clear vinyl in limited edition black and white sleeve, designed by Jeremy Deller and Fraser Muggeridge studio.

                          2xLP Info: Double LP pressed on heavyweight black vinyl in full colour sleeve, designed by Jeremy Deller and Fraser Muggeridge studio.

                          CD Info: Mini-gatefold CD pack with 8-page booklet, designed by Jeremy Deller and Fraser Muggeridge studio.

                          Flying Lotus

                          Flamagra

                            Nearly 5 years after the last Flying Lotus album—the Grammy-nominated You’re Dead! and Flying Lotus’ stock has never been higher. The interim years have seen him collaborating with Kendrick Lamar on the classic To Pimp a Butterfly, directing and writing the Sundance-premiered Kuso movie, and producing much of Thundercat’s Drunk.

                            Flamagra encompasses hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM, the L.A. Beat scene, but it soars above a specific vortex whose coordinates can’t be accurately charted. Other than to say that it is a Flying Lotus record, perhaps the definitive one.

                            Flamagra features (in order of appearance): Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi, Solange and more.

                            FORMAT INFORMATION

                            2xIndies Exclusive LP Info: Special Edition Limited Pop Up Deluxe Black Vinyl.
                            2LP in mirriboard inner sleeves, pop up gatefold sleeve, DL card insert, packed in PVC sleeve.

                            2xLP Info: 2LP black vinyl, in printed inners, in gatefold outer sleeve, DL card insert.

                            Holly Herndon

                            Proto

                              Holly’s third full-length album Proto isn’t about A.I., but much of it was created in collaboration with her own A.I. ‘baby’, Spawn. For the album, she assembled a contemporary ensemble of vocalists, developers and an inhuman intelligence housed in a DIY souped-up gaming PC to create a record that encompasses live vocal processing and timeless folk singing, and places an emphasis on alien song craft and new forms of communion. Proto makes reference to what Holly refers to as the protocol era, where rapidly surfacing ideological battles over the future of A.I. protocols, centralised and decentralised internet protocols, and personal and political protocols compel us to ask ourselves who are we, what are we, what do we stand for, and what are we heading towards?

                              ‘Eternal follows the 2018 release of Holly and Jlin’s collaborative song ‘Godmother (feat. Spawn)’. The skittering track, which was created by Spawn reimagining the artworks of her ‘godmother’ Jlin in a trained model of her mother’s voice with no editing or sample trickery, was praised everywhere from NPR to The Guardian to New York Times, and elsewhere. You can hear traces of Spawn throughout the album, developed in partnership with long time collaborator Mathew Dryhurst and ensemble developer Jules LaPlace, and even eavesdrop on the live training ceremonies conducted in Berlin, in which hundreds of people were gathered to teach Spawn how to identify and reinterpret unfamiliar sounds in group call-and-response singing sessions; a contemporary update on the religious gathering Holly was raised amongst in her upbringing in East Tennessee.

                              “There’s a pervasive narrative of technology as dehumanizing,” says Holly. “We stand in contrast to that. It’s not like we want to run away; we’re very much running towards it, but on our terms. Choosing to work with an ensemble of humans is part of our protocol. I don’t want to live in a world in which humans are automated off stage. I want an A.I. to be raised to appreciate and interact with that beauty ”

                              Since her arrival in 2012, Holly has successfully mined the edges of electronic and Avant Garde pop and emerged with a dynamic and disruptive canon of her own, all while studying for her soon-to-be-completed PhD at Stanford University, researching machine learning and music. Her LP Platform closed out 2015 by gracing year-end lists from Pitchfork, The Guardian, NME, and The Wire. In the aftermath, Radiohead hand-picked her to open up their European tour. Just as Platform forewarned of the manipulative personal and political impacts of prying social media platforms long before popular acceptance, PROTO is a euphoric and principled statement setting the shape of things to come.

                              Richard Hawley

                              Further



                                FORMAT INFORMATION

                                Coloured LP Info: Limited Edition Orange LP.

                                LP Info: Black vinyl edition.

                                Crazy P

                                Age Of The Ego

                                  ‘Age Of The Ego’ is the immaculately-crafted eighth album by dance-music-national-treasures Crazy P. Fans of Fleetwood Mac, Peter Gabriel, Grace Jones, Arthur Russell, Jam Hammer, Prince and Bobby O will find much to like, but this is clearly modern music, where heavy clubs beats are layered-up with perfectly-placed arrangement, ace playing and stratospheric soundscapes. Musically, Crazy P’s breadth of studio and writing experience shines brighter than ever, and ‘Age Of The Ego’ has their unmistakeable stamp of quality, but is now augmented with a broader palate, and – like many – a feeling of upset with the state of the world.

                                  “I don't usually write my lyrics in advance, as I feel they’re expressed better in tandem with the music, which seems to help tap into my subconscious. What came out on several tracks was Brexit, the state of UK politics and the way I feel about divisive, abhorrent manipulation by certain media outlets. Thematically parts of album were also influenced by the rise of social media, the struggling education system and how it’s failing our young, and the impact all of this has on us. It’s been hard to not be emotionally influenced by the situation we find ourselves in; not just in this country, but worldwide. I feel very angry and frustrated, but sometimes have to laugh at myself, because I struggle to articulate my feelings in normal conversation. I suppose lyrically it is political, a reflection of the times, but with a twist of humour and always a lot of love,” explains Danielle.


                                  Clinic

                                  Wheeltappers And Shunters

                                    Wheeltappers and Shunters was recorded in 2018 in founding band member Hartley's Liverpool studio, before they brought in Dilip Harris (King Krule, Sons Of Kemet, Mount Kimbie) to mix it. “We thought it felt right to make a fun, dancefloor album in these dark and conservative times,” Blackburn continues. Fun, sure, but this is Clinic – their brand of fun oozes with menace.

                                    The Great Britain that Clinic are evoking is not that ancient, bucolic past of village green cricket, half a mild and hanky-waving Morris Dancers that many seem so determined that the country should return to, but a rather more sleazy past. Clinic’s reverie is for a time when Blackpool was the pleasure capital of the kingdom and the public was kept entertained by travelling circuses and the dirty glamour of the funfair; tacky end of the pier merriment and enforced fun at Butlins; when bell-ringing town criers bellowed their nonsensical broadsides into the ether.

                                    For most bands about to enter their third decade as an entity the well would be running dry, but eight albums in and Clinic still retain the ability to surprise. Clocking in at just over 28 minutes, Wheeltappers and Shunters is an absolute blast, rich in detail and sonic intrigue, those precious minutes stuffed with ideas. “We’d released albums like clockwork every two years, so it seemed natural to have a break,” Blackburn reveals. “It allowed everyone to do some quite oddball stuff, away from Clinic. I think we all wanted a bit more freedom.”

                                    FORMAT INFORMATION

                                    Coloured LP Info: Indies exclusive opaque red heavyweight vinyl.

                                    Various Artists

                                    Martin Freeman & Eddie Piller Present: Soul On The Corner

                                      Following 2018’s acclaimed Jazz On The Corner compilation 2019 again sees Martin Freeman team up with Acid Jazz’s renowned head honcho Eddie Piller to present a veritable and personal collection of tracks. Compiled from the pair’s personal favourites, be it hearing on the radio, word of mouth or Dj-ing - Soul On The Corner represents the entire gamut of soul from the sixties and seventies right up to the present as illustrated by the likes of Tommy McGhee and the Acid Jazz recent signee Laville.

                                      Opening with the inimitable Bobby Womack and How Could You Break My Heart, as Piller explains; “I never tire of hearing this record and have used regularly to close my DJ set, it’s a real hands-in-the-air moment.” Further cuts from the renowned and less well-known seamlessly complement each other – the smooth sultry jam of Laville’s Thirty One or the superbly nuanced slice of progressive soul in the shape of Sergio Mendes & Brasil 77’s Love Music. Piller’s selection transcends the rock / soul divide with Never Gonna Give You Up from former Impression Jerry Butler, adding: “I plumped for this because I recalled the incredible response from The Black Keys’ version that I aired on the BBC’s Funk and Soul show.”

                                      No less varied is the choice of soul fan Martin Freeman, opening with the vintage ’68 soul with a twist of something rockier, Barbara Acklin’s A Raggedy Ride that he professes; “is an unexpected gem that’s been a favourite of mine for forever.” Other picks arrive in the form of Georgie Fam’s cover of Bobby Womack’s Daylight that has Freeman enthusing; “the original is a beaut. This is better.” Further inclusions come from The Supremes and The Wisdom Of Time, representing the mid-nineties contemporary soul scene is Lewis Taylor with Lucky that as Freeman asserts is; “an epic tune.” Meanwhile, taken from their first self-titled album Earth, Wind & Fire’s Fan The Fire epitomizes the innovative nature of one of the most successful acts of all time and adds Freeman; “this is a funky-as-hell cry for peace and love. Good lord, they were SO good.”


                                      Lamb

                                      The Secret Of Letting Go

                                        ‘The Secret of Letting Go’ is Lamb's 7th studio album, written and recorded in the space of a year between their home-studio in England’s South Downs and in India and Ibiza. Continuing to push the sonic envelope, title track, ‘The Secret of Letting Go’ was written in the moment the band decided they were splitting up and holds the corner for their endless experimentalism.

                                        Drahla

                                        Useless Coordinates

                                          Leeds-formed Drahla have defined their own vital subset of art-rock with Useless Coordinates, a debut album that’s as fearless as it is enthralling.

                                          Speaking from her current base in south-east London with bassist Rob Riggs, singer/guitarist Luciel Brown recounts the record’s somewhat chaotic gestation. “Most of last year was spent touring, so we were squeezing writing and recording in from the beginning of 2018 until end of August.” In-between a headline tour, support slots with Ought and METZ, and multiple festival appearances - including at Meltdown at the request of The Cure’s Robert Smith - Brown, Riggs and Wakefield-based drummer Mike Ainsley managed 10 days in the studio in total. It was the unsettled nature of the period that part-inspired the album’s title. “[Useless Coordinates] summarised all of our situations,” Brown explains.

                                          The set’s sharp angles, stark tones and claustrophobic textures are reflected in the album’s artwork. Designed by Brown and Riggs - as per all previous record sleeves and promotional videos - the minimalist, mixed media creation takes inspiration from Talking Heads and Gang Of Four album art, the work of American artist Cy Twombly, and the economical, regimented aesthetic of the Bauhaus movement. “Drahla came about off the back of needing an outlet for creative expression,” Brown explains. “So the whole aesthetic is hugely important. As important as the music.”

                                          Whatever the medium, Brown’s interests lie in looking beyond the immediate to the abstract and indefinable. Her lyrics are developed from observations, notes and poems, and the fragmented imagery is spliced together to disorientating effect. On Gilded Cloud elegant snapshots from the golden age of Hollywood are juxtaposed with abrasive guitar textures, Pyramid Estate draws parallels between Ancient Egypt and the present day, and Serenity evokes the violent energy of a Francis Bacon painting. Beneath the abstraction are a diverse array of themes, including gender fluidity (Invisible Sex), city living (Primitive Rhythm) and artistic expression (Unwound). The result is an uncompromising but deeply rewarding debut where the internal and external, cerebral and visceral coalesce to quite startling effect.


                                          FORMAT INFORMATION

                                          Coloured LP Info: Cardinal red vinyl.

                                          Various Artists

                                          Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986

                                            Compiled by Andy Cabic (Vetiver), Zach Cowie (DJ & music supervisor) and Mark “Frosty” McNeill (dublab).

                                            Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.

                                            Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.

                                            Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

                                            Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.


                                            FORMAT INFORMATION

                                            2xLtd LP Info: 2x black vinyl LP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card.

                                            CD Info: CD in a UV coated Digipak with over sized fold-out booklet and custom die-cut obi card.

                                            Alfa Mist

                                            Structuralism

                                              Named after the theoretical breakdown of the basic elements of conscious experience, Alfa Mist's latest album 'Structuralism' is based around a conversation between Mist and his sister, discussing themes of debate culture and personal growth and is an intricate and profound glimpse into the East London artist's battles with self and the societal pressures that inform our own conscious experience.

                                              'Structuralism' provides listeners a rare opportunity to disconnect from the world, and to consider their very presence in time and space. Mist's ability to entrance listeners into states of experiential self-reflection and contemplation oozes from these seven minutes of vivid, meditative jazz composition.

                                              Black Mountain

                                              Destroyer

                                                Black Mountain’s Stephen McBean turned 16 way back in 1985. And yet, until just two short years ago, McBean had lived his entire adolescence and adult life without a proper driver’s license, that first and most coveted ticket to personal independence. When he did finally take the wheel in 2017, he essentially became a 48-year-old Sixteen Year Old, blowing out the doors off the DMV like a pyrotechnics display at a W.A.S.P. gig. Black Mountain’s new album, Destroyer, named after the discontinued single-run 1985 Dodge Destroyer muscle car, is imbued with all that wild-ass freedom and newfound agency (and anxiety and fear) that comes with one's first time behind the wheel. McBean, welding mask pulled over his Alan Watts beard, has even been rebuilding a 1985 Destroyer in his step-dad’s garage all spring — building it from its frame, putting in weekends of work to have this beast ready for sunnier days. And wouldn’t you know it: when the Destoyer's engine gives its deep snarl and the stereo rattles with Metallica's $5.98 EP, McBean is fully in the driver’s seat.

                                                Destroyer is structured around that first time behind the wheel of a hot rod. The fat, charging “Living After Midnight” riffs of opener “Future Shade” is, according to McBean, “Straight outta the gates. FM radio cranked.” He ain’t kidding. The song, and all of Destroyer for that matter, seems to exist at that crucial nexus of the early-to-mid 80s Los Angeles when a war between punk and hair metal was waged. Black Flag’s My War tried and failed to keep the peace. But in the trenches, some hybrid ghoul was beginning to form in bands like Jane’s Addiction and White Zombie. The heavy extended player “Horns Arising,” with its Night Rider vocals and golden, climbing Blade Runner synths, is a fill-up at a desert gas station just in time to see a UFO hovering near a mesa. . And other songs, like The serpentine “Boogie Lover” is a cruise down the Sunset Strip. You pull into The Rainbow Bar & Grill to take the edge off. Doesn’t matter what year it is, Lemmy’s there in flesh or spirit. To continue the teenage theme, there’s also a sense of to these cuts — “High Rise” is a foray into Japanese psych, rounding the bend to a careening, youthful sense of discovery, while “Closer to the Edge” feeling like falling in love with Yes (Remember how good they were for a minute there in your youth?). “Licensed to Drive” would easily be the most exhilarating and dangerous ripper on a titular film’s soundtrack, a dose of heavy right before the muscle car’s wheels fly off going 100 mph on the freeway.

                                                Shacked up in his rehearsal space, McBean found an old chair in an alley, spray painted Producer on the back and pressed record. Friends from the endless rock’n’roll highway were invited over and 22 songs were brought to life. And while some were laid back into shallow graves to dig up once again at a later date, the remaining skeletons were left above ground — given organs, skin, eyes, and the opportunity to grow their hair real long and greasy. Some of these zombie hesher jams were sent on a journey to Canada where longtime band member Jeremy Schmidt, slipping on the Official Collaborator satin jacket, had at them with his legendary synth arsenal. As he added long flowing robes, sunglasses, driving gloves and medallions, the undead songs began to transform into the new breathing creatures that make up Destroyer. Schmidt’s work with these songs was the needed transformative glue for this new era of Black Mountain.

                                                Coming off his newfound automotive freedom, McBean also saw some personnel shuffling within Black Mountain. Both Joshua Wells and Amber Webber have retired their Black Mountain Army uniforms while Arjan Miranda paid his outstanding membership dues and rejoined. New members include Rachel Fannan (Sleepy Sun) and Bulgasem (Dommengang & Soft Kill) plus other familiar names like Kliph Scurlock (Flaming Lips), Kid Millions (Oneida), and John Congleton (St Vincent, Swans) take a turn in the shotgun seat. Collectively, there’s a renewed vitality to Black Mountain on Destroyer — a seasoned, veteran of heady hard rock that’s found new, young muscles to flex and roads to explore.


                                                FORMAT INFORMATION

                                                Dinked Edition LP Info: Exclusive clear coke bottle coloured vinyl.
                                                Deluxe bespoke art – DIE CUT SLEEVE (no other version will have this).
                                                Numbered.
                                                Signed 12 x 12" print.

                                                Dinked Edition LP includes MP3 Download Code.

                                                Coloured LP Info: White coloured vinyl.

                                                Coloured LP includes MP3 Download Code.

                                                Earth

                                                Full Upon Her Burning Lips

                                                  Commemorating thirty trips around the sun as one of metal’s most monolithic bands, Earth have announced plans to release their ninth studio album, Full Upon Her Burning Lips. A purge of the embellishment and panache from previous releases, Full Upon Her Burning Lips intimates Earth’s commitment to the minimalism of their primordial days.

                                                  Deconstructing the tried-and-true dynamic consisting of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion, Full Upon Her Burning Lips taps into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world. In addition to scaling back the flourishes of their hulking, drone-driven opuses, Full Upon Her Burning Lips was composed sans narrative, relying instead on their collective subconscious to hone in on the overarching muse as the songs developed.

                                                  The record was engineered, mixed, and mastered by long time associate Mell Dettmer at Studio Soli. Showcasing Carlson’s sepia-toned Bakersfield Sound guitars and Davies’ death knell drums, Full Upon Her Burning Lips mines for the expressive, nuanced, and tonally rich components of Earth’s arsenal of sound. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

                                                  “I feel like this is the fullest expression and purest distillation of what Earth does since I re-started the band,” Carlson says in reflection of Full Upon Her Burning Lips. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

                                                  FORMAT INFORMATION

                                                  2xColoured LP Info: Limited to 500 copies on Crimson / Black Galaxy vinyl.

                                                  2xColoured LP includes MP3 Download Code.

                                                  Death And Vanilla

                                                  Are You A Dreamer?

                                                    New album from the Malmo-based trio of Marleen Nilsson, Anders Hansson and Magners Bodin.

                                                    Following the critically-acclaimed ‘To Where The Wild Things Are’ from 2015 and their haunting collection of soundtracks in between.

                                                    “Lush and enveloping, reminiscent of Curt Boettcher and Margo Guryan.” The Wire. 

                                                    “Fantastically eerie.” Clash.


                                                    Exposing the trio’s love of all things retro with a nod to everything from Fun Boy Three to Orchestre Poly Rythmo de Contonou, while still roaming somewhere between an ambient Eno and Cocteau Twins at a late-night soiree. A unique, individual sound: Longer, more plush and pampered; more hypnotic and haunting, mixing mellotron and affected guitar with a refined rhythm. Electronic melancholy at its most evocative, riddled with super-memorable motifs and melodies that nestle in reflective echo.

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Standard Edition, Reverse board sleeve, Crystal Clear vinyl.

                                                    Indies Exclusive LP Info: Ltd Edition – Grey textured board sleeve, Transparent Pink Vinyl.

                                                    Sebadoh

                                                    Act Surprised

                                                      The inventors of lo-fi indie rock return with a 15-track blast of melodic melancholy, all delivered by the smudged middle finger of Dinosaur Jr original Lou Barlow…

                                                      “The auteur of the subterranean lovesick blues.” Houston Press.

                                                      Their first studio album since 2013’s ‘Defend Yourself’ and their first release with Fire Records, Lou Barlow and team return with a smorgasbord of beautifully dysfunctional tunes harking back to their finest college rock anthems.

                                                      It’s Barlow at his introverted songwriting best; matter-of-factly delivering a stream of self-questioning stories, punctuated by detuned guitars, spine-tingling time changes and throwaway one liners.

                                                      A grainy post grunge postcard wrapped in bittersweet melodies with an aftertaste that’s pure heartbreak.

                                                      More songs about growing up wrong for those who continue to act surprised at life itself - all illegibly handwritten and lovingly submitted to vinyl.

                                                      FORMAT INFORMATION

                                                      Dinked Edition LP Info: Pressed on special dinked edition tricolour vinyl.
                                                      Limited to just 500 copies.
                                                      Hand numbered.
                                                      Includes lyric insert and postcard.
                                                      Includes custom sticker sheet.

                                                      Dinked Edition LP includes MP3 Download Code.

                                                      Coloured LP Info: White vinyl LP housed in a full colour sleeve, with lyric insert and download.

                                                      Morrissey With Billie Joe Armstrong

                                                      Wedding Bell Blues - RSD Stores Exclusive



                                                        FORMAT INFORMATION

                                                        Ltd 7" Info: Clear Yellow vinyl.

                                                        Primal Scream

                                                        Maximum Rock 'n' Roll: The Singles



                                                          FORMAT INFORMATION

                                                          2xLP 1 Info: 2LP Volume 1 (1986 – 2000).

                                                          2xLP 2 Info: 2LP Volume 2 (2000 – 2016).

                                                          Vampire Weekend

                                                          Father Of The Bride



                                                            FORMAT INFORMATION

                                                            2xColoured LP Info: Orange double vinyl.

                                                            Big Thief

                                                            U.F.O.F.

                                                              U.F.O.F., F standing for ‘Friend’, is the name of the highly anticipated third record by Big Thief, set to be released by 4AD on May. It was recorded in rural western Washington at Bear Creek Studios with engineer Dom Monks, and producer Andrew Sarlo who was also behind their previous albums.

                                                              The New York-based band, featuring Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia (drums), has spent the last 4 years on an incessant world tour, winning the devotion of an enthusiastic and rapidly expanding audience.

                                                              Their songs represent an emotional bravery and realness that weaves intimate relationships with the listener, a phenomenon that has made them one of the most widely-respected bands of the current era.

                                                              Morrissey

                                                              California Son

                                                                Morrissey’s new album of covers includes songs by the likes Joni Mitchell, Bob Dylan, Roy Orbison, Laura Nyro, Dionne Warwick and many more as well as having guests vocals by Billie Joe Armstrong (Green Day), LP, Ed Droost (Grizzly Bear), among others.

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: 140 gram exclusive sky blue vinyl.

                                                                LP Info: 140 gram black vinyl in sleeve.

                                                                Sinkane

                                                                Dépaysé

                                                                  Sinkane is an artist with a real stake in our current cultural and political climate. Born in London to Sudanese parents, raised in Ohio, and now calling New York City home, Ahmed Gallab refines his sound and message to peak form on his new studio album, ‘Dépaysé’.

                                                                  “Sinkane is an American band comprised of people from all over the world,” says Gallab in his bio letter for ‘Dépaysé’. “Our collective experience as children of the diaspora helped bring the music to life in the most honest way possible.” He adds, “Dépaysé is the story of an immigrant’s journey of self-discovery in the Trump era. The music is loud and raw, and it's bursting with an energy unlike anything I’ve ever done before.”

                                                                  ‘Dépaysé’ is Sinkane’s seventh full-length and the follow-up to Sinkane's acclaimed 2017 album ‘Life & Livin' It’. The band features Gallab, Elenna Canlas (keys and vocals), Jonny Lam (guitar), Ish Montgomery (bass), and Chris St Hilaire (drums).

                                                                  Accompanying statement from Ahmed Gallab: -

                                                                  It’s easy to be angry in moments like now. And that’s OK. But it takes courage to turn that anger into productive energy. The previous Sinkane album, 2017's Life and Livin' It, was released at a very crazy time: things like the Muslim ban, police shooting unarmed people of color, massive corruption in my native Sudan, fake news, Donald Trump, Brexit and so many other calamities all really forced me to think about my place in the world as a musician. I began to think about how I could use my music in a constructive way — not only to help myself but to help others who feel frustrated and powerless.

                                                                  I’ve made a lot of music out of my life story but I’ve always kept things vague enough that anyone listening to my music could relate to it on their own terms. And yet I have to admit that I never truly felt satisfied with that. I eventually realized that, in order to truly connect with other people, I first needed to connect with myself on a deeper level than before.

                                                                  Throughout the making of MY NEW ALBUM I kept asking myself the same question: “As an immigrant to America, where do I belong?” So, during the writing process, I worked mainly by myself so that I could ensure the most honest and personal answers to that question.

                                                                  At some point, I discovered the French word dépaysé, which basically means “to be removed from one’s habitual surroundings.” By extension, it means to be disoriented, homeless. That's a feeling I relate to very much in these times — and I’m not the only one who feels this way. That word gave me clarity and made the journey inward that much more exciting.

                                                                  So here we are. Dépaysé is the story of an immigrant’s journey of self-discovery in the Trump era. The music is loud and raw, and it's bursting with an energy unlike anything I’ve ever done before. The album starts with “Everybody,” an anthem of inclusion. Every day we wake up to another horror story about racism, and it’s left many of us angry, confused and frustrated. But we can change the news for the better. We can show people that a multicolored world is a beautiful one. Celebrating our differences yields beauty in life. And that takes... everybody. On “Everyone” I continue that line of thought to its logical conclusion: love is the key to helping us understand one another.

                                                                  I confront my insecurities with identity on songs like “Ya Sudan,” “Dépaysé” and “The Searching.” Truly understanding one's duality means seeing beyond where you came from: let go of any definition that others put on you and then you can truly see the beauty of your life experience. This, along with the rest of Dépaysé, has given me peace. I’m no longer confused about the duality of my Sudanese and American identities. Now I accept it.

                                                                  I want Sudanese kids to see a person like them as a positive role model in the arts. And to everyone, I want to make it clear that the world is a better place because of our differences. We’re all strangers in this ever-stranger land of America. We are all the American Dream.

                                                                  Best,

                                                                  Ahmed Gallab

                                                                  Stereolab

                                                                  Transient Random-Noise Bursts With Announcements (Expanded Edition)

                                                                    3 May 2019 sees the start of Stereolab's 7 album reissue campaign when 1993's 'Transient Random Noise-Bursts With Announcements' and 1994's 'Mars Audiac Quintet' will be the first albums reissued, via Warp Records and Duophonic UHF Disks, as expanded and re-mastered editions on vinyl and compact disc.

                                                                    Each album has been re-mastered from the original 1/2" tapes by Bo Kondren at Calyx Mastering and overseen by Tim Gane. Bonus material will include alternate takes, 4 track demos and unreleased mixes.

                                                                    FORMAT INFORMATION

                                                                    3xColoured LP Info: Numbered and pressed on triple clear vinyl, with scratch card to win an exclusive Stereolab record at end of the year.
                                                                    Vinyl comes in bespoke gatefold sleeve with download card, housed inside a heavyweight clear PVC wallet.

                                                                    3xLP Info: Black triple vinyl edition.
                                                                    Vinyl comes in bespoke gatefold sleeve with download card, housed inside a heavyweight clear PVC wallet.

                                                                    Stereolab

                                                                    Mars Audiac Quintet (Expanded Edition)

                                                                      3 May 2019 sees the start of Stereolab's 7 album reissue campaign when 1993's 'Transient Random Noise-Bursts With Announcements' and 1994's 'Mars Audiac Quintet' will be the first albums reissued, via Warp Records and Duophonic UHF Disks, as expanded and re-mastered editions on vinyl and compact disc.

                                                                      Each album has been re-mastered from the original 1/2" tapes by Bo Kondren at Calyx Mastering and overseen by Tim Gane. Bonus material will include alternate takes, 4 track demos and unreleased mixes.

                                                                      FORMAT INFORMATION

                                                                      3xColoured LP Info: Numbered and pressed on triple clear vinyl, with scratch card to win an exclusive Stereolab record at end of the year.
                                                                      Vinyl comes in bespoke gatefold sleeve with download card, housed inside a heavyweight clear PVC wallet.

                                                                      3xLP Info: Black triple vinyl edition.
                                                                      Vinyl comes in bespoke gatefold sleeve with download card, housed inside a heavyweight clear PVC wallet.

                                                                      USA Nails

                                                                      Life Cinema

                                                                        Dipped In Gold are proud to announce the forthcoming album from everyone’s favourite noisniks the mighty USA Nails.. Having spent their formative years being the most unpopular members of bands that some people liked including - Kong, Silent Front, Death Pedals, Future of the Left and Dead Arms they are now on their 4th album.

                                                                        "Life Cinema" was tracked live at Bear Bites Horse in London and with the help of producer Wayne Adams, they have created a record that is raw and gritty, while still being rich with both melodic and lyrical hooks, full of absolute bangers. They rave about pointless jobs, wannabe artists, social anxiety, offices that have fridges with beer in them and Epsom.

                                                                        USA Nails may or may not appeal to fans of Wire, The Fall, Devo, Pissed Jeans, Wire and early Sonic Youth. Huzzah!

                                                                        FORMAT INFORMATION

                                                                        Deluxe LP Info: This deluxe version comes with a rather cool "Dipped In Gold" metal badge. We've only got a handful so get in there quick!

                                                                        Remixes of a track from the forthcoming new Cantoma album, featuring the vocals of Jojo Mendy, recorded in Gambia with the help of Advoms Skhaan. Noche epanola turn in an uplifting summery balearic disco winner , with handy bonus beats for anyone wishing to do their own cheeky extended mix. Upcoming dj speedy boarding goes straight for a small, smoke filled jacking dance floor vibe , compete with a trance inducing top line. Japans mysterious duo karel arbus and eiji takamutsu complete the package with a nod to that sublime moment when the sun just dips and disappears into the sea.

                                                                        Pip Blom

                                                                        Boat

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                          Ian Brown

                                                                          Unfinished Monkey Business

                                                                            Ian Brown was left high and dry when the Roses split in April '96 and rumours spread that he'd left the music industry for good. Truth is: he almost had! Ian had considered gardening or even selling Roses bootlegs, he felt so disenchanted with  what he'd described as the filthiest business in the world. Apparently it was the will of the people, fans he'd bump into on the street, that constantly encouraged him to get back to it. So it was that 18 months later, around Christmas of 97, his first single as a solo artist was riding our airwaves. It did not disappoint!

                                                                            The new tunes were superb, but the sound was a refreshing if not puzzling surprise:warm, fuzzy, ocassionally distorted, analogue even lo-fi sounds; clanking drum machines and bashed on acoustic guitars. This was the kind of groovy curio you'd be more likely to find on (Beastie Boys' cool as fuck) Grand Royale than on Ian's new major label. Apparently they begged him for a "name" producer or remixer, but ever his own man, Ian refused.

                                                                            Mani from The Roses played over a classic Reni shuffle on Can't See Me, which along with My Star (the previously mentioned debut single) and the glorious  Corpses In Their Mouths , smashed into the Uk Top 20, in the days when these things mattered! Elsewhere, the wah-wah laden What Happened To Ya (pure Roses, apparently about the Roses) and epic Ice Cold Cube (one of his greatest ever songs: heavy, dark and mega-melodic) nicely completed the Massive Tune Quota whilst the bluesy and bonkers Lions and squelchy and sleezy Deep Pile Dreams offered texture and variety to an already varied palette. Sunshine sounds like Syd, smashing a song out on an acoustic guitar, one to one in a bedroom. The title track recalls Lee Perry in its cute'n' wonky catchiness.

                                                                            All in all: a triumph, then. Not shouting from the rooftops, like in his "first band on the moon" pomp, but a small and very satisfying step in what would turn out to be a very succeesful and much loved solo career.

                                                                            STAFF COMMENTS

                                                                            Andy says: Hilariously (and aptly) christened King Monkey by the drummer of Dodgy, of all people, this was the first installment of Ian Brown solo music. Independent and original, it's still one of his best records, after all these years.

                                                                            FORMAT INFORMATION

                                                                            Ltd LP Info: 180 gram audiophile edition.
                                                                            Printed inner sleeve.

                                                                            David Bowie

                                                                            Clareville Grove Demos

                                                                              Following on from Spying Through A Keyhole, in early 1969 at his flat in Clareville Grove, London, David Bowie with John ‘Hutch’ Hutchinson continued to demo ‘Space Oddity’ and other tracks.

                                                                              This live demo tape session is set for release as a 7" vinyl singles box set of six home demos, four of which are previously unreleased recordings, Clareville Grove Demos will be released on 17th May 2019.

                                                                              As with the Spying Through A Keyhole vinyl singles box set, the design of each single label is presented to reflect the way David sent many of his demos to publishers and record companies, featuring his own handwritten song titles on EMIDISC acetate labels with cover and print photos by David’s then manager Ken Pitt taken in the Clareville Grove flat.

                                                                              The singles themselves are all mono and play at 45 r.p.m.

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

                                                                              Patience

                                                                              Dizzy Spells

                                                                                Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting.

                                                                                From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. ‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing).

                                                                                Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope. The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented: simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop pioneer Jacno in the happy/sad dichotomy and it is all the better for it.

                                                                                Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional accountability.

                                                                                More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night, dancing with tears in our eyes, dizzy and spellbound.

                                                                                FORMAT INFORMATION

                                                                                Coloured LP Info: Indie-only colour vinyl.

                                                                                LP Info: Black vinyl.

                                                                                Lipelis

                                                                                Bordeaux Lovin’ EP

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

                                                                                  Üdytü Ützeltürk & His Male Harem

                                                                                  Kairo / Kozak2000 (Inc Boris Dlugosch Edit)

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

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

                                                                                  Dane//Close

                                                                                  DB7 004

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

                                                                                  Kito Jempere

                                                                                  DB7 003

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

                                                                                  Protomartyr

                                                                                  No Passion All Technique

                                                                                    Protomartyr can finally answer what is probably their most frequently asked question: “When are you going to reissue your first album?” ‘No Passion All Technique’ has long been something of a mystery. Not available on streaming services; long out of print (and going for ridiculous prices on auction sites), why was this album so elusive?

                                                                                    When Protomartyr - vocalist Joe Casey, guitarist Greg Ahee, bassist Scott Davidson, drummer Alex Leonard - stepped into a studio together for the first time, in November of 2011, they didn’t know they were about to record an album. With only four hours of studio time booked and one case of beer between them, their plan was to walk out with enough songs for a seven-inch single. Instead, at the suggestion of engineer Chris Koltay, the newly formed Detroit outfit recorded as much as they possibly could, in what little time they had.

                                                                                    Sold out and out of print shortly after its original release on Urinal Cake Records in October 2012, ‘No Passion All Technique’ is a sometimes-messy look at one of rock’s most magnetic bands - and lyricists - just as they were coming to life. Primal, cerebral, heartbreaking, funny - it’s an accidental tour de force that’s also become an unlikely collector’s item. “My memory is shot,” Casey says, “but I appreciate now, looking back, how raw and off-the-cuff it was. There’s tons of mistakes in it and that wasn’t because we planned on it. We still can’t really admit that it’s as good as it is. You never want to say that your first is the best, but I’m happy that the first ended up not being terrible. It gave us doorway to what we’d want to do later.”

                                                                                    FORMAT INFORMATION

                                                                                    Coloured LP Info: Available to independent retailers on heavyweight blue vinyl with ‘zine’ magazine and digital download card.

                                                                                    LP Info: LP on heavyweight black vinyl with ‘zine’ magazine and digital download card.


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                                                                                    Thanks for posting about it. It’s here until next Friday May 3rd btw. https://t.co/PgaFhSvpPe
                                                                                    Wed 24th - 8:58
                                                                                    Yes! Thanks @NME for the feature. Come and visit @ianbrown https://t.co/ilKYdZmAtx
                                                                                    Tue 23rd - 9:48
                                                                                    It’s great isn’t it?! Glad you liked it and hope your wish comes true.🤞🏻 https://t.co/ZPlM8ry6f5
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