DINKED EDITION

RELEASES

Dinked was founded in 2018 by Drift, Piccadilly Records, Resident and Transmission. Four independent retailers coming together to form a new collective of like-minded shops.

You’ve read all about the "vinyl revival”. You’ve heard about how physical sales are outperforming downloads. You’ve seen loads of new record shops open their doors in the past few years. All sounds pretty rosy right?

Well, yeah, it is in many ways. It’s certainly a long way from the doom and gloom record stores were facing ten years ago, when all the focus was on digital, shops were going under weekly and the outlook was rather bleak for independent record retail.

It’s true that the renewed interest and investment in vinyl has offered indie record shops a new lifeline and has given us a valid position on the high street again. However, we are facing a whole new world of challenges and pressures: the rising costs of rent, rates, wages, pensions and stock, the increasing level of competition from those wanting to jump on the bandwagon and competition from within our own sector.

As independent record shops, we all operate entirely individually. This has many advantages in that we all offer a completely different experience, range of stock, atmosphere and set of knowledge. We’re not governed by politics and don’t answer to investors, so we’re able to remain true and authentic. We wanted to establish something that allows us to work together more as a united front, celebrating our strengths and differences whilst connecting and bonding us for a common cause.

With that in mind, we stopped just talking about it, got our shit together and established DINKED

Bored At My Grandmas House

Show & Tell

    ‘Show & Tell’ is the much anticipated debut album from Bored At My Grandmas House (AKA 22 year old songwriter Amber Strawbridge). With critical acclaim and deserved plaudits lavished on Amber following her debut EP ‘Sometimes I Forget You’re Human Too’, ‘Show & Tell carries on the emotive and philosophical themes of the EP, pinned around themes of connection; with yourself, with the world, with loved ones. There is soul-searching, introspection and a challenge to the ways of the world, all packed into 12 hook filled, shoegaze-fused-indie-pop slices.

    Emerging from the hotbed of exceptional guitar music bubbling up out of Leeds in recent years, Amber has been supported by BBC 6Music, BBC Radio 1, DIY, and played Glastonbury, Radio 1’s Big Weekend and more.

    Speaking about the album, Amber explains “I want to understand connections and process the emotions which surround them. The album covers topics of queer love, humanity and it’s ‘delusions of grandeur’, mental health, introspection and purpose. It’s one big project of of self introspection and a guidebook to understanding my brain’

    ‘Show & Tell’ also marks a brand new release from the exciting new partnership between Clue Records and EMI North, the first physical major label office to open outside London.

    If you have a thing for Soccer Mommy, Alvvays, Girl In Red and boygenius, this record is for you. 


    TRACK LISTING

    Side A
    Intro
    Inhibitions
    Show & Tell
    Friendship Bracelets
    How Do You See The World
    Side B
    I Like What You Bring Out In Me
    Don’t Do Anything Stupid
    Moving Slow
    We See The World In The Same Way
    Hide & Seek

    Dinked 7” Tracklisting:
    Side A
    We See The World The Same Way - “4-Track” Version (exclusive For Dinked)
    Side B
    Show & Tell - “4-Track” Version (exclusive For Dinked)

    Ganavya

    Like The Sky I've Been Too Quiet

      Internationally acclaimed vocalist, multi-instrumentalist and composer
      releases her new studio album featuring Floating Points, Kofi Flexxx & Carlos Niño among others, and produced by Shabaka Hutchings on Hutchings’ Native Rebel Recordings

      South-Asian vocalist, multi-instrumentalist and composer ganavya announces today her upcoming studio album “like the sky I've been too quiet” on Shabaka Hutchings’ Native Rebel Recordings. The album features contributions from artists including Kofi Flexxx, Floating Points, Carlos Niño, Leafcutter John and Mercury-nominated bassist Tom Herbert.

      Since graduating from Berklee College of Music, UCLA and Harvard, ganavya has quickly become a much-in-demand artist on the US scene who consistently confounds expectations. Hailed as “among modern music's most compelling vocalists” (Wall Street Journal), “most enchanting” (NPR) and "extraordinary" (DownBeat), ganavya has worked with an array of luminaries including the likes of Quincy Jones, Wayne Shorter and Esperanza Spalding and on new album like the sky, I've been too quiet she presents thirteen compelling tracks which showcase her ethereal voice and numinous energy. 


      TRACK LISTING

      Side A
      Not In An Anthropological Mood
      First Notebook Of Songs
      Side B
      Forgive Me My
      Seal
      El Kebda, Let It Go
      We Made It To The Underpass
      Side C
      Our Mother Is Our Daughter Is Our Mother
      (sister Said) Home Is A Direction
      We're Still At The Underpass
      Side D
      Call It Luck If You Want To
      Call Her By Her Name, Enheduanna
      Growing Sense Of Wonder
      I Walk Again, Eyes Towards The Sky

      Goat Girl

      Below The Waste

        Goat Girl - Lottie Pendlebury (she/her), Rosy Jones (they/them) and Holly Mullineaux (she/her) are excited to announce their third album “Below The Waste” which is being released on Rough Trade Records. The album was co–produced by the band & John Spud Murphy (Lankum & black midi).

        Pieced together like a collage over an extended period of time, the instrumentation was tracked mostly over a ten-day stint in Ireland at Hellfire Studios, in the shadow of the infamous Hellfire Club itself. They also used Damon Albans, Studio 13. Additional strings (Reuben Kyriakides and Nic Pendlebury), woodwind instruments (Alex McKenzie) and vocals (including a choir made up of family and friends) were added to this framework at a number of locations, from a barn in Essex to Goat Girl’s own studio in South London.

        Singer Lottie on lead track: “I was listening to lots of music at the time by Phillip Glass and Deerhoof that plays with the relationship between tension and resolution which definitely influenced this song. I was yearning for honesty and authenticity in relationships I held with people, probably partly because at the time, like everyone, we were so isolated from one another. But it also felt deeper than that, like the conversations I dreamt of stripped away all of the etiquettes we desperately clung onto and went below the surface to where the most interesting parts of ourselves tend to be suppressed.”

        TRACK LISTING

        1. Reprise
        2. Ride Around
        3. Words Fell Out
        4. Play It Down
        5. Tcnc
        6. Where’s Ur <3
        7. Prelude
        8. Tonight
        9. Motorway
        10. S.m.o.g
        11. Take It Away
        12. Pretty Faces
        13. Perhaps
        14. Jump Sludge
        15. Sleep Talk
        16. Wasting

        Dinked Edition Tracklisting:
        Side A:
        Reprise
        Ride Around
        Words Fell Out
        Play It Down
        Side B:
        Tcnc
        Where's Ur <3
        Prelude
        Tonight
        Side C:
        Motorway
        S.m.o.g
        Take It Away
        Pretty Faces
        Perhaps
        Side D:
        Jump Sludge
        Sleep Talk
        Wasting

        Dinked Bonus 7":
        Side A:
        Where's Ur <3 (demo)
        Sleep Talk (fka Mellotron Improv)
        Ride Around (fka Wavey Bye)
        Side B:
        Play It Down (sad Demo)
        Wasting (demo)








        Jessica Pratt

        Here In The Pitch

          On her fourth album, west coast artist Jessica Pratt expands the scope of her artistry, placing her sharpest songs to date within an ever-broadening pool of influences including spectral '60s pop, Hollywood psychedelia and bossa nova. Whereas Pratt's 2019 record, Quiet Signs, floated elegantly in the ether, Here in the Pitch is entrenched in more earthen characteristics, as the title suggests, and her craft is emboldened with a newfound gravitas.

          TRACK LISTING

          Side A
          A1 Life Is
          A2 Better Hate
          A3 World On A String
          A4 Get Your Head Out
          A5 By Hook Or By Crook

          Side B
          B1 Nowhere It Was
          B2 Empires Never Know
          B3 Glances
          B4 The Last Year

          Cranes

          Fuse - 2024 Reissue

            Whilst the release of 1989's ‘Self-Non-Self’ EP represented an introduction to the band for many (John Peel among them) Cranes had quietly made their debut with the release of the ‘Fuse’ cassette in 1986 on local Portsmouth label Bite Back!

            Infamous among hardcore fans, the recordings have been largely unavailable since release (‘Fuse’ made an appearance as a bonus track in later years) with the original tape changing hands on-line at a premium.

            Remastered at Abbey Road and with the addition of the previously unreleased ‘New Liberty’ (a song originally slated for inclusion on ‘Self-Non-Self’) this release will be the first time the music has been widely available since its initial release.

            ‘Fuse’ is the 2nd release from the band’s archive following the recent release of their ‘BBC Peel Sessions’ and prefaces the promise of new music to come.

            TRACK LISTING

            Side A
            Pillow Panther
            Fuse (Original Version)
            Valentine
            Gas-Ring

            Side B
            1. Things That I Like
            2. Wrench
            3. Fracture
            4. New Liberty

            Michael Head & The Red Elastic Band

            Loophole

              62 years of music, loves, losses, long summer days and longer, darker nights are vividly recalled by ‘our greatest living songwriter’, Michael Head and The Red Elastic Band as he plays out flickering scenes from his life on new album, Loophole, set for release on Fri 3 May 2024 on Modern Sky.

              12 evocative and autobiographical songs to be accompanied by the written word as Michael Head prepares his memoirs for release with an autobiography with Nine Eight Books. 

              TRACK LISTING

              1 Shirl's Ghost
              2 Ambrosia
              3 Ciao Ciao Bambino
              4 Tout Suite!
              5 The Human Race
              6 You Smiled At Me
              7 A Ricochet Moment
              8 Connemara
              9 Merry-Go-Round
              10 You're A Long Time Dead
              11 Naturally It's You
              12 Coda

              7" - Exclusive To Dinked Edition
              Side A
              1. Connemara - Acoustic (Live From Hebden Bridge)
              Side B
              2. Tour Suite! (Live Acoustic From Hebden Bridge)

              Pillow Queens

              Name Your Sorrow

                After forming in 2016, Pillow Queens released a series of singles, honing their craft and working towards their first album, In Waiting (2020). Along the way there has been acclaim from UK and American press, many sold-out gigs and an appearance on James Corden's Late Late Show. After signing with Canada’s Royal Mountain Records, they released a follow-up album, Leave the Light On in 2022, touring the UK, US and Europe extensively, including shows at Austin’s SXSW and supporting Phoebe Bridgers in Glasgow.

                Three albums in three years indicates a serious work ethic, for their new album Name Your Sorrow they stuck to a strict schedule. They showed up every day from 9-5, in a windowless Dublin room to just play, swap instruments and experiment. From there, they decamped to a rural retreat in County Clare along the Atlantic coastline of Ireland, to immerse themselves further. “ The palpable shift in sound and tone is possibly the result of working with a new producer, Collin Pastore from Nashville, who has produced boygenius, Lucy Dacus and Illuminati Hotties. The band holed up for three weeks at Analogue Catalogue studio in Newry, and quickly noticed that the change of scene and personnel impacted on the record.

                The result of combining new experimentation, heartfelt lyrics and a sound that pinballs from quiet and loud offers a kind of catharsis. Of picking through the shrapnel to find slivers of hope. Previously, the band have road-tested new tracks live, playing them to an audience and reworking them based on the crowd’s reaction. They haven’t done that this time, because the songs already feel fully formed. The band also had to unlearn the process of questioning whether a song sounded like “a Pillow Queens song”. There are definite links to the last two albums, but Name Your Sorrow feels like a triumphant step in another direction.


                TRACK LISTING

                Side 1
                1. February 8th
                2. Suffer
                3. Like A Lesson
                4. Blew Up The World
                5. Friend Of Mine
                6. The Bar's Closed
                Side 2
                1. So Kind
                2. Heavy Pour
                3. One Night
                4. Love II
                5. Notes On Worth

                Van Houten

                The Tallest Room

                  Leeds shoegaze outfit Van Houten release their debut album. After the huge success of the lead single, ‘Coming of Age’, the band have been branded as a BBC 6Music’s artist tip of the year 2024 on Tom Robinson’s New Year’s Day show.

                  Reminiscent of artists like Deerhunter, DIIV or Yuck with an unmistakable Yorkshire edge, Van Houten open up a unique sonic world. A cavernous shoegaze affair, filled with woozy psych, sincere storytelling and a bag full of earworms. Van Houten have honed a truly unique, melding a 90’s & alternative sound & aesthetic with true pop sensibility, crafting their own blend of lo-fi indie, psych rock, shoegaze and garage rock.

                  ‘The Tallest Room’ marks a brand new release from the exciting new partnership between Clue Records and EMI North, the first physical major label office to open outside London. 


                  TRACK LISTING

                  Side A
                  Black And White
                  Never Did Come Back
                  Coming Of Age
                  Panoramic View

                  Side B
                  Note To Self
                  I Only Wanna Be With You
                  Head Straight
                  I Let You

                  Dinked 7” Tracklisting:
                  A Side: I Only Wanna Be With You - Acoustic Version
                  B Side: Panoramic View - Acoustic Version

                  Lucy Rose

                  This Ain't The Way You Go Out

                    British musician Lucy Rose released a third album, No Words Left, back in 2019. It garnered the strongest critical acclaim of her career and culminated in a sell-out show at London’s Barbican theatre. It was a record that ruminated in a sort of hushed reverence, emotionally charged and deftly delivered.

                    Lucy had planned to spend some well-earned time at home in the record’s aftermath, having toured relentlessly since her late teens. She’d balanced that precariously spinning plate by forming her own record label too, Real Kind Records, putting out new records by artists she admired and thought deserved her due care and attention. With both plates spinning, she managed to catch them just before the pandemic ensured her plan for some rest and recouperation became an enforced reality. She welcomed her first child, Otis, in the summer of 2021. All was well until she was diagnosed with a rare form of pregnancy induced osteoporosis.

                    With a life being lived upside down, and only now without the indignity of excruciating pain, making music wasn’t seeded top of Lucy’s priority list. Any fleeting thought of writing a new record, or even sitting down with a guitar or at a piano, took a back seat to building up the strength to walk and care for Otis. As her confidence started to rebuild, so did her usual inhibitions in the making of music. Inspired by a trip to America with friend and rapper Logic, she later worked with renowned producer Kwes to finish the record.

                    This Ain’t The Way You Go Out is an album constructed from the ashes of despair, nurturing the tiniest of green shoots and giving life to something that had looked otherwise spent. It’s a new era for Lucy, and an era in its purest, truest sense. An artist re-awakening herself to the power of music, and having a lot of fun in the process of its discovery and delivery.


                    TRACK LISTING

                    Side A
                    Light As Grass
                    Could You Help Me
                    Dusty Frames
                    Whatever You Want
                    Interlude I
                    Life’s Too Short
                    Side B
                    This Ain’t The Way You Go Out
                    Over When It’s Over
                    Sail Away
                    Interlude II
                    No More
                    The Racket

                    Bodega

                    Our Brand Could Be Yr Life

                      Sometimes you have to move backwards to move forwards. Just ask punk cultural commentators BODEGA, whose new album sees them carve a new future from fuzz-soaked, consumerism-skewering shards of their past.

                      ‘Our Brand Could Be YR Life’ is BODEGA's first album release through Chrysalis Records. “It’s something we’ve been wanting to do for years,” guitarist and vocalist Ben Hozie explains of ‘Our Brand Could Be Yr Life’ – a collection of catchy indie-rock ruminations on the slow-creep of corporate-think into youth culture, first written eight years ago.

                      ‘Our Brand Could Be YR Life’'s 15 tracks explore indie-rock subgenres, self-critique and everything in between. "I think it’s our best- sounding record to date,” says Hozie, "I t’s got dance-punk. There's some shoegaze on there. There's slacker rock on there. There's psychedelic rock on there. R.E.M, too. We wanted to be another band in a long stream of missionaries, proselytising a certain type of rock subculture.” 


                      TRACK LISTING

                      Side A
                      1. Dedicated To The Dedicated
                      2. G.N.D. Deity
                      3. Bodega Bait
                      4. Tarkovski
                      5. Major Amberson
                      6. Stain Gaze
                      7. Webster Hall
                      Side B
                      1. ATM
                      2. Set The Controls For The Heart Of The Drum
                      3. Protean
                      4. Born Into By What Consumes
                      5. Cultural Consumer I
                      6. Cultural Consumer II
                      7. Cultural Consumer III
                      8. City Is Taken

                      Suede

                      Bloodsports - 10th Anniversary Edition

                        After reforming for a charity concert at the Royal Albert Hall for the Teenage Cancer Trust in 2010, Suede decided to stay together and record a new album.

                        Re-united with Ed Buller, producer of the band’s first three albums, they recorded “Bloodsports”,the band’s sixth album, in 2012. Released in March 2013, it debuted at number 10 in the UK albums chart and features the singles “It Starts And Ends with You”, “Hit Me” and “For The Strangers”.


                        TRACK LISTING

                        Side A
                        1. Barriers
                        2. Snowblind
                        3. It Starts And Ends With You
                        4. Sabotage
                        5. For The Strangers

                        Side B
                        1. Hit Me
                        2. Sometimes I Feel I’ll Float Away
                        3. What Are You Not Telling Me?
                        4. Always
                        5. Faultlines

                        Exclusive 7-Inch Single (Dinked Edition Only)
                        Side A
                        A: Dawn Chorus
                        Side B
                        B: Human Tide (on Vinyl For The First Time)

                        Ducks Ltd.

                        Harm's Way

                          Ducks Ltd. make inviting and frenetic guitar pop for when life feels overwhelming. While the band’s songs are ostensibly breezy, a palpable anxiety boils underneath that communicates something deeper about everyday existence. On their latest album Harm’s Way, the Toronto duo of Tom McGreevy and Evan Lewis hones in on interpersonal and societal collapses, urban decay, and the near-impossibility of keeping a level head when everything around you seems to be falling apart.

                          Even with its often dark subject matter, Harm’s Way is Ducks Ltd.’s most vividly rendered and collaborative collection yet. It’s an undeniable evolution for the band, not just in how these songs soar, but in their entire writing and recording processes. Composed on tour while supporting acts like Nation of Language, Illuminati Hotties, and Archers of Loaf, the album displays the band’s finely tuned songcraft and well-earned, road-tested confidence.

                          The band, fortified by this strong sense of sonic identity and a self-assurance in their new material—and in contrast to their critically acclaimed 2021 debut Modern Fiction and 2019 EP Get Bleak, both self-recorded and self-produced in a Toronto basement—wanted to bring Harm’s Way to life in a new city, with an outside producer, and with some of their favorite musicians. Working with producer Dave Vettraino, they enlisted a marquee cast of Windy City collaborators to round out the tracks on Harm’s Way, including: Finom’s Macie Stewart; Ratboys’ Marcus Nuccio; Dehd’s Jason Balla; and backing vocals from Julia Steiner (Ratboys), Nathan O’Dell (Dummy), Margaret McCarthy (Moontype), Rui De Magalhaes (Lawn), and Lindsey-Paige McCloy (Patio). The band’s touring drummer, Jonathan Pappo, and bassist Julia Wittman also appear on the LP.

                          Harm’s Way’s lush, melodic swagger is clear from the first notes of opener “Hollowed Out.” A song about living with decline (inspired by a Toronto sinkhole), its bright, indelible catchiness serves in contrast to its lyrical unease. Anchored by Lewis’ shimmering electric guitar, “The Main Thing” laments growing apart from a person whose views you once shared while managing to toss in references to both the unglamorous lives of middle relief baseball pitchers and the occult. Other songs split the difference between country and krautrock, like the rollicking “Train Full of Gasoline,” which uses the 2013 Lac-Mégantic rail disaster in Quebec as a metaphor for self-destructive patterns.

                          Harm’s Way is Duck Ltd.’s most intuitive and organic album yet, the result of keen observation, self-possessed songwriting, and a collaborative spirit. Building on the successes of their previous releases, the deeply relatable album displays a band operating at a nuanced, lyrical and musical best.


                          STAFF COMMENTS

                          Barry says: Another uplifting slice of jangling guitar and post-punk adjacent songwriting sensibilities from Canada-based Ducks Ltd. It's hugely anthemic in parts, reminiscent of the soaring choruses of Hot Water Music or The Icarus Line, but lightened with a real focus on melody and groove and the perfectly droll vocals of Tom McGreevy.

                          TRACK LISTING

                          Side A
                          1. Hollowed Out
                          2. Catherdral City
                          3. The Main Thing
                          4. Train Full Of Gasoline
                          5. Deleted Scenes
                          Side B
                          6. On Our Way To The Rave
                          7. A Girl, Running
                          8. Harm's Way
                          9. Heavy Bag

                          Ed Harcourt

                          El Magnifico

                            Making his debut with the Mercury Prize-nominated Here Be Monsters in 2001, Harcourt has released music under his own name that blends raw emotions, impeccable songwriting and visionary flights of imagination. A succession of ten rich, enthralling albums have followed that first spark of his, including the intoxicating addictive Strangers in 2004; 2013’s breathless Back Into The Woods which was recorded in just eight hours; and Furnaces which compellingly and entreatingly envisioned family ties confronted by the small matter of the apocalypse. After that LP in 2016, Harcourt then moved to explore the instrumental sphere with recent soundscape albums Beyond The End and Monochrome To Colour.

                            While recognisably bearing all the hallmarks that have made him such an admired and prolific songwriter, one of Britain’s most cherished yet inventive music creators, Ed’s new record, El Magnifico, also finds him striving for something new. It is an Ed Harcourt record, but one with a desire to seek fresh reward.

                            With his body of work to date, it would be foolhardy for Harcourt not to lean on his artistic foundations, not just as a solo artist, but as an acclaimed music-maker in a variety of guises. His creativity has stretched beyond his own impressive catalogue too. Consistently inspired by the power of collaboration, as a writer, producer and, often, one-man backing band, he has aided the musical visions of the likes of Afghan Whigs, Lissie, Jamie Cullum, The Libertines and Marianne Faithfull, plus has worked with an array of fast-rising new talents. He has also engaged closely with filmmakers, scoring movies and documentaries and is a member of the gloriously louche, sonically hard bitten rock trio Loup Garoux.

                            With that array of creativity fizzing behind him, Harcourt enjoys a spectrum-spanning number of outlets of expression, ensuring his bountiful creativity and cascading of ideas always find an appropriately unique home. And ‘El Magnifico’ is the beneficiary of this immense scope and musical insight. 


                            TRACK LISTING

                            1. 1987
                            2. Into The Loving Arms Of Your Enemy
                            3. Broken Keys
                            4. Strange Beauty
                            5. The Violence Of The Rose
                            6. Ghost Ship
                            7. Deathless
                            8. Anvils & Hammers
                            9. My Heart Can’t Keep Up With My Mind
                            10. At The Dead Of The World
                            11. Seraphina
                            12. El Magnifico

                            The Staves

                            All Now

                              It was in December 2022 that The Staves celebrated the 10th anniversary of their debut album Dead & Born & Grown – a strange and beautiful period in the lives of sisters and band members Jessica, Camilla and Emily Staveley-Taylor, making their fourth album All Now with the same organic vulnerability as that first record: except now everything was different, and they kind of were too.

                              All Now emerges, bold and bright, from a period of quiet, which followed a period of chaos, for the band. When Good Woman was released in 2021, to positive reviews, it felt like “an echoing silence” to share such a cathartic album with a world shut down. So The Staves had to retreat, again, and actually wrestle with everything they had been through.

                              The result? An album as rich and honest as all the most profound music by The Staves scattered across albums for the last decade, calcified here into something special.

                              But the most thrilling part of this album, is that the hardest pills to swallow, here, almost have a sweeter taste. Once you’ve survived the climb to the top, learned from the journey, you may as well enjoy the view. “When you sing about hesitation and fear, there’s a lot of power in not making it sound fearful and being quite steadfast instead,” says Camilla. “It feels like an act of taking control.” With All Now, there’s no letting go. 


                              TRACK LISTING

                              Side A
                              All Now
                              I Don’t Say It, But I Feel It
                              Fundamental Memory
                              Make A Decision
                              The Echo
                              Side B
                              I’ll Never Leave You Alone
                              After School
                              Great Wave
                              Recognise
                              So Gracefully
                              The Important One
                              You Held It All

                              Francis Of Delirium

                              Lighthouse

                                Since first emerging in early 2020 with the anthemic ‘Quit Fucking Around’ and releasing a critically acclaimed 3-part EP trilogy between 2020 and 2022, Francis of Delirium gained praise for distilling the angst and despair that plagues a generation who faces an uncertain present and future.

                                Francis of Delirium was shortlisted for 2022’s highly prestigious ESNS Music Moves Europe Award, as well as gaining accolades from the world’s music press and supporting some of the biggest artists on the planet, at still only 22 years old. A restless energy and desire to connect with the listener lies at the core of the project, with Jana’s personal lyrics being underpinned by a fierce rock sound that is as liberating as it is intense. Hailed as a Gen Z’er excitingly redrawing 90s classic indie rock (unsurprising given her chief collaborator Chris Hewett hails from Seattle and is three decades her senior) a deep admiration for contemporary acts such as Car Seat Headrest, Japanese Breakfast, Mitski, Phoebe Bridgers and Sufjan Stevens is also abundantly clear.

                                The upcoming album is titled ‘Lighthouse’, as their music has always straddled the line of light and darkness, both musically and lyrically. Expanding the instrumentation by incorporating more pianos and acoustic guitars, the tracks on ‘Lighthouse’ are intimate and disarming.

                                “Tackling big existential questions and turbulent emotions, (Francis of Delirium) throw off promising sparks of brilliance.” Pitchfork, 7.4 EP Review.


                                TRACK LISTING

                                Side A
                                1. Ballet Dancers (Never Love Again)
                                2. Real Love
                                3. First Touch
                                4. Want You
                                5. Blue Tuesday
                                6. Cliffs

                                Side B
                                7. Starts To End
                                8. Alone Tonight
                                9. Something's Changed
                                10. Who You Are
                                11. Give It Back To Me

                                Laura Jane Grace

                                Hole In My Head

                                  Following the release of her debut album, Stay Alive (2020) and the At War With The Silverfish EP (2021), Emmy-nominated artist, author, musician, activist and Against Me! founder/songwriter, Laura Jane Grace, returns with Hole In My Head - her beautiful new album featuring eleven tracks that showcase her undeniable power as a songwriter & storyteller. The album features her most personal and emotionally gripping songs of her career - stripped down masterpieces like Dysphoria Hoodie paired with blistering distorted anthems like Hole In My Head and Birds Talk Too, tracks that demand the listener’s attention with an immediacy and urgency unlike anything Grace has written before.

                                  Recorded at Native Sound in St. Louis, Missouri by David Beeman and mastered by Matt Allison (Lawrence Arms, Rise Against), the album is a sonic curio cabinet containing multitudes. Featuring warm 50s-rock-influenced guitar riffs and rock style melody a la Jonathan Richman and Eddie Cochran, saved-for-later lyrics, love letters to St. Louis, dysphoria apparel, and thoughtful reflections on a punk life lived, Grace's forward vocals are backed predominately by her performances on guitar and drums but are bolstered by Drive By Trucker's bassist Matt Patton.

                                  The record's title track Hole in My Head takes off with a driving guitar-heavy approach that will be welcome to long-time fans of Against Me! electric machinations, while first single Dysphoria Hoodie has been a staple in Grace’s setlist, and one which is as personal as it is pertinent in today’s climate.

                                  Choice cuts I’m Not A Cop and Punk Rock In Basements are written through a post-pandemic rose-colored lens, the latter looking back on the formative underground spaces of Grace’s youth. Basement shows for decades were hallmark experiences for anyone involved in their local punk scenes, shaping movements, connections, and culture through the forced, sweaty proximity necessary to pour over raucous punk music.

                                  Hole in My Head is a record which captures the nuances of humanity and experience in a strangely optimistic manner. The lightness of its influence and the journalistic recollection of experience set against a battered and warm folk-punk delivery from beginning to end makes Hole in My Head a fun comfort. It is a welcome embrace of life and just the start of a new chapter in Laura Jane Grace’s raucous journey.

                                  STAFF COMMENTS

                                  Barry says: Laura Jane Grace's journey has been a storied one, starting her career in one of the most beloved new wave punk rock bands in the late 90's, and ending up as a prolific and gifted composer, multimedia artist and writer. 'Hole In My Head' is once again a brilliantly balanced, fiery and dynamic solo outing from Grace.

                                  TRACK LISTING

                                  Side A
                                  1. Hole In My Head
                                  2. I'm Not A Cop
                                  3. Dysphoria Hoodie
                                  4. Birds Talk Too
                                  5. Punk Rock In Basements
                                  Side B
                                  1. Cuffing Season
                                  2. Tacos & Toast
                                  3. Mercenary
                                  4. Keep Your Wheels Straight
                                  5. Hard Feelings
                                  6. Give Up The Ghost

                                  East Los Angeles quartet Levitation Room’s floaty, cosmic songs are always a trip. Since forming nearly a decade ago, they’ve self-produced dizzying, otherworldly music that’s connected with fellow travelers in the hallucinogenic world of outré rock music.

                                  Led by singer and guitarist Julian Porte along with founding members Gabriel Fernandez (lead guitar) and Johnathan Martin (percussion), the band has enchanted live audiences at Desert Daze and on tour with like-minded groups Post Animal and Psychedelic Porn Crumpets. The band’s vivid sound has found them placed on popular playlists like Modern Psychedelia and the legendary superproducer’s Danger Mouse Jukebox. Their 2015 debut, “Friends,” has surpassed 18 million streams. Joined by new member Kevin Perez (bass) in 2021, Levitation Room have continued to expand their colorful, unearthly sound, a process that has culminated with the vibrant new album Strange Weather.

                                  Collaborating with former Brian Jonestown Massacre keyboardist Rob Campanella, Jason Kick (Mild High Club), and Black Crowes’ Joel Robinow, Levitation Room take a new step in their story and vision with Strange Weather. The record’s lyrical narratives—about love in the park, life in the city, and the fact that “The world today is such an illusion”—are appropriately steeped in ’60s sonics and a dreamy, lo-fi atmosphere. It’s spacey, celestial guitar music for escaping into, and “it feels just like heaven.” Join Levitation Room on their new voyage.

                                  STAFF COMMENTS

                                  Barry says: A brilliantly widescreen fusion of heady psychedelic rock, perfectly manicured breakdowns and crisp, rhythmic percussion. Strange Weather have the pace and groove of the best electronic indie forebears with the carefree aura of the most exploratory free-psych of the 70's. Lovely stuff.

                                  TRACK LISTING

                                  1. Heaven
                                  2. Strange Weather
                                  3. Cool It, Baby
                                  4. Expectations
                                  5. Immortal Love
                                  6. Scene For An Exit
                                  7. Pintura
                                  8. Morning Star
                                  9. Revelations
                                  10. The Other Side

                                  Ultrasonic Grand Prix (Little Barrie & Shawn Lee)

                                  Instafuzz

                                    The story of Ultrasonic Grand Prix is one of two vintage 60s guitars and their owners - multi-instrumentalist / producer Shawn Lee and guitar maestro Barrie Cadogan - of Nottingham freakbeaters Little Barrie.

                                    “We’d been talking for years about making some kind of record. Cadogan explains, “but we were always being pulled in different directions with other commitments. Shawn got the ball rolling for real when lockdown happened, called me up and said, “You know we keep talking about doing a record, well the time is now”. I’m so glad he did.”

                                    And the music that did emerge was weird, startling, and insatiably groovy. With one foot dipped in the organ-warbling garage of 60s psych, and the other vibrating in the mind-expanding fractals of the British Acid House boom, ‘INSTAFUZZ’ plies the earthly quintessence’s of blues, rock, soul and jazz, against the preternatural discomforts of programmed drums and unhinged synthesisers to produce something distinctly and nostalgically futuristic.

                                    It’s a style that pays its debt to this project's launch-pad inspiration, 2012’s ‘Personal Space’ compilation. A collection of underground U.S 45s from the late 70s and early 80s fittingly dubbed ‘Electronic Soul’ - an appropriate descriptor, incidentally for these experiments from Ultrasonic Grand Prix.

                                    With all the graininess of a documentary film compiled from bits and pieces of raw archive footage, INSTAFUZZ mashes various details and cuttings from its choice influences to invariably intriguing effects. The guitar twang-meets-intense synth of emphatic opener ‘Seamoon Rising’ is The Limiñanas at The Haçienda. At another extreme of the spectrum, ‘Green Means Go’ drifts into the neo-psychedelic waters of The Soundcarriers or Vanishing Twin - hauntological, uncanny, cruising into the wonders of egoless delirium, suspicion and atemporal intrigue.


                                    STAFF COMMENTS

                                    Barry says: It's always a great thing when two respected musical minds come together and you can't really hear their individual influence on the end product, rendering a whole new electronic blues palette from their audio coalition. Brilliantly done, and full of passion from both these greats.

                                    TRACK LISTING

                                    Side A
                                    Seamoon Rising
                                    Instafuzz
                                    Triple Denim
                                    Green Means Go
                                    Right Left
                                    96 Tiers

                                    Side B
                                    Slippery When Chet
                                    Tin Wolf
                                    A Guy Called Harold
                                    Pop Eyes
                                    22 Years I Worked For This Guitar
                                    King Condor

                                    Casey

                                    How To Disappear

                                      When Casey called it a day back in 2019, it felt like a premature demise. Their two full-length albums – 2016’s ‘Love Is Not Enough’ and 2018’s ‘Where I Go When I Am Sleeping’ – had firmly established the Welsh five-piece as one of the most exciting bands in Britain’s alternative scene in just a few short years.

                                      Some four or so years later, the band have returned; not only to sold out crowds on their first reappearance on stage, but also with new music in hand. One listen to the new songs, and it’s clear the band needn’t worry about the integrity of their fresh creative vision, nor their emotional investment in it. The new music is quintessential Casey, open hearts dripping with the same kind of pain and trauma that defined the band from the start. Because Casey songs don’t just replicate the feelings that inspire them – they embody them. That hasn’t changed.


                                      Tapir!

                                      The Pilgrim, Their God And The King Of My Decrepit Mountain

                                        South London six-piece Tapir! serves as a ‘boiling together’ of different mediums: at once musical, theatrical, mythological, artistic, collaborative, narrative-led and, above all, something to be enjoyed and shared.

                                        With their debut album, “The Pilgrim, Their God and the King of My Decrepit Mountain”, Tapir! have proven they are more than technically adept at transporting the listener to another realm. You could read the whole album as being an escape from the trappings of the modern material world, a sidestep into a pre-industrial, pre-internet wonderland where creativity and community reign supreme. The narrator of ‘My God’ might suggest to us ‘Maybe it was Maybelline that put you at a loss/That’s my God’, but for Tapir! it is imagination itself that is king.


                                        STAFF COMMENTS

                                        Barry says: Though the striking minimalism of the cover might carry through to some of the more relaxing pieces on Tapir's debut album, the depth of compositional skill and scope of the album as a whole is breathtaking. Brittle folky guitars and soaring vocals, conceptually rich pieces imbued with intrigue and heart. Stunning.

                                        TRACK LISTING

                                        Side A
                                        Act 1 (The Pilgrim)
                                        On A Grassy Knoll (We'll Bow Together)
                                        Swallow
                                        The Nether (Face To Face)
                                        Act 2 (Their God)
                                        Broken Ark
                                        Side B
                                        Gymnopédie
                                        Eidolon
                                        Act 3 (The King Of My Decrepit Mountain)
                                        Untitled
                                        My God
                                        Mountain Song

                                        Plantoid

                                        Terrapath

                                          Take a look at the cover art for Plantoid’s debut album, the jazzy, prog-rock opus Terrapath. In a desolate, misty landscape, a massive half-vegetable, half-machine structure resembling a spaceship looms above figures shrouded in shadow. It’s weird and eerie, but it also ignites a feeling of wonder and nostalgia, like cracking open your favourite sci-fi novel as a kid. It harkens back to ‘70s rock artwork, where ornate fantasy scenes gaze back at you from dusty vinyl gatefolds—and yet it was created with the decidedly modern AI software Midjourney. In short, it’s the perfect visual for a band that is able to marry both the old and the new in a fresh and exciting way.

                                          Musically, Plantoid’s cauldron harnesses multiple subgenres at once to concoct a sort of primordial soup, the molecules of which are built as much from progressive rock as they are jazz, fusion, folk, and even a bit of ‘70s hard rock for good measure. The band began as the brainchild of Chloe and Tom, who formed the band Mangö and started gigging around town with drummer Louis Bradshaw, who Tom had been good friends with since secondary school.

                                          After making a name for themselves locally, the three relocated to London and recruited bassist Bernardo Larisch, who they met at a uni freshers party. Now a four-piece, and renamed Plantoid, the band were ready to dig even deeper into their shared influences, ranging from Miles Davis to Todd Rundgren, to Jeff Buckley, all the way around to the more acute experimental fare that gives Plantoid their razor-sharp edge. 

                                          Emotion, whether it be through their music, lyrics, or performances, is a large part of Plantoid’s creative impetus. Think back to that little alien searching for meaning with his big green spaceship: through all the crazy solos, elastic basslines, acrobatic vocals and supermassive drum beats, Terrapath is a story about finding yourself through the music you love.


                                          STAFF COMMENTS

                                          Barry says: I know everyone says that their band are 'hard to categorise', and it is sometimes true. There's no doubt that hugely talented Brighton foursome Plantoid could be chucked in that broad category but it's also clear that their fusion of jagged noise-rock, angular psychedelia and tropical 50's wooze is uniquely brilliant and undeniably catchy. Ace.

                                          TRACK LISTING

                                          Side A
                                          Is That You?
                                          Pressure
                                          Modulator
                                          It’s Not Real
                                          Dog’s Life
                                          Side B
                                          Only When I’m Thinking
                                          Wander/Wonder
                                          Insomniac (Don’t Worry)
                                          G.Y. Drift
                                          Softly Speaking

                                          X-Ray Spex

                                          Conscious Consumer - 2023 Reissue

                                            The sophomore and final studio album from punk icons - X-Ray Spex.

                                            The highly sought after album received a very limited CD only release in 1995 on Receiver Records in the UK and has been officially unavailable for the past 27 years!

                                            The album reunited the iconic X-Ray Spex vocalist - Poly Styrene with original X-Ray Spex saxophonist - Lora Logic and bassist - Paul Dean, as well as guitar from Kula Shaker frontman Crispian Mills under his then pseudonym Red Spectre.

                                            This release has been remastered from the original master tapes and is available on LP for the first time ever! Including the original and expanded artwork, including previously unpublished lyrics and original sleeve notes from Poly.

                                            Pop culture is full of classic albums that slip between the cracks. In recent years the late Poly Styrene and X-Ray Spex have achieved iconic status with their 1978 debut ‘Germfree Adolescents’ album but the group’s follow up album 'Conscious Consumer’ released 17 years later has been lost to the sands of time.

                                            These days most people don’t even realise that X-Ray Spex had a follow up to what is now embraced as one of the classics of the punk rock period. This lovingly compiled revisit puts the spotlight on a lost gem that has many of the hallmarks of the debut but is sieved through a different lens. ‘Conscious Consumer’ was an upgrade of the classic debut with a same punk rock urgency and themes of consumerism but with a poppier edge and a more considered wisdom gleamed from the ups and downs of life from the perspective of an older, wiser, Krishna devotee.

                                            In 1995 the album was an unexpected comeback and a lost classic. It was the first new material recorded by the band for years despite many of the songs being written a decade before. On release, though, the album disappeared into a void being out of sync with the times and before Poly got her deserved iconic status.

                                            The band who also re-formed in 1991, 1995 and 2008 are now revered worldwide for sparking a new kind of attitude in music. The late Poly is now a pop culture pin-up for an originality and feminism that barely existed at the time. Her acerbic, witty and brilliant lyrics and distinctive voice have stood the test of time, and along with the band’s original sax player Lora Logic, she has become part of the punk rock narrative. The fuzzy snapshots of the brief early lineup see the sassy and sharp dressed teenager core oozing talent, originality and style in a freeze frame of pop culture punk rock perfection.

                                            Listening to the album again after a long break, Paul Dean is surprised.

                                            “‘Conscious Consumer’ now sounds so much better than I remember. It wasn’t properly released at the time and so no one knows about it. If you love Germfree Adolescents you will love ‘Conscious Consumer’ they are linked together. X-Ray Spex didn’t have just one great album it was two!”


                                            TRACK LISTING

                                            Side A
                                            1. Cigarettes
                                            2. Junk Food Junkie
                                            3. Crystal Clear
                                            4. India
                                            5. Dog In Sweden
                                            6. Hi Chaperone
                                            Side B
                                            7. Good Time Girl
                                            8. Melancholy
                                            9. Sophia
                                            10. Peace Meal
                                            11. Prayer For Peace
                                            12. Party

                                            Gruff Rhys

                                            Sadness Sets Me Free

                                              Incredibly, “Sadness Sets Me Free” is the 25th album Gruff Rhys has released in his 35 year career individually, collaboratively and as a member of various bands. “Sadness Sets Me Free” is also the follow up to 2021’s “Seeking new Gods”, his first solo top ten record.

                                              Lead-off single “Celestial Candyfloss” is a telling four minute glimpse of the forthcoming album, revealing the heady wonders and classic pop sounds within. Soaring strings carry the sweet melodies along, anchored by just enough necessary melancholy to add emotional ballast. The eye-popping video was created by long-time collaborator Mark James and compliments the scope and style of the song on a galactic scale.

                                              “Celestial Candyfloss” is, Gruff says, “an attempted pocket symphony about the cosmic lengths that people will travel in the pursuit of love and acceptance. Mark James has brought the Sadness Sets Me Free album cover to life & managed to place me watching TV interference in a shipping container that’s lost in space. For what is apparently the 25th album I’ve had a hand in writing I’ve reverted to a rich seam of inspiration relating to shedding some light on sadness and the general terror of cosmic loneliness.”

                                              And so it was that Gruff and his band – Osian Gwynedd (piano), Huw V Williams (double bass) and former Flaming Lips drummer turned Super Furry Animals archivist Kliph Scurlock (drums) piled into a van driven by the late, legendary tour manager “Dr” Kiko Loiacono and raced from Dunkirk, where they had just played the final show of a tour of Spain and France, to the outskirts of Paris in the early hours of a March morning in 2022. There, in La Frette Studios, a recording facility installed in a 19th-century house, Gruff and his road-hardened group tracked “Sadness Sets Me Free” in just three days. Backing vocals were added along the way by Kate Stables from This Is The Kit along with additional strings and orchestration and it was mixed between Marseille and Cardiff. What finally emerged from these intense bouts of cross-continental activity was Gruff’s most accomplished and beautiful record to date.

                                              In a career that has taken him from the slate-mining towns of north-west Wales, down to the expat communities of Patagonia, up to the Mandan tribe of the Great Plains of North America and across to the Tuareg rock groups of the Saharan Desert, Gruff Rhys, one of Britain’s most beloved and successful singer-songwriters, has always been willing to follow an opportunity, wherever it may lead him. “At this point I quite like working with serendipity,” he says. “Not in a cosmic way, [but] I try and leave things open to chance encounters and chance geography. As I'm around 25 albums in I’m always looking for ways to make a different-sounding record”.

                                              STAFF COMMENTS

                                              Barry says: Gruff is one of the masters of musical disguiuse, effortlessly turning his hand to any number of genre leanings, but it's in effortlessly melodic albums like 'Sadness Sets Me Free' that we get to hear the true genius and uplifting glee that only he can bring. There are moments of orchestral majesty and brittle, tentative sadness but every moment is a delight. A reminder of why Gruff is one of the greatest songwriters of our times.

                                              TRACK LISTING

                                              1. Sadness Sets Me Free
                                              2. Bad Friend
                                              3. Celestial Candyfloss
                                              4. Silver Lining (Lead Balloons)
                                              5. On The Far Side Of The Dollar
                                              6. They Sold My Home To Build A Skyscraper
                                              7. Peace Signs
                                              8. Cover Up The Cover Up
                                              9. I Tendered My Resignation
                                              10. I’ll Keep Singing

                                              Dinked Edition Bonus 7”:
                                              A. Amser
                                              B. (etching, No Audio)

                                              Mock Media

                                              Mock Media II

                                                Mock Media’s debut LP Mock Media II – out November 17 on Meat Machine captures this firebrand four piece’s head-on plunge into enthralling existential contradictions: songs that explore the darkest corners of humanity, yet come out at the other end with the unwavering joy that marked their genesis. It’s an album of sneaky eclecticism: the high-wired punk rock stylings serve as Mock Media’s framework to clad their agog explorations into pop, electronic and world folk music.

                                                Mock Media, Canada’s new supergroup, contains members: Evan Aasen, Garnet Aronyk Muhammad, Austin Boylan and Bennett Smith. Mock Media originates in Vernon, British Columbia, a small farming town surrounded by blue lakes and majestic mountain ranges. Such wholesome beginnings naturally sparked a heady wanderlust and DIY-spirit within its founding members.

                                                The album’s connective tissue is a knack for crafty, tongue-in-cheek pop melodies and the kind of plucky storytelling that chronicles the greater complexities of life – chapters where strife and survival are usually rife. The R&B-infected “Louis wont break”, for example, references Laura Hillenbrand's novel Unbroken, which tells the story of Louis Zamperini, a former Olympic track star turned fighter pilot who spent 47 days on a raft at sea and two and a half years in a Japanese POW camp.

                                                Lead single “Madness” confidently vaults from skittish noise punk into a zany country rock anthem, the stylistic choices mediating a greater narrative on the threshold between order and chaos: “What if you struggled to feed yourself / Would you take it from somebody else?”. “It's just looking at human history,” Aasen comments. “Because it’s been so terrible in a lot of ways. How civilized we normally are, it just takes the drop of a coin and it can turn into something real bad. And we're always kind of teetering on the edge of that. People in their own lives too: you can hit rock bottom pretty quickly, but you can also persevere.”

                                                The seething “Father Of The Crime '' – driven by Smith’s frantic drumming – draws a parallel between polarization and the often reactive ways we handle relationships. Aronyk: “There's a lot of similarities between that sort of situation where somebody finds their significant other cheating on them, and the decision making process in that moment is similar to what happens when somebody is radicalized and pushed to do something crazy.” Opening track “ILL”, with its rumbling piano melody and Skrillex inspired synth line, littered with samples and droning horns, “ILL”, addresses a clash between mob and cult mentality on the rise.

                                                The courting of themes like violence, imprisonment, and famine isn’t a voyeuristic act for Mock Media, but a deeper interrogation on where to unearth notions of triumph and empathy. Both in writing and execution, Mock Media II is an exercise of tension and release, the ease of the chemistry between the four musicians giving merit to the weight of the subject matter.

                                                The frolicking “Rambo”— adorned by flute flourishes performed by Aronyk’s mom- recites a tale of a prison hustler, the titular Rambo, and his hardships of confinement. “Modern Visions” became an inspired meshing of separate musical ideas by Aronyk and Aasen, coalescing into a more electronic pop progression that required extensive tinkering and reassessing over a four-year period. “I think that track addresses a common theme through our music,” Aronyk adds. “It reflects on trying to understand violence and chaos throughout different corners of the world, and not being overcome by nihilism.”

                                                The frolicking “Rambo”– adorned by flute flourishes performed by Aronyk’s mom – recites a tale of a prison hustler, the titular Rambo, and his hardships of con?nement. “Modern Visions” became an inspired meshing of separate musical ideas by Aronyk and Aasen, coalescing into a more electronic pop progression that required extensive tinkering and reassessing over a four-year period. “I think that track addresses a common theme through our music,” Aronyk adds. “It reflects on trying to understand violence and chaos throughout different corners of the world, and not being overcome by nihilism.”

                                                TRACK LISTING

                                                Side A
                                                1. Ill
                                                2. Louis Wont Break
                                                3. Father Of That Crime
                                                4. Rambo
                                                5. Modern Visions
                                                Side B
                                                1. Madness
                                                2. Reason
                                                3. Touch The Ground
                                                4. Get On The Ship
                                                5. The Weight Is On

                                                Bill Ryder-Jones

                                                Iechyd Da

                                                  Beautifully produced and rich in scope – ‘Iechyd Da’ is Bill Ryder-Jones’ most ambitious record to date. At times joyous and grand, at others intimate and heartbreaking, the past few years spent producing other artists have provided that gentle nudge to expand into new territory, from kids choirs and tender strings to dramatically re-contextualised disco samples.

                                                  Making this album has been a process that has been endlessly rewarding for Ryder-Jones, both creatively and personally, as he finally accepts that he’s made an album that has bettered one he’s been trying to top for a decade. “It's been incredible making this,” he says. “Despite all the life stuff that's happened, it has brought me immense happiness. I've always railed against it when people ask if making a record is cathartic but I’d have to admit that this one really was. Over the years my music has lost a bit of its hope I reckon. It were important for me to make a record that had more hope in it. Even by my standards the last few years have been rocky, but I’ve chosen to soundtrack it with more positive music, you know? I love this album. I haven't been this proud of a record since A Bad Wind Blows in My Heart.”


                                                  STAFF COMMENTS

                                                  Barry says: Ryder-Jones presents possibly his most upbeat offering yet, still wading in similar waters to 2018's brilliant 'Yawn' but with a sense of brightness and tethered melancholy that we've not heard from him before. Shimmering acoustic guitars, wandering psychedlia and soaring melodies coalesce into a beautifully rich and wonderfully immersive whole.

                                                  TRACK LISTING

                                                  Side A
                                                  I Know That It’s Like This (Baby)
                                                  A Bad Wind Blows In My Heart Pt. 3
                                                  If Tomorrow Starts Without Me
                                                  We Don’t Need Them
                                                  I Hold Something In My Hand
                                                  This Can’t Go On
                                                  Side B
                                                  1. …And The Sea…
                                                  2. Nothing To Be Done
                                                  3. It’s Today Again
                                                  4. Christinha
                                                  5. How Beautiful I Am
                                                  6. Thankfully For Anthony
                                                  7. Nos Da

                                                  Dinked Edition Bonus 7”:
                                                  Bedbound Melodies (Big Softies)
                                                  When Will I Get Used To This? (Big Softies)

                                                  Lime Garden

                                                  One More Thing

                                                    Lime Garden are a Brighton four-piece - four friends whose coming of age indie-rock songwriting jumps over genre boundaries to create a sound that is uplifting yet somehow laid-back. They achieve this neat trick by harnessing catchy melodies and earworm hooks into an almost nonchalant net of lo-fi sounds, which is then sprinkled with a dry-wit to bring their world to life. It's a world of late-night conversations and observations that strike a chord.

                                                    The band came together via a twist of fate when Chloe Howard and Annabel Whittle, friends on social media, found out they'd just enrolled at the same college. Here they met Leila Deeley and the three bonded over a love of Talking Heads and the lyrics of Courtney Barnett along with note taking trips to gigs at the Boileroom in Guildford. With college life done and dusted, the bright lights of Brighton beckoned for Leila and Annabel, which is where the fourth and final member Tippi Morgan fell into the equation yet again but chance. Having coaxed Chloe down to the south coast the line-up was complete.

                                                    The debut album 'One More Thing' is the band’s love letter to the indie music they surrounded themselves with in their formative years, as well as a statement of love, fear, gratitude and embracing imperfections. Produced by Ali Chant (Perfume Genius, PJ Harvey, Yard Act), ‘One More Thing’ is the culmination of a stellar run of singles and non-stop touring from Lime Garden since their emergence in 2021. The songs on this album challenge societal norms, breathe life into the mundane and they dream big. 'One More Thing' is ambitious in its song-writing as well as its themes, Lime Garden welcome new technologies to help their traditional guitar sounds flourish into pop songs for the here and now.


                                                    STAFF COMMENTS

                                                    Barry says: It doesn't surprise me that the blurb mentions an appreciation of the great Courtney Barnett, because the vocal delivery of Lime Garden's chief vocalist, Chloe Howard and her wry lyrical observations certainly point towards CB's. However, it's that coupled with the uniquely textured instrumental backdrop and jagged punky heft that set them apart from the crowd. A perfectly paced and cleverly written whole.

                                                    TRACK LISTING

                                                    Side A
                                                    Love Song
                                                    Mother
                                                    Nepotism (baby)
                                                    Pop Star
                                                    Pine
                                                    Side B
                                                    I Want To Be You
                                                    Floor
                                                    Fears
                                                    It
                                                    Looking

                                                    Johnny Flynn & Robert Macfarlane

                                                    The Moon Also Rises

                                                      Johnny Flynn’s sixth album, and the second co-written with his friend Robert Macfarlane gathers songs that Johnny and Robert have written together since finishing their first joint album, Lost In The Cedar Wood (2021). At its heart are the oldest themes of all: death and renewal, darkness and light. The first five tracks are songs of burial, shadows and memory, while the final four are songs of awakening, light and love. The album turns around a central song, ‘The Sun Also Rises’, which stands with a foot in both dark and light.

                                                      Fuses poetry, story, landscape, history, nature and myth into a series of rich, strange songlines that criss-cross time and place, joining winter to spring, ancient to present and birth to death. As the Sun sets, so the Moon rises as its echo; as one light dies, another, altogether different light is born.

                                                      Partly recorded in an old Methodist chapel –now the home of Johnny and Rob’s friends, Cosmo and Flora Sheldrake.

                                                      Produced by Charlie Andrew (Alt-J, Marika Hackman).

                                                      BIOG
                                                      Johnny Flynn is a singer, composer, musician and actor. His musical releases to date include the studio albums A Larum (2008), Been Listening (2010), Country Mile (2013), Sillion (2017) and Lost In The Cedar Wood (2021). He has released two full live albums, Live in Washington DC (2014) and Live at the Roundhouse (2018) and various EPs and soundtracks. As well as touring the world with his band, Johnny regularly composes music for film, TV and theatre –– including work for period instruments at the Globe Theatre. Johnny’s recent acting projects include Hangmen and True West (for which he also composed the music) on stage and Emma, Beast and The Dig on film. He is currently appearing as Richard Burton in Jack Thorne’s sell-out play The Motive and the Cue, directed by Sam Mendes.

                                                      Robert Macfarlane is a writer of books about nature, people, place and landscape including Underland (2019), Landmarks (2015), The Old Ways (2012) and, with Jackie Morris, The Lost Words (2017) and The Lost Spells (2020). He also writes films (inc. Mountain and River, both starring Willem Dafoe), operas, plays and screenplays, and collaborates widely, including with artist Stanley Donwood, and musicians Cosmo Sheldrake, Jocelyn Pook and Karine Polwart. His work has been widely adapted for film, stage, television, radio, dance, music and performance, and his books have been published in more than thirty languages. In 2023 he was awarded the inaugural Weston International Award for Non-Fiction.


                                                      STAFF COMMENTS

                                                      Barry says: A rousing collection of songs from the neo-folk troubador Johnny Flynn (whose Detectorists theme is forever etched in my brain) and frequent collaboration partner Robert Macfarlane. It's a warming, bucolic selection that's every bit as beautiful as 2021's stunning 'Lost In The Cedar Wood'.

                                                      TRACK LISTING

                                                      Side A
                                                      1. Uncanny Valley
                                                      2. Song With No Name
                                                      3. Burial Blessing
                                                      4. No Matter The Weight
                                                      5. Coins For The Eyes
                                                      Side B
                                                      6. The Sun Also Rises
                                                      7. The Wild Hunt
                                                      8. Through The Misty With You
                                                      9. Year-Long Winter
                                                      10. River, Mountain And Love

                                                      Forest Swords

                                                      Bolted

                                                        Forest Swords (aka electronic producer/composer Matthew Barnes) returns. Having spent the past few years working as an in-demand composer and sound designer – writing music for ballet, film and video games – 'Bolted' was recorded over the last twelve months in Barnes’ home city of Liverpool. His ad hoc studio in a former vehicle and munitions factory (with connections to shadowy guerilla artists The KLF) became a gateway for him to explore, using a combination of hardware, software and tape machines to mould and sculpt a sound world for the album.

                                                        Across its 11 tracks he dives deeper into his unique sonic vocabulary (including personal samples of Neneh Cherry and the late Lee Scratch Perry) to weave together a set of tracks that sounds equally muscular and bleak, haunting and euphoric. While his previous album – the acclaimed 'Compassion' released in 2017 – saw Barnes toy with widescreen technicolour, the world of ‘Bolted’ is tightly wound, taught, with a sense of aching urgency like never before.

                                                        Recommended if you like… Aphex Twin, Björk, Oneohtrix Point Never, Andy Stott, Boards of Canada, Burial, Massive Attack.


                                                        STAFF COMMENTS

                                                        Barry says: Crystalline synth stabs and soaring melodies, gritty post-industrial soundscapes lightened with Barnes' unfaltering ear for sound. It's like OPN listened to a bit of yacht rock and fancied a few melodies amongst the clattering FM madness. Brilliant.

                                                        TRACK LISTING

                                                        Side A
                                                        1. Munitions
                                                        2. Butterfly Effect
                                                        3. Rubble
                                                        4. Night Sculpture
                                                        5. Caged
                                                        6. Tar
                                                        Side B
                                                        1. The Low
                                                        2. Chain Link
                                                        3. Hjope
                                                        4. End
                                                        5. Line Gone Cold

                                                        Stornoway

                                                        Beachcomber's Windowsill - Dinked Archive Edition

                                                          Back from a hiatus and with a new album, Stornoway are today announcing a super limited Dinked Edition of their 2010 debut album, ‘Beachcomber’s Windowsill’.

                                                          Out of print on vinyl since release and now highly collectable, ‘Beachcomber’s Windowsill’ is as its title suggests and something of a treasure. Featuring singles ‘Fuel Up’, ‘I Saw You Blink’ and ‘Zorbing’, it showed just why so many were excited by the Oxford indie-folk quartet’s arrival - a DIY guitar band unusually rooted in folk tradition. They stood out further with their deft ability to try their hand at most instruments, never shy to experiment while their pure pop harmonies soared.

                                                          Warmly received on release, it quickly attained Silver status in the UK and critical acclaim included The Observer praising it for having a “real emotional depth that transports their music from throwaway sunny songs to something altogether more poignant and enduring,” while the NME called it “beautifully rendered and melodically magnificent; a Constable landscape of a record.” Complemented by a stunning sleeve by designer Chris Bigg who was influenced by the album’s title and their songs about nature, working in illustrations of shells, aquatic life and old maps.

                                                          This special Dinked Edition will see the album being pressed on eco-vinyl and will come with an exclusive obi strip, art print and lyric book, all using FSC-approved card and paper. Limited to just 500 copies, it’s available to pre-order now from any of the Dinked network of UK independent stores and will be on the shelves from December 8th.


                                                          TRACK LISTING

                                                          Side A
                                                          Zorbing
                                                          I Saw You Blink
                                                          Fuel Up
                                                          The Coldharbour Road
                                                          Boats And Trains
                                                          We Are The Human Battery
                                                          Side B
                                                          Here Comes The Blackout…!
                                                          Watching Birds
                                                          On The Rocks
                                                          The End Of The Movie
                                                          Long Distance Lullaby

                                                          Bonnacons Of Doom

                                                          Signs

                                                            Traversing the everyday in 2023,the need for ritual catharsis only grows stronger. The need to lose oneself in a force bigger than ourselves, and to venture into innerspace the better to sculpt armour for the battles outside. Luckily this is the job of Bonnacons of Doom, aural soothsayers and progenitors of Trans Pennine hypnotic music.

                                                            ‘Signs’-their second album for Rocket Recordings-marks both a portent of things to come, and a roadmap of the psychic pathways to survival. This masked troupe, subsumed to mystery and amassed from across the North of England, have stepped up their mission accordingly. Building on the intimidating intensity of theirself-titled2018 debut, this series of fiercely charged mantras and premonitory transmissions is possessed of a new level of communal intensity. The band’s choice of weapons-the monomaniacal intensity of the riff, the liberating binary spirit of electronics and the incantatory vocals of ceremonial leader Kate Smith-here coalesce into a metaphysical force which stands defiant of easy categorisation. Within these otherworldly manifestations lurks solace in a place where the transcendent power of heavy amplification, cosmically aligned sonic explorations and strange forces darker and more unknowable can coalesce to cathartic and redeeming effect.

                                                            ‘Signs’ marks out a supernatural landscape where ancient and modern, earthly and alien congregate in the eternal now, whilst Bonnacons of Doom transcend era to light a path for the future.

                                                            STAFF COMMENTS

                                                            Barry says: Rocket recordings are the perfect home for psych-drone monoliths Bonnacons Of Doom, and the incendiary 'Signs' is brimming with scathing guitars and hypnotic vocal phrases. Brilliantly heavy, and undeniably enjoyable.

                                                            TRACK LISTING

                                                            Side A
                                                            1. Facing
                                                            2. Esus
                                                            3. Infra
                                                            4. Limina
                                                            Side B
                                                            5. Shore
                                                            6. Signs
                                                            7. Lichen
                                                            8. Semaphore

                                                            Wisely armed with bliss to fight our age of calamity, LA psych-kraut explorers Hooveriii return with their pastoral and expansive 4th album “Pointe.”

                                                            “Pointe” is not the sound of Hooveriii maturing. It’s the sound of a band at the height of their power ascending.

                                                            There’s a moment leading up to each decision where, for a brief instant, there are infinite possibilities that have yet to be distilled into a singular outcome. It’s a phenomenon that has been explored over the years by novelists like Graham Greene and a concept that Hooveriii frontman Bert Hoover also feels inexplicably drawn towards. “I find that period in time to be fascinating, maybe I’m in it often, but a lot of these songs take place in that moment and that moment can last for years,” he explains. This idea lies at the conceptual core of Hooveriii’s fourth album Pointe, a collection of songs that features musicians from the band’s past and present and sees them collectively exploring musical geography that Hooveriii hasn’t explored in the past. “We just wanted to do something different,” Hoover says. “We were feeling a little burnt on guitar rock and really wanted to challenge ourselves.”

                                                            The result is an album that was inspired by everything from the ‘60s psychedelic act Pisces to Phil Lynott’s solo releases and pioneering electronic acts like Tangerine Dream, to craft a collection of songs that are more about creating a specific type of feeling than fitting into a specific genre. “I feel like on this album we were bringing a lot of influences to the forefront that we never had the maturity to accomplish before while also leaning into the humor a little bit and avoiding being full-on ‘serious songwriters,’” Hoover adds. Correspondingly, the music roster on Pointe features Hoover, Kaz Mirblouk, James Novick, Owen Barrett, Gabe Flores, Gabriel Salomon, Anna Wallace, Paco Casanova, Matt Zuk, Jon Modaff, Shaughnessy Starr, Olaf Selland and Ari B. Jones and was—and unlike previous Hooveriii releases—was recorded over an extended period of time and was both consciously and subconsciously inspired by the touring the band did in support of 2021’s Water For The Frogs and 2022’s A Round Of Applause. “I’m really grateful for all of the people who contributed to this album and it’s a long list of people but it’s important that they are all listed because we all really pulled together to make this album,” Hoover adds.

                                                            “Every record is kind of a response to the last record and I like listening to people’s discographies like that,” Hoover explains. “When we finished A Round Of Applause we were in rock mode playing with a lot of rock and psych bands and I was really thinking about what do you do with a fourth record?” The answer turns out to be something more esoteric and less predictable than a guitar-driven album while retaining the core of the band’s sound, which has made the Los Angeles-based act such an exciting act to watch evolve. From the spacey groove of the opener “Prom” to the expansive, synth-friendly ballad “This Rock” and the epic future-folk experimentation of the album’s closer “Dreaming” (which features vocals by Wallace), Pointe is an album that references the past while stretching toward an unknown future. “I think that our intuition going forward is to keep ourselves surprised and keep people who like us surprised, hopefully without isolating anyone,” he adds.

                                                            When it comes to the lyrics for Pointe, Hoover says that while some of these are more personal than his previous material, it’s important for him to leave the actual content up to each listener’s own interpretation. “I like songs where people can admit to being deadbeats even if it is more of a character or you’re reflecting on one aspect of your personality,” he explains. “It’s also a transitional record in a lot of ways because sonically we wanted to drift away for album number four.” Correspondingly, Hoover considers “This Rock” to be a love song. But it could just as easily be about existential dread or the way that another person can change one’s orientation to the universe. Or the countless small decisions that can lead up to an outcome and the way our own smallness can be a catalyst for putting something out into the world that can affect so many other people in unexpected and important ways. Or maybe it is about none of these things, it’s whatever it means to you.

                                                            More than anything else Pointe feels like a full circle moment for Hooveriii, which has evolved from a bedroom solo project into an expansive band that features an army of talented musicians and contributors. “In a lot of ways, Pointe feels like an epilogue to one phase of the band and a prologue to the next one,” Hoover says of how the band’s latest release fits into their musical catalog. Pointe is a collection of songs that weren’t recorded in a linear fashion but that fit together in a way that feels almost cosmic in nature. In other words, it’s Hooveriii at their most creative and undistilled. “I don't really care about trying to push the envelope forward,” However admits, looking back at the long road leading up to completing the album. “I care about making a good record that sounds cohesive—and I feel like with this one, we did a good job.”

                                                            TRACK LISTING

                                                            Side A
                                                            1. Prom
                                                            2. The Tall Grass
                                                            3. This Rock
                                                            4. Can't You Hear Me Calling?
                                                            5. I Am Alive
                                                            Side B
                                                            6. The Game
                                                            7. Circling The Square
                                                            8. The Ship That I Sail
                                                            9. Dreaming

                                                            The Umlauts

                                                            Slags

                                                              There are few things in life quite as mesmerising or outrageously euphoric as the nine-strong Umlauts army effervescing in fulsome force. Rebelling against labels, transcending borders of land and time - packed with twin vocalists equally competent in their skewering south-London drawl as they are in German, Italian or French - as in touch with the nostalgias of First-Generation post-punk or 80s pop as they are with the techniks of contemporary pop or big beat dance - the Umlauts are paragons of trans-europe excess, dripping with inarguable edge; shambling wildly from chaotic cool to bombastically exquisite order; invested with unhinging, socio-political bite, dancing in a rave of their own.

                                                              Compiling the best of the Umlauts first two EPs - Ü (2021) and Another Fact (2022) - and appended with a clutch of new material - Slags offers the most comprehensive versioning of this Umlauts experience as yet extant on record; a salacious digest of wild experiments present and past.

                                                              Taking its title from the by-product of the smelting of metals - the not-so-subtle cheapness in wordplay is relevant too - the music of Slags also represents a work of immense amounts of energy and heat. From their breakthrough EP Ü, aptly opening the record is thunderous live staple ‘Energy Plan’, defined by quote from multi-disciplinary artist Joseph Beuys and charged with post-industrial foreboding. Also plucked from that record comes the puckish splatterpunk of ‘Um Politik’, and radio ‘hit’, ‘Boiler Suits and Combat Boots’, a mission-statement satire against cultural uniformity, and perhaps the ultimate epitome of the Umlauts disco war march, stylish as fuck.

                                                              And if their first EP was in their own words, basically an ‘accident’, its follow-up Another Fact is by all evidence a work of more immaculate designs. With the addition of Italo-disco influences, and of Caroline’s Magdalena McLean on violin duties, The Umlauts sound lifted towards more operatic and nuances heights - the tense violin bow sweeps on ‘Non è Ancora,’ or ‘Frightened’, or the delicious synth-popping sheen of ‘Sweat’ adding yet further spikes of melodrama to their sound. Not forgetting the , That EP’s title track proffers an appropriately magnificent closer here - the slow burning, heavy hitting techno vision loaded with string stabs, balalaikas, and a bicycle pump - an epic in every sense.
                                                              .
                                                              And, alongside the ‘Slags’ , the three new tunes included here are the ‘Slugs’ of the Umlauts’ Oeuvre “Like slugs, the band say, they are slippery, maybe slipperiness describes our approach best, ideas glued together with plasmic sludge, searching for something, enjoying the search.”

                                                              Speaking out against “acts of harassment by those whose duty should be to protect” - ‘Dance and Go’ delivers a squelchy, undulating, irresistible dance-punk drive. ‘Mad Blue Love’ rants against rants against relationships built on the sandy grounds of false expectations, while ‘Prédateur’s’ Swaying Art-pop curiosities strings out one of the band’s most intricate arrangements to date.


                                                              TRACK LISTING

                                                              Side A
                                                              Energy Plan
                                                              Dance & Go
                                                              Frightened
                                                              Boiler Suits & Combat Boots
                                                              Non È Ancora
                                                              Side B
                                                              Mad Blue Love
                                                              Sweat
                                                              Um Politik
                                                              Prédateur
                                                              Another Fact

                                                              Emma Anderson (Lush)

                                                              Pearlies

                                                                Following the news that all three Lush albums are going to be reissued, Emma Anderson, the band’s co-founder, has announced her debut solo album, Pearlies, which will be released by Sonic Cathedral on October 20, 2023.One of the most underrated British songwriters to emerge from the era that encompassed shoegaze and Britpop, she has teamed up with producer James Chapman (aka Maps) for this collection that combines effervescent electronic pop with psych and folk textures with lyrics covering themes such as confronting your fears, embracing independence and moving on in life.

                                                                It arrives fully formed with a burnished beauty (aided by the mastering skills of Heba Kadry) that belies its somewhat protracted creation, which began with Emma feeling disillusioned after Lush’s 2016 reunion came to an abrupt end. Left with songs and bits of music originally intended for the band, she began working with cellist and string arranger Audrey Riley and Robin Guthrie, formerly of the Cocteau Twins, both of whom encouraged her to sing her own songs. Covid put a temporary halt on proceedings, but the decision had been made. When Sonic Cathedral introduced her to James Chapman at the start of 2022, Pearlies quickly took shape and blossomed into a masterpiece, the perfect mix of Emma’s incredible, idiosyncratic songwriting and James’ electronic production nous. Plus, a little extra guitar magic on four tracks courtesy of Richard Oakes from Suede.

                                                                The finished album has somehow written its own narrative. By her own admission, Emma tends to write words and “see what comes out”, but Pearlies seems to tell the story of her decision to go it alone, with opener ‘I Was Miles Away’ posing the question: “See if I make it on my own”. The rest of the album provides the answer as it takes in everything from the unexpectedly funky first single ‘Bend The Round’, to folky finger-picking and film theme references, via psych leaning electronic pop reminiscent of Goldfrapp or Melody’s Echo Chamber. It concludes with ‘Clusters’, a stunning, Stereolab-style groove which begins with the line “and now the party’s over, the music’s at the end”. Thankfully, that is not the case. This incredible album is just the start of Emma’s long-awaited solo journey.

                                                                STAFF COMMENTS

                                                                Barry says: Emma Anderson presents her first solo album for the wonderful Sonic Cathedral, showing hints of her history in Lush but with a vigour and airy carless ease we've not heard before. It's both wildly beautiful and unendingly deep, arguably her finest work of all (Sorry Lush). Brilliant musician, and a beautiful album.

                                                                TRACK LISTING

                                                                1. I Was Miles Away
                                                                2. Bend The Round
                                                                3. Inter Light
                                                                4. Taste The Air
                                                                5. Xanthe
                                                                6. The Presence
                                                                7. Willow And Mallow
                                                                8. Tonight Is Mine
                                                                9. For A Moment
                                                                10. Clusters

                                                                Teeth Of The Sea

                                                                Hive

                                                                  In Frank Herbert’s 1973 novel Hellstrom’s Hive, the Dune writer tells of a sinister narrative surrounding the maverick scientist Nils Hellstrom, who has created a meticulously constructed Hive underneath his Oregon farmhouse. Therein, he oversees a subterranean order of 50,000 insect-human hybrid life-forms. Ultimately his plan being for the inhabitants of the Hive to usurp humanity and take over the world.

                                                                  The decade thus far may not have seen anything quite so daunting, but it’s provided more than its fair share of challenges. Yet in such dystopian environments, Teeth Of The Sea flourish. This band has created a kaleidoscopic inner world all its own in Hive, their sixth and most outlandish album.

                                                                  Fundamental to Teeth Of The Sea’s mission thus far is that this band can go anywhere and make short work of any obstacles in their path. Unfettered by genre distinctions or expectations, the only limits of this trio - comprising Sam Barton, Mike Bourne and Jimmy Martin - are those of its imagination. It therefore follows that inspiration flowed into Hive from all dimensions, with the band’s sphere of influence - the science fiction, trash culture and cinematic atmospherics by which they’ve fuelled their mission thus far - expanding to take in everything from Italo-disco to minimal techno, from dubbed-out studio madness to their most brazen forays thus far into pop songwriting. Here is a headspace where the psychic charges from records by Labradford, Nurse With Wound, Vangelis, The Knife, Nine Inch Nails and John Barry can happily co-exist.

                                                                  These disparate pathways cohere and coalesce to create a vivid experience rich with emotion and intrigue. A commission to create a live soundtrack at London’s Science Museum for a documentary on the Apollo Moon Landings gave flight to the trilogy of tracks - Artemis, Æther and Apollo which are summarily imbued with the dreamlike wonder and existential peril of the mission itself. A collaboration with vocalist Kath Gifford (Snowpony, The Wargs, Sleazy Tiger) set loose Butterfly House, which transmutes synthpop stylings into something uniquely radiant, haunting and melancholic. Get With The Program - sung by Mike Bourne - is meanwhile no less than a noise-fuelled, speaker-shaking electro-industrial banger.

                                                                  Megafragma, meanwhile, is the most experimental track this band has yet created, a collaboration with engineer and co-conspirator Giles Barrett that morphs form and structure in search of new epiphanies - ‘Simple Headphone Mind’ and Roxy Music’s ‘The Bogus Man’ may have formed some of the cues for this nine-minute avant-epic but its trajectory was one the band were happy to submit to external forces.

                                                                  Hive is more than just a transformative force from subterranean origins. It’s an alchemical headspace where monochrome animates into vivid colour. It may not be a carefully ordered insectoid militia set to overthrow society, but it’s a transmission which transcends anything Teeth Of The Sea have thus far offered in their time on Earth.

                                                                  Step inside Hive, if you dare.


                                                                  STAFF COMMENTS

                                                                  Barry says: Teeth Of The Sea are back! With bold strokes of post-punk and kosmische synthwork and swirls of psychedelic wonder, 'Hive' is their most compelling work to date. The ever-reliable Rocket Recordings on fire as always.

                                                                  TRACK LISTING

                                                                  Side A
                                                                  1: Artemis
                                                                  2: Get With The Program
                                                                  3: Butterfly House
                                                                  4: Liminal Kin
                                                                  5: Æther
                                                                  Side B
                                                                  1: Megafragma
                                                                  2: Powerhorse
                                                                  3: Apollo

                                                                  The Mary Wallopers

                                                                  Irish Rock N Roll

                                                                    Irish Rock ’n’ Roll is due for release on October 6th and follows last year’s hugely acclaimed self-titled debut (“these youngsters are all about presenting vibrancy, saltiness and edge via roots music from a bygone age, at a moment when such qualities are all but absent form contemporary pop” Mojo).

                                                                    If every album an artist makes offers a snapshot of where they stand at that point, then the picture presented by Irish Rock ’n’ Roll is one of a band preparing to go stratospheric. It’s an album that manages to perfectly capture the chaos, humour and excitement of the band’s recent live shows whilst also showcasing the incredible emotional of the traditional ballads that they play (both in songs passed down from previous generations and - for the first time on this record - their own songs that promise to be passed down to future generations). One of those traditional ballads - Wexford - is the second single from the album following The Holy Ground and it’s online everywhere now.

                                                                    “Heirs to The Dubliners and The Pogues. Joyous, chaotic and irreverent” - Uncut.


                                                                    STAFF COMMENTS

                                                                    Barry says: Though there's an obvious inward-facing comedic slant to the Mary Wallopers' music but their focus on folk ballads, sing along harmonies and beautiful instrumentals is no joke. A perfectly crafted fusion of modern and traditional Irish music delivered with a wry and welcome smile.

                                                                    TRACK LISTING

                                                                    Side A
                                                                    1. The Bauld O Donoghue
                                                                    2. The Holy Ground
                                                                    3. Rakes Of Poverty
                                                                    4. The Rich Man And The Poor Man
                                                                    5. The Idler
                                                                    6. Madam I’m A Darlin’
                                                                    Side B
                                                                    7. Vultures Of Christmas
                                                                    8. The Turfman From Ardee
                                                                    9. Hot Asphalt
                                                                    10. Wexford
                                                                    11. The Blarney Stone
                                                                    12. Rothsea O
                                                                    13. Gates Of Heaven

                                                                    Maple Glider

                                                                    I Get Into Trouble

                                                                      Maple Glider is Naarm/Melbourne-based singer-songwriter Tori Zietsch.

                                                                      On her sophomore album 'I Get Into Trouble', Tori takes her songwriting to another level while she delves into her Christian childhood, exploring topics such as her relationship to her body, consent and shame, as well as the death of relationships, both romantic and familial. Heartbreaking at times, the songs ultimately paint a hopeful picture, shining a light on new life, new love, and the desire to find peace and connection with these experiences.

                                                                      Ultimately, 'I Get Into Trouble' is the sound of alchemized pain. In each song, Zietsch transmutes tribulation and confusion into clarity and deep insight. She combines the infectious folk-pop hooks of her debut with a sense of scape and scope.

                                                                      'I Get Into Trouble' follows Maple Glider's acclaimed 2021 debut 'To Enjoy is the Only Thing', a deeply personal project which earned her a performance on NPR's Tiny Desk, as well as praise from Pitchfork ("hypnotic"), Paper ("sublime"), Stereogum ("some voices in indie just hit home") and Rolling Stone (“one of the most accomplished debut albums in recent years.”).


                                                                      STAFF COMMENTS

                                                                      Barry says: A superb return for Tori Zietsch, bringing the woozy off-kilter Americana sound we loved from her 2021 debut and broadening the horizons into a widescreen, majestic display. It's both hugely cinematic and unfalteringly relatable, a triumph of every sort. Lovely.

                                                                      TRACK LISTING

                                                                      1. Do You
                                                                      2. Dinah
                                                                      3. Two Years
                                                                      4. FOMO
                                                                      5. Don't Kiss Me
                                                                      6. You At The Top Of The Driveway
                                                                      7. You're Gonna Be A Daddy
                                                                      8. For You And All The Songs We Loved
                                                                      9. Surprises
                                                                      10. Scream

                                                                      The Wytches

                                                                      Our Guest Can't Be Named

                                                                        The Wytches need very little introduction, but it is with no little excitement that we welcome back Brighton’s purveyors of melody for album number four – all raucous and unruly, yet glistening with jagged edged poetic wistfulness and undeniable emotional clout.

                                                                        The former Transgressive/ Heavenly Records act return with their fourth studio album in September on Alcopop! Records this year - and it's definitely their best yet, all raw-throat punk, stoner/doom psych, riffing swagger, and perhaps just the tiniest hint of delicious folk twinkling... Just get it in your ears. It’s glorious.



                                                                        STAFF COMMENTS

                                                                        Barry says: The Wytches 4th outing is awash with the sort of grotty lo-fi rock we've come to know from the Brighton outfit, but imbued with a gothic intensity and grunge-leaning heft that we've not heard before. Clattering semi-rhythmic noises burst into huge choral passages and tearing surfy guitar lines.

                                                                        TRACK LISTING

                                                                        Side A
                                                                        Zep Step
                                                                        Maria
                                                                        Sloped Old Tower
                                                                        Bats
                                                                        Unsure
                                                                        Side B
                                                                        Spark
                                                                        Something To Fall Back On
                                                                        Our Guest Can't Be Named
                                                                        Bill Blood
                                                                        Fool

                                                                        Jalen Ngonda

                                                                        Come Around And Love Me

                                                                          Artists like Jalen Ngonda come around once in a lifetime, so it is our privilege and distinct pleasure to announce the release of his debut album ‘Come Around and Love Me’.

                                                                          Anyone who has had the pleasure of seeing Jalen perform live knows that he is one of the most captivating performers on today's soul scene. His voice, equal parts raw feeling and elegance, exudes confidence and charm—disarming packed rooms of rowdy concert goers, leaving them silent as they hold fast to every syllable sung.

                                                                          Plans for the album were struck just months before the COVID 19 pandemic shut the world down. Notwithstanding, Jalen eventually made it to Hive Mind Studios in Brooklyn, NY where he began writing and recording with the help of producer/arrangers Mike Buckley and Vincent Chiarito (both members of Charles Bradley's Extraordinaires) and a crack team of a-list musicians from the Daptone family. The team skilfully blends heavy arrangements and introspective lyrics with Motown sophistication, leaving the listener in a blissful wash of wonderment.

                                                                          Jalen has been writing songs since he was 14, and his compositions are also very much of these times. He explains, “I love music from the 20th century— I listen to it all the time, but I'm in this world and the 21st century. ...to a stranger, I'd describe my music as modern soul and R&B, while trying to ft in the Beach Boys and the Beatles somewhere in between.” ‘Come Around and Love Me’ reveals how he creates a classic approach that is rooted in the sounds of revered pioneers, without falling into imitation–leaving no doubt that Jalen will continue to shine within the superlative, timeless musical tradition that is Daptone's hallmark.

                                                                          STAFF COMMENTS

                                                                          Laura says: Born and raised on the East Coast of the USA, just outside Washington DC and now resident in Liverpool, Jalen Ngonda’s debut album is released on Daptone, which is reason enough to take note - let’s face it, they rarely put a foot wrong do they? The album kicks off with the title track “Come Around And Love Me”, that brings to mind ‘What’s Going On’ era Marvin, and then runs through a collection of pristine 2-3 minute gems that perfectly capture the golden era of soul, from the mid 60s to mid 70s.

                                                                          Jalen is the real deal, with a voice that ranges from raw soul power to sweet falsetto, and songwriting skills to match. There isn’t a bad track here, in fact pretty much every song could be a single in its own right. You can pick out a whole host of influences, from the aforementioned Marvin Gaye, to the psychedelic soul of Isaac Hayes, the Motor City sound of The Four Tops and sweet harmonies of The Temptation but there’s a fresh modern feel to the production too, it’s not some tired pastiche. I guess if you’re looking for a contemporary comparison, Michael Kiwanuka springs to mind in the way that he fuses the old and new so seamlessly. So to sum up, if you’re a fan of modern soul, full of romance and heartbreak and infused with classic Motown and Philly Soul ingredients, then this is for you.

                                                                          TRACK LISTING

                                                                          Side A
                                                                          1. Come Around And Love Me
                                                                          2. If You Donʼt Want My Love
                                                                          3. Lost
                                                                          4. Thatʼs All I Wanted From You
                                                                          5. Please Show Me
                                                                          Side B
                                                                          6. Just Like You Used To
                                                                          7. What A Difference She Made
                                                                          8. Give Me Another Day
                                                                          9. So Glad I Found You
                                                                          10. It Takes A Fool
                                                                          11. Rapture

                                                                          Woods

                                                                          Perennial

                                                                            Woods are in bloom again, inviting you to disappear into a new spectrum of colours and sounds and dreams on ‘Perennial’.

                                                                            Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, ‘Perennial’ is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves.

                                                                            ‘Perennial’ grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s ‘Strange To Explain’. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks.

                                                                            The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel.

                                                                            Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges.

                                                                            For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound.

                                                                            Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do.
                                                                            Jesse Jarnow

                                                                            Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR.

                                                                            Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops
                                                                            Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals
                                                                            John Andrews - piano, organs, mellotron, drums, vocals
                                                                            Connor Gallaher - Pedal Steel
                                                                            Kyle Forester - sax, wurlitzer


                                                                            STAFF COMMENTS

                                                                            Andy says: Another masterpiece from Jeremy Earl and his psych-pop troubadours. They're just fantastic song-writers and vibe merchants. Woods are unique in that they're forever on an upward curve. After all these years this could actually be their best record yet.

                                                                            TRACK LISTING

                                                                            Side A
                                                                            1. THE SEED
                                                                            2. BETWEEN THE PAST
                                                                            3. ANOTHER SIDE
                                                                            4. WHITE WINTER MELODY
                                                                            5. SIP OF HAPPINESS
                                                                            Side B
                                                                            6. LITTLE BLACK FLOWERS
                                                                            7. DAY MOVING ON
                                                                            8. THE WIND AGAIN
                                                                            9. WEEP
                                                                            10. DOUBLE DREAM
                                                                            11. PERENNIAL

                                                                            Frankie And The Witch Fingers

                                                                            Data Doom

                                                                              There’s long been a growl festering in the West, an earthen rumble fed by tectonic tension, acrid smoke, and sun-parched air. The brew has boiled over lately, a pressure-cooked chaos that can no longer be contained. The growl has grown to a howl.. the howl is at the door. Few are as ready to meet the madness head on as Frankie and the Witch Fingers. On ‘Data Doom’ the band hurtles the listener head first into the wood-chipper of technological dystopia, systemic rot, creeping fascism, the military-industrial profit mill, and a near-constant erosion of humanity that peels away the soul bit by bit. With a fuse lit by these modern-day monstrosities the band seeks to find salvation through a thousand watt wake-up of rock n’ roll exfoliation.

                                                                              After tearing through the tender heart of the Midwest, Frankie and the Witch Fingers found themselves clamped down on the fried edges of Los Angeles, carving out a niche that’s equal parts molten tar pit teardown and cataclysmic careen. Following releases on Hypnotic Bridge, Let’s Pretend, and Permanent, the band landed between the twin barbs of Greenway and The Reverberation Appreciation Society, a perfect fit for their frenetic blend of rhythmic whiplash and sonic soul shake. Anchored by songwriters Dylan Sizemore and Josh Menashe, the band has kept a rotating door of friends and collaborators moving through their midst over the past few years, coalescing post-pandemic into a symbiotic stage beast that’s become the beating heart of their new album, ‘Data Doom’. Bassist Nikki “Pickle” Smith and drummer Nick Aguilar have been road-hardened and readied over the last year, laying the groundwork for the new record’s 300 pounds of pummel and propulsion.

                                                                              That heft was hurtled onto tape in the band’s Vernon, CA studio space. The locale let the city’s grit creep into the crevices of their new record, a wild swing at the sternum that hits the listener like an adrenaline shot to the heart. Wiping away the haze of stoned-ape psychedelics that permeated their opus ‘Monsters Eating People Eating Monsters’… the band favors an asphalt assault of rock, riff, and amphetamine rhythm. As they’ve wound out of the last phase, their sound, over a series of singles, has begun to thicken and throb. It’s coalesced into a darker strain that ingests the explosive impulses of gas-crisis-era proto-punk, the rhythmic insistence of 70’s German Progressives, and the elasticity of funk fusionists alike. They’ve welded their arsenal of influences to a chassis of nail-bitten bombast that drives ‘Data Doom’ into the midst of the maelstrom.

                                                                              The band has shared bills with Kikagaku Moyo, Ty Segall, Oh Sees, Cheap Trick, and ZZ Top, churning their stage-side scorch into household recognition — burning through a barrage of multicolored vinyl pressings and sparring with indie heavyweights for Billboard chart positions. ‘Data Doom’ looks to cement that status, a sinewy slab cut on the stone of social collapse and licking the blade in anticipation of what’s to come. “Never name the darkness itself,“ intones Sizemore, but the darkness is already here, embedded in every moment, inextricable from the capital, sabbatical, sustenance, and solace of the modern age. ‘Data Doom’ is the elixir and the exorcism, it’s the reformation rendered in rock ’n roll.

                                                                              STAFF COMMENTS

                                                                              Barry says: 'Data Doom' is a wonderfully weird melting pot of freak-out psych, angular guitar riffery and Frankie And The Witch Fingers' own brand of wry politicism. This is classic Frankie fare, but with the volume and weirdness turned up to 11. Superb.

                                                                              TRACK LISTING

                                                                              Side A:
                                                                              1. Empire (7:31)
                                                                              2. Burn Me Down (3:08)
                                                                              3. Electricide (3:35)
                                                                              4. Syster System (6:18)
                                                                              Side B:
                                                                              5. Weird Dog (3:58)
                                                                              6. Doom Boom (4:10)
                                                                              7. Futurephobic (3:39)
                                                                              8. Mild Davis (4:46)
                                                                              9. Political Cannibalism (4:26)

                                                                              Gotts Street Park

                                                                              On The Inside

                                                                                On The Inside, the debut album from Gotts Street Park, is more than an album – it’s an invitation. “We want listeners to feel like they’re stepping into a room with us, peering into our process,” say the acclaimed Leeds trio, describing a genre-hopping odyssey that acts as a diary of everything their relationship encompasses, both as collaborators and close friends.

                                                                                The group was formed in Leeds by Josh Crocker (bass, production), Tom Henry (keys) and Joe Harris (guitar). What began as an outlet for their shared love for sixties Motown, soon became a jewel in the Yorkshire scene’s creative crown, with millions of Spotify streams to their name and some of hip-hop and pop’s most exciting emerging voices requesting collaborations: Celeste, Kali Uchis, Cosima and Rejjje Snow are just a few of the acts the band have individually written/produced for.


                                                                                STAFF COMMENTS

                                                                                Barry says: Silky smooth basslines and snappy guitar licks, swimming vocal hooks and soaring, modulated Hammond organ make for a decidedly upbeat but super relaxing melting pot of northern soul, funk and jazz.

                                                                                TRACK LISTING

                                                                                Side A
                                                                                1. Summer Breeze (feat. Rosie Lowe)
                                                                                2. Tell Me Why (feat. Olive Jones)
                                                                                3. Shiloh
                                                                                4. Got To Be Good (feat. Pip Millett)
                                                                                5. Fuego
                                                                                6. Mountains (feat. ENNY)
                                                                                Side B
                                                                                1. Strawberry Dream
                                                                                2. Fool For Love (feat. Pip Millett)
                                                                                3. Purple
                                                                                4.Are You Still A Friend? (feat. Flikka)
                                                                                5. Portofino (feat. Parthenope)
                                                                                6. Walk Away

                                                                                The Coral

                                                                                Sea Of Mirrors

                                                                                  ‘Sea Of Mirrors’ is The Coral in full conceptual mondo-movie mode. Combining their love of 60s and 70s Western cinema, baroque pop, Love, Scott Walker, Sergio Leone, Lee Hazelwood and Ennio Morricone, it features string arrangements by the High Llama’s Sean O’hagan and a cameo from Cillian Murphy. It is the natural, sprawling successor to 2021’s ‘Coral Island’ and you will hear nothing like it in 2023.

                                                                                  Following their acclaimed album, Coral Island, the band felt inspired to create material for two more albums, (see the separate listing for 'Holy Joe’s Coral Island Medicine Show'). Amidst that songwriting scirroco, a combination of a script written by keyboard player, Nick Power, a vintage cinema foyer poster artwork was created by drummer, Ian Skelly confirmed Sea Of Mirrors’ vivid concept and the blueprint for The Coral to move beyond all expectations once again.

                                                                                  “Once the album concept was clear, this was us imagining the theme tune for an Italian western directed by Fellini with a Richard Yates-written script,” Explains James Skelly. “It’s us asking ourselves: what would have happened if Lee Hazlewood had produced a Gene Pitney song written by Townes Van Zandt?”

                                                                                  STAFF COMMENTS

                                                                                  Barry says: The first of a two-album conceptual double-whammy from everyone's second favourite Wirral export. 'Sea Of Mirrors'. There is the classic Coral stomp and psychedelic groove we've come to love but infused with a heady mix of spaghetti western twangs and lysergic drifts of hazy country guitar.

                                                                                  TRACK LISTING

                                                                                  Side A
                                                                                  The Actor And The Cardboard Cowboy
                                                                                  Cycles Of The Seasons
                                                                                  Faraway Worlds
                                                                                  Wild Bird
                                                                                  North Wind
                                                                                  Eleanor
                                                                                  Sea Of Mirrors
                                                                                  Side B
                                                                                  That's Where She Belongs
                                                                                  The Way You Are
                                                                                  Dream River
                                                                                  Child Of The Moon
                                                                                  Almeria
                                                                                  Oceans Apart

                                                                                  BONUS DINKED EDITION 7”
                                                                                  Looking For A Friend
                                                                                  Unhappy Girl

                                                                                  The Goa Express

                                                                                  The Goa Express

                                                                                    Debut album from The Goa Express, led by Clarkey alongside his brother Joe and best friends Joey, Naham and Sam.

                                                                                    They met as young teenagers in Burnley - growing up in the rural shadow of England's industrial north, music was a means of escape and a vessel for friendship. Their shared adolescent experiences shaped their collective attitudes and behaviours and, ultimately, the sound and spirit of their band. 6music playlists and Radio 1 support has followed along with a heavy touring schedule.

                                                                                    TRACK LISTING

                                                                                    Honey
                                                                                    It's Never Been Better
                                                                                    Good Luck Charm
                                                                                    You're The Girl 
                                                                                    Small Talk
                                                                                    Can't Stay Quiet
                                                                                    Better Than OK
                                                                                    Talking About Stuff
                                                                                    Portrait
                                                                                    Prove It

                                                                                    Dot Allison

                                                                                    Consciousology

                                                                                      Dot Allison returns with a new solo album, Consciousology. After over a decade away, the former One Dove singer and songwriter broke cover in 2021 with Heart-Shaped Scars and this new album follows just two years later, as she hits a purple patch of songwriting. It’s also her first full release for Sonic Cathedral after contributing to Mark Peters’ acclaimed Red Sunset Dreams last year.

                                                                                      Consciousology finds multi-instrumentalist Dot joined by the London Contemporary Orchestra, her new labelmate Andy Bell from Ride, who plays guitar on two tracks, and Hannah Peel, who is responsible for some of the string arrangements with both the LCO and a stellar group of Scottish string players. It expands on the styles and themes of the previous album, all while pushing everything just that little bit further – the songs sound bigger, more avant-garde and experimental and, occasionally, properly out-there and psychedelic.

                                                                                      “I wanted to make some albums that felt like a set, exploring love, what lies beyond the visible and how all these aspects dovetail together,” explains Dot. “I see Consciousology a more psych Heart-Shaped Scars with a far fuller, more immersive sound and so, in that sense, it’s a more wayward, bolder, rule-breaking partner.”

                                                                                      Right from the eye-catching artwork by PJ Harvey collaborator Maria Mochnacz it definitely does not play it safe. It veers from the techno-played-as-folk of opener ‘Shyness Of Crowns’ and ‘220Hz’ and the Linda Perhacs-meets-The Velvet Underground chug of the first single ‘Unchanged’ to the Mercury Rev-style fantasia of ‘Bleached By The Sun’, the Brian Wilson-esque harmonies of ‘Moon Flowers’ and the kaleidoscopic colour trip of ‘Double Rainbow’. Elsewhere there are echoes of Desertshore-era Nico, Jack Nitzsche’s work with Neil Young, Karen Dalton and Anne Briggs before the relative simplicity of the Tim Hardin-inspired closer ‘Weeping Roses’. It’s a brilliant, breathtaking record.

                                                                                      The title, which brings to mind Maureen Lipman’s classic 1980s BT adverts (“you get an ’ology, you’re a scientist!”) might feel playful and light-hearted at first, but has a much deeper meaning, and one which makes sense of the album’s dedication to its biggest influences: Dot’s musician mother and botanist father.

                                                                                      “For me, it is an imagined voice of a conscious universe expressed through music,” explains Dot of the over-arching concept. “It’s a plea, an embrace, a longing, a last gasp, perhaps… imbued through the music, voice, harmony and a harmonic composition, with the lyrics taking an interest in the differing levels of consciousness apparent in all self-organising, natural systems.

                                                                                      “It takes a less mechanistic, inanimate but more infinitely complex view of the nature of reality and how feelings of love and loss – and consciousness itself – are potentially less ‘molecular’ in nature and more electromagnetic.”

                                                                                      The choice of instrumentation reflects this: there is a Theremin on two songs (played by Dorit Chrysler) because it works by generating electromagnetic fields around two antennae. “It uses fields that are beyond the reach of our senses, that lie outwith the visible part of the electromagnetic spectrum,” says Dot. “To me, conceptually, this completely works with the ideas behind the album.”

                                                                                      For ‘Double Rainbow’, she went one further and actually recorded the electrical activity in a plant which was then translated into pitch variations.

                                                                                      “So, in effect, it has a guest performance from a botanical session player,” she laughs. “I placed a Brachyglottis Sunshine on top of the Steinway grand piano at the studio and recorded its ‘voice’ through a Neumann U67. It was pretty endearing and really moving to hear this translated into a melody.”

                                                                                      ‘Double Rainbow’ was actually the starting point for the album; written at the same time as the songs on Heart-Shaped Scars, Dot felt it belonged somewhere else, and here it beds in perfectly alongside the similarly horticulturally inclined ‘Shyness Of Crowns’ (“the title relates to the behaviour of trees and how they socially distance at the crown of the woods”), ‘220Hz’ (“the frequency at which tree roots communicate beneath the ground in the ‘wood wide web’”) and ‘Mother Tree’ (inspired by Canadian scientist Suzanne Simard’s writings on the trees which act as central hubs for vast below-ground mycorrhizal networks.)

                                                                                      Expanding on the theme, ‘Moon Flowers’ is about recognising “our synergistic place in the complex network of all life and to respect the living quantum systems we seem intent on continually interrupting”, while ‘Bleached By The Sun’ includes the lyric “in our roots there is soul, an innate empathy”. “It’s an appeal that can be construed as a love song,” says Dot, “but in my mind was what nature might say should nature be able to be heard.”

                                                                                      ‘Unchanged’ is a love song, albeit one about “being in a process with someone where you love, lose and grieve the love-bond alone, while the other person appears to remain unchanged throughout”. It’s powerful and driving, the opposite of the closing track, ‘Weeping Roses’. Inspired by a tape gifted to Dot in the ’90s by the late Andrew Weatherall which included two songs by Tim Hardin (‘How Can We Hang On To A Dream’ and ‘If I Were A Carpenter’), it ends this majestic and mind-expanding album on a perfect note of intimate simplicity.


                                                                                      STAFF COMMENTS

                                                                                      Barry says: Another unbelievably rich, impeccably conceived collection from Dot Allison, charting monolithic highs and subtle, downplayed lows in her own inimitable style. Veering on the edge of the avant garde, but staying within the boundaries of pop music, Allison's in top form here, and the LP and CD are both presented in a beautiful package too, what more could you want. Essential purchase.

                                                                                      TRACK LISTING

                                                                                      1. Shyness Of Crowns
                                                                                      2. Unchanged
                                                                                      3. Bleached By The Sun
                                                                                      4. Moon Flowers
                                                                                      5. 220Hz
                                                                                      6. Double Rainbow
                                                                                      7. Milk And Honey
                                                                                      8. Mother Tree
                                                                                      9. Weeping Roses

                                                                                      The Boo Radleys

                                                                                      Giant Steps - 30th Anniversary Edition

                                                                                        The Boo Radleys reveal a vinyl reissue to celebrate the 30th anniversary of their nineties genre-hopping masterpiece “Giant Steps”.

                                                                                        NME’s 1993 Album Of The Year, named in the Top 20 of Pitchfork’s The 50 Best Shoegaze Albums of All Time and lauded as one of 1001 Albums You Must Hear Before You Die, The Boo Radleys’ classic album, Giant Steps is reissued, on special remastered vinyl almost 30 years to the day since its original release. The band’s genre-ambiguous and widely-acclaimed masterpiece will become available to fans old and new.

                                                                                        Only the second of their five albums to be released on the legendary Creation Records, at a time when label mates including Slowdive, Teenage Fanclub and Ride were also casting long shadows across the indie landscape, pre-the Oasis hurricane making landfall at the label, Giant Steps broke into the canon of great, experimental rock albums soon after its release. It’s first single, Lazarus, issued as a standalone release in November 1992, its blend of brass and guitar-squall and acutely introspective lyrics, gave a hint of what was to come and remains lodged in the band’s most-loved and best-known songs. For the 2023 reissue, Lazarus’ 12” version appears on the all-formats track listing for the first time.

                                                                                        Recorded at London’s Protocol Studios, where Carr and Brown took on self-production duties with support from engineer, Andy Wilkinson, The Boo Radleys set about responding to their shared sense of dissatisfaction with their 1992 album, Everything’s Alright Forever. Free to do as they please, they set about making a record of complete artistic freedom, bringing in reggae (Upon 9th And Fairchild), dance (Rodney King) and irresistible, warped indie pop (Barney And Me) influences into the studio and, without limitation, weaved them into the satisfyingly complex fabric of Giant Steps. Snapshot incidentals, intermissions and between-radio-station static intro/outros added to the sense of unrestrained exploration.

                                                                                        Writing about the album, drummer, Cieka reflected on Giant Steps, stating: “Creation loved it, people's reactions seemed really positive. I do listen to it from time to time and still find great moments I’d forgotten about. I think it stands up pretty well today. I'm always left feeling happy to have been a part of the record.”

                                                                                        "Wow, now THIS is what music can be!" – The Quietus on Giant Steps.
                                                                                        “It deserved the accolades and praise heaped on its shoulders.” – The Line of Best Fit.
                                                                                        “A masterwork...” – Pitchfork.


                                                                                        TRACK LISTING

                                                                                        A1 I Hang Suspended
                                                                                        A2 Upon 9th & Fairchild
                                                                                        A3 Wish I Was Skinny
                                                                                        A4 Leaves And Sand
                                                                                        B1 Butterfly McQueen
                                                                                        B2 Rodney King (Song For Lenny Bruce)
                                                                                        B3 Thinking Of Ways
                                                                                        B4 Barney (…and Me)
                                                                                        C1 Spun Around
                                                                                        C2 If You Want It, Take It
                                                                                        C3 Best Lose The Fear
                                                                                        C4 Take The Time Around
                                                                                        C5 Lazurus
                                                                                        D1 One Is For
                                                                                        D2 Run My Way Runway
                                                                                        D3 I’ve Lost The Reason
                                                                                        D4 The White Noise Revisited

                                                                                        CD BONUS TRACKS
                                                                                        18 Lazarus (Saint Etienne Remix)
                                                                                        19 Rodney King (Saint Etienne Remix)
                                                                                        20 Peachy Keen

                                                                                        Lorelle Meets The Obsolete

                                                                                        Datura

                                                                                          Mexican duo Lorelle Meets The Obsolete make a very welcome return with their sixth album, Datura. Recorded at their home studio in Ensenada, Baja California, it was mixed in Canada by Jace Lasek of The Besnard Lakes and mastered in Australia by Mikey Young of Eddy Current Suppression Ring and Total Control, among many others.

                                                                                          It’s a short, sharp shock of a record with no unnecessary adornments and no fat on any of its eight songs. Gone are the psychedelic wig-outs found on previous releases, replaced with bass-heavy post-punk grooves inspired by the roots of The Congos, the no wave of Ike Yard, the industrial hip-hop of Dälek and the dark modular moves of Hiro Kone, all while harnessing the elemental power of Jon Hassell’s Vernal Equinox.

                                                                                          “One of the rules that we had when writing was to keep the songs minimal in terms of instrumentation,” explains guitarist Alberto González. “We didn’t want to do overdubs and endless layers this time around,” adds singer and guitarist Lorena Quintanilla. “We limited ourselves to the instrumentation of the new, four-piece line-up and we recorded almost everything live. The songs had to be very solid.”

                                                                                          “We easily get bored with what we do, music-wise, so that motivates us into keeping things fresh and different,” continues Alberto, as he explains the change of direction. “Each album is a good representation of where we are at. We fear the thought of being trapped in the same ideas from years ago. There’s something about nostalgia that creeps me out.”

                                                                                          Strangely, it was nostalgia that inspired the change. The duo marked their tenth anniversary in 2021 by playing reworked songs from their back catalogue and sharing videos online. The new arrangements saw them swapping between synths and guitars, and this – as well as Lorena’s two acclaimed solo releases as J. Zunz – has informed the new set-up.

                                                                                          The live in the room feel of the album also came from watching The Beatles do the same in Get Back. (One of a number of inspirations on the album including the poetry of Mario Montalbetti, the TV series Atlanta, Eugenio Polgovsky’s documentaries and Arturo Ripstein’s movies).

                                                                                          Jace Lasek was the perfect person to bring this feeling to the fore. “That’s one of the things I’ve always loved about The Besnard Lakes’ records,” says Alberto. “And I really think he brought that to Datura. The only note we gave him before the mix was ‘we want this album to sound big and aggressive’.” It worked, that’s exactly how it sounds.

                                                                                          Not really surprising for a record that covers cultural colonialism, imperialism, conflicting opinions, intense emotions, strange dreams and insomnia. The title refers to the genus of plants often associated with ancient rituals that are also sometimes used as poison or hallucinogens. “We liked the idea of a flower that opens at night,” says Lorena. “A type of Datura grows all over the neighbourhood where we live. People try to get rid of them because they are afraid of their dogs eating them, but they always regrow again and again in the same places.”

                                                                                          A bit like Lorelle themselves, then. Datura is their fourth album for Sonic Cathedral and their sixth overall. We last heard from them at the start of 2020, when they followed the previous year’s acclaimed De Facto with a new EP and set out on the road in the US, wending their way to a slot at SXSW. History had other ideas, however, and they were left high and dry in upstate New York, resorting to a Crowdfunder to enable them to get home before lockdowns came into force. The band was paused.

                                                                                          “At some point in 2022 we decided it was time to write new music and everything flowed easily,” says Alberto. As life returned to normal they played shows, firstly in Mexico and then, earlier this year, they finished what they started three years ago and toured the US with SUUNS.

                                                                                          Now, finally, they are set to flower once again with Datura, their most direct and dynamic album to date; proof that nature really is healing.


                                                                                          STAFF COMMENTS

                                                                                          Liam says: Sixth outing for Lorelle Meets The Obsolete is a no-nonsense and focused spaced out post-punk showcase that really highlights the duo's songwriting capabilities. Bass-heavy, dark and energizing, it's great to have these lot back!

                                                                                          TRACK LISTING

                                                                                          Side A
                                                                                          Datura
                                                                                          Invisible
                                                                                          Dínamo
                                                                                          Arco
                                                                                          Side B
                                                                                          Golpe Blanco
                                                                                          Ave En Reversa
                                                                                          Óvalo
                                                                                          Dos Noches


                                                                                          DK.01 is the debut album from Das Koolies.

                                                                                          Made with the help of contributors and influences as diverse as MC Killa Kela, 17th Century composer, Henry Purcell and their four decades together as Super Furry Animals, the album promises a genre-bending expansion of their most electronic-leaning and experimental ideas.

                                                                                          DK.01 re-opens the book on the quartet’s long-term friendship and musical union at the next chapter, with their meandering tale together having begun in the vortex of North Wales’ illicit rave scene in the early-1990s. Last seen on stage together as the Furries’ final tour concluded in 2016, Bunford, Ciarán, Ieuan and Pryce reconvened Das Koolies around poker nights and half-remembered riffs shortly after, scratching a persistent, 30-year itch to perform a factory reset and deep dive into the synth-driven sound they’d heard in their heads all along.

                                                                                          Looking forward to the album’s release Das Koolies say: “The return has been welcomed. Unanimously. Dissent, however, will be tolerated. An abundance of ideas, new inventions and old friendships percolate, produce and persist. Come this way as a dead end is circumvented to show an open road.”

                                                                                          Alongside Rhys Ifans, guests set to appear on the album include influential British MC Killa Kela and the physical infrastructure of Cardiff, Wales’ capital city itself, as field recordings of percussive strikes on metallic structures make their way onto the record, symbolising the freedom with which ideas entered the studio from all possible sources.

                                                                                          Referring to classical composer, Henry Purcell with a bassline inspired by 300-year-old examples of the same, plus completing one demo that has existed in one form or another since 1998, DK.01 will reveal and celebrate the elasticity of time and the musical ideas within it, as it will inevitably expose the band’s own liberty to do just as they please. 

                                                                                          STAFF COMMENTS

                                                                                          Barry says: The debut Koolies' album lands, and it's a doozie! Though they're no stranger to the spotlight, having toured and recorded together minus Gruff as Super Furry Animals. This Cardiff foursome (big love to Cardiff) haven't previously shown anywhere near this level of unmitigated momentum and dancefloor grit to date. A dynamic, driven and unsurprisingly brilliant debut.

                                                                                          TRACK LISTING

                                                                                          1. Best Mindfuck Yet
                                                                                          2. Out Of This World
                                                                                          3. Nuthin Sandwich
                                                                                          4. Shakedown
                                                                                          5. Best Mindfuck Yet Reprise
                                                                                          6. A Ride
                                                                                          7. Collide
                                                                                          8. Katal
                                                                                          9. Pain Down The Drain
                                                                                          10. Montezuma
                                                                                          11. Holy Shit
                                                                                          12. Masters Of Mankind
                                                                                          13. Collide Reprise
                                                                                          14. Alligator
                                                                                          15. Sky
                                                                                          16. Sorry
                                                                                          17. Wired For Sound 

                                                                                          The Soundcarriers

                                                                                          Celeste - 2023 Reissue

                                                                                            There's something intangible about ‘Celeste’, The Soundcarriers’ second album, originally released in 2010. It has a light, lucid quality, almost like driving exhausted through a strange city at night. Freeflowing yet tethered, dreamy yet attacking, the band continue the fight to reconcile competing impulses. Various threads just about keep the shimmering tapestry from tearing. Haunting folk melodies underpinned by rhythmic static and the physicality of the totally analogue recording and mixing, baroque keyboard counterpoints and sweeping arrangements.

                                                                                            The opener “Last Broadcast” seems to encapsulate this but it's almost as if the album gets the angst out of its system with this track and is free to explore the quieter, less crowded back streets. After the smoke of “Last Broadcast” has cleared, the twisting road takes in the soft introspection of “Hideaway” and “Morning Haze”, both tracks morphing into heavy psyche grooves or the eastern tinged psyche funk of “Signals” and “Rise And Fall”. Or takes another turn with the tightly arranged opening segment of “Long Highway”. Somehow it still manages to fit in ‘60s pop gems like “There Only Once”.

                                                                                            An album to really lose yourself in, yet more concise than the sprawling Harmonium and more relaxed and free-flowing than the nervy rush of Entropicalia, Celeste could be arguably their most indispensable album and not to damn it with faint praise, their most listenable.


                                                                                            TRACK LISTING

                                                                                            Side A
                                                                                            1. Last Broadcast
                                                                                            2. Step Outside
                                                                                            3. Morning Haze
                                                                                            4. Broken Sleep
                                                                                            Side B
                                                                                            1. Long Highway
                                                                                            2. Rolling On
                                                                                            3. There Only Once
                                                                                            4. Out Of Place
                                                                                            Side C
                                                                                            1. Signals
                                                                                            2. Rise And Fall
                                                                                            3. Hideaway
                                                                                            4. Celeste
                                                                                            Side D
                                                                                            1. Long Highway (Inst.)
                                                                                            2. Out Of Place (Inst.)
                                                                                            3. There Only Once (Inst.)
                                                                                            4. Last Broadcast (Alt. Mix)
                                                                                            5. Celeste (Alt.mix)

                                                                                            Cranes

                                                                                            John Peel Sessions 1989-1990

                                                                                              The first in a series of archival releases from Cranes, the band’s John Peel Sessions are collected for the first time.

                                                                                              Formed in mid-1980’s Portsmouth by the brother & sister duo of Jim Shaw (drummer, keyboardist, guitarist, programmer) & Alison Shaw (vocalist, guitarist, bassist), Cranes first appeared in 1986 with Fuse, a self-released & now highly sought-after cassette of demos.

                                                                                              Their debut album ‘Self-Non-Self’ followed in 1989, catching the attention of legendary DJ John Peel, who invited them to record two sessions for his show in 1989 & 1990, the second seeing Mark Francombe (guitarist, keyboardist, bassist) & Matt Cope (guitarist) join ranks to form the line-up who would go on to record multiple albums for Dedicated including the much-loved album, ‘Forever’, which enjoys it’s 30th anniversary this year.

                                                                                              Cranes are releasing John Peel Sessions (1989-1990) on their own Dadaphonic label. The first in a series of archival releases, this compilation features original artwork by fêted 4AD & v23 sleeve designer Chris Bigg (Pixies, Cocteau Twins, The Breeders).

                                                                                              John Peel Sessions (1989-1990) will be available on black vinyl and as a highly-limited Dinked Archive Edition pressed on silver vinyl with an exclusive 12”x12” print of alternate artwork and Obi Strip.


                                                                                              TRACK LISTING

                                                                                              Side A
                                                                                              E.G. Shining
                                                                                              Focus Breathe
                                                                                              Starblood
                                                                                              Til Tomorrow
                                                                                              Side B
                                                                                              Da Da 331
                                                                                              Give
                                                                                              Inescapable

                                                                                              Nabihah Iqbal

                                                                                              Dreamer

                                                                                                Using broader concepts, ‘Dreamer’ is “more introspective, because it's about things that I’ve been through over the last few years,” she says. The album is an intimate journey through snapshots and memories of Nabihah’s life. Exploring personal identity and grief through the soft-focus lens of melancholy, the album is not one specific sound. Her left-field lo-fi aesthetic twirls itself throughout as she manages to skate between tracks without ever sounding disjointed. Apart from four of the songs which have live drums on them, Nabihah wrote, recorded and produced the album herself. Incorporating the harmonium and sitar in her music for the first time, instruments reflective of her Pakistani heritage, it’s Nabihah’s rawest and most personal work yet.

                                                                                                STAFF COMMENTS

                                                                                                Mine says: Though not a million miles away sonically from her 2017 debut album ‘Weighing Of The Heart’, Nabihah Iqbal's second long player ‘DREAMER’ does sound like the London based musician, producer and DJ has taken on a new creative direction, deconstructing her trademark sound of electronic shoegaze and dreamy synth-pop into its core elements. While sounding more mature and confident than its predecessor, the record also shows more vulnerability, as if past struggles (among them stolen equipment and a family emergency during the pandemic) have left her visibly exposed. The ethereal, otherworldly opener “In Light” is followed by a catchy dream pop number, the aptly titled “Dreamer”, before “This World Couldn't See Us” introduces more electronic elements and spoken vocals without interrupting the sonic theme of melancholy that is undisputedly making its mark throughout the entire the album.

                                                                                                ‘DREAMER’ sounds like it was written by someone who feels just as at home at an intimate gig as at a rave, but it manages to combine Iqbal's influences so effortlessly that the album flows and never strays from what it set out to do, despite featuring tracks as wildly different as the introspective, stripped back “Lilac Twilight”, the haunting, beatless “Sweet Emotion (Lost In Devotion)” and the anthemic, trance influenced “Sky River”; one of the songs on the album that showcases her love for dance music. Awash with ambient synth pads, reverb laden guitars, textured melodies and big beats, ‘DREAMER’ manages to please both stargazers and night-time ravers. A truly beautiful record by an artist who is at a creative peak in her career.

                                                                                                TRACK LISTING

                                                                                                1. In Light
                                                                                                2. Dreamer
                                                                                                3. This World Couldn’t See Us
                                                                                                4. Sunflower
                                                                                                5. Lilac Twilight
                                                                                                6. Gentle Heart
                                                                                                7. Sky River
                                                                                                8. Sweet Emotion (Lost In Devotion)
                                                                                                9. A Tender Victory
                                                                                                10. Closer Lover

                                                                                                John Matthias And Jay Auborn

                                                                                                Ghost Notes

                                                                                                  On Ghost Notes, John Matthias and Jay Auborn’s latest album, the British duo take their experiments with sound to new levels, catapulting their work into unexplored territories of human-robotic collaboration. Matthias and Auborn first partnered for the 2017 release Race to Zero. The album, and the soundtrack to the feature film, IN THE CLOUD (starring Gabriel Byrne) and the soundtrack to BROADMEAD (Stanley Donwood & Mat Consume) which they have collaborated on since, makes evident the musicians’ mutual desire to push hard at the boundaries between physical and digital sound worlds – an exploration they had been pursuing individually for years. Combining his expertise and interests in science and sound, the composer, violinist and physicist, John Matthias is known for blending tradition and futurism in his music. His work has taken the form of pioneering research on Neuronal Music Technology as well as 4 acclaimed studio albums and numerous collaborations with renowned artists including Radiohead, Matthew Herbert and Coldcut. Jay Auborn’s assiduous work in musical engineering, which takes sound as yet another malleable material to be played with, has made him into a sought-after musician, record producer and sound artist working on everything from large-scale sound installations to film music. Between their shared passions and complementary skills, the musicians found a unique and undeniably bold synergy. Ghost Notes continues to be driven by this force; for the album, John Matthias and Jay Auborn gave their computer limbs and unleashed its agency, improvising alongside this new band member to create mini electronic symphonies.

                                                                                                  The ghost in Ghost Notes refers to a robot drummer, although its appearance is less corporeal than it might sound. In fact, it employs quite crude technology not too different from your set of automatic car keys. John Matthias and Jay Auborn used solenoid magnets to convert audio signals sent from their computer into voltages that could fire hammers that would in turn hit a real drum kit. “It looks like a science experiment, all covered in wires”. Despite the rudimentary looks, ghost-drummer does an impressive job; allowing for digital collaboration with real instruments. In other words, instead of working with samples played off speakers, these can now be reproduced live, in a physical space.

                                                                                                  As if straight out of a scene in Mary Shelley’s novel Frankenstein, the first time John Matthias and Jay Auborn brought their creation to life was a haunting experience. They fed it complex rhythmic information from a 1950s jazz recording of drum solos and lo and behold the drum kit came alive in the room with shocking resemblance to the original performance. That chilling encounter which, in the musician's eyes took technological appropriation to new, terrifying levels, pivoted the musician’s ideas: “We realised that we could use the method to extract the low level often overlooked rhythmic patterns within our own recorded or live material. [...] We now focused on creating Ghostly echoes of our own performances rather than invoking the dead to be in our band”.

                                                                                                  This process became the bare bones behind the composition of Ghost Notes, rather than playing acoustic instruments and later digitally manipu- lating these recordings, these two stages were brought together in one moment and place in time, “The digital elements of our music were in the room with us during the improvisational stage, and in binding them together, we could create a live album of sorts”.

                                                                                                  Just like a live session is filled with and shaped by factors such as the energy emanating from the audience on any given night, or the acoustics of a particular venue, Ghost Notes also embraces and plays on the undetermined. As the computer struggled under the demands of interpreting John Matthias and Jay Auborn’s improvisations live, it would sometimes act unexpectedly, hitting the drums as if possessed by its own agency. “Errors in the digital processing became fruitful diversions, like John Cage’s Ghost in the machine”. The result of this cyborgian jam session? A high-energy album featuring a wide range of sounds and tempos. In this regard, Ghost Notes stands in stark contrast to the more minimal, ambient output of other artists experimenting with similar frameworks of digital- acoustic interplay. Perhaps it’s because of this immersive quality, where textures, layers and emotional dramaturgy all combine to create unheard of worlds and make it impossible for partial listening, that Ghost Notes’ first track is named Dive Into This. Matthias' soaring violin lures listeners into shifting landscapes of syncopated drum beats and cycling synths. Classical structures are deconstructed into electronica and back, all the while Auborn is distorting acoustic sounds beyond recognition. “It’s about screwing with the materi- ality of it,” he says.

                                                                                                  Although Ghost Notes is rich, layered and textured, it’s not one inch impenetrable. What could otherwise feel dense gets pierced by enthralling melodies such as virtuosic violin segments that pull on 19th-century romanticism, or soulful piano grooves à la Alice Coltrane or Marvin Gaye. At other times, the music tells imaginative stories, “In Christmas at the Twisted Wheel, we created a mini violin concerto which begins in an imagined Christmas advert for John Lewis through a dissonant landscape to The Twisted Wheel Northern Soul Club in Manchester”.

                                                                                                  Ghost Notes is a testament to the enormous artistic freedom John Matthias and Jay Auborn have achieved together. Within the conceptual framework they set for themselves, they trusted sound to be their one and only guide, a model which led the duo on a vast exploration between extremes and nuances, like the collision and subtleties laid out on Vodka and Coke. In the track, emotional violin comes together with raw, brutal textures – “caveman beats” as the duo calls them. White-washed static noises are heard as the track progresses, the result of the computer’s own interpretations of what it was being fed, creating a surprising unison between the two contrasting worlds. “The sounds were a kind of digital shadow of ourselves. An in-betweenness of acoustic and digital”. It’s in that in- betweenness which doesn't sit comfortably in either classical nor electronica that Ghost Notes succeeds. It’s within that grey space between humans programming robots, and robots breaking down and erring like humans that the album achieves its finest, most original aesthetic expression, opening a new path for human-robotic collaboration in music-making.

                                                                                                  ADDITIONAL NOTES ON THIS EDITION:
                                                                                                  The album cover was created by artist, Stanley Donwood, using a copper verdigris technique in which the original drawing is printed on a copper sheet and undergoes a chemical decay process.

                                                                                                  The original pencil drawing by Stanley Donwood is what is used for the print in our Dinked Edition. 6” x 6” with augmented reality experience information on the back.

                                                                                                  On the inside cover of the vinyl, the artist Mike Phillips has developed 100 new images using a Generative Algorithmic Network (GAN) - an algorithmic AI technique for which Mike Phillips used the AI to compare the front cover copper verdigris image with the pencil drawing and produce the new set of twisted forms. You can see these 100 new forms concatenated together in an Augmented Reality animation developed by Chris Price of Zubr with sound designed by John Matthias and Jay Auborn by pointing to a QR code on the reverse of the Donwood print in the Dinked vinyl edition. 

                                                                                                  TRACK LISTING

                                                                                                  Side A
                                                                                                  Dive Into This
                                                                                                  Long Time Dead
                                                                                                  Auto Psalm Engine
                                                                                                  Lovelaced
                                                                                                  Side B
                                                                                                  No Parable
                                                                                                  A Silver Solenoid
                                                                                                  Christmas At The Twisted Wheel
                                                                                                  Vodka & Coke

                                                                                                  BC Camplight

                                                                                                  The Last Rotation Of Earth

                                                                                                    Is there a curse that says Brian ‘BC Camplight’ Christinzio cannot move forward without being knocked back? That the greatest material is born out of emotional trauma?

                                                                                                    Whilst making his new album The Last Rotation Of Earth, Christinzio’s relationship with his fiancé crumbled after nine inseparable years. The album follows this break-up amid long-term struggles with addiction and declining mental health. The outcome is an extraordinary record, with Christinzio describing it as “more cinematic, sophisticated, and nuanced than anything I’ve done before. And more desperate”.

                                                                                                    That Christinzio has bettered his previous album is an achievement, given that Shortly After Takeoff received the best reviews of his life. “A masterpiece,” said The Guardian’s 5 star review, “a half hour or so that roils with anxiety, stuns with beauty and, occasionally, provokes laughter.” Even then, fate intervened when the album was released in April 2020, just as Covid and lockdown kicked in, so he was unable to tour the record until late 2021. The Philadelphian then joked, “I can't wait to make an album that isn’t surrounded by some awful tragedy.”


                                                                                                    STAFF COMMENTS

                                                                                                    Barry says: A wonderful return for Brian Christinzio, full of soaring pop songs and perfectly manicured melodies, as you'd expect. What's not so expected however is how BC's self-confessed pains and setbacks have resulted in such a wonderfully jubilant end-result. Heartfelt, grand and full of nuance, 'The Last Rotation..' is by far his most refined and enjoyable outing yet.

                                                                                                    TRACK LISTING

                                                                                                    Side A:
                                                                                                    1. The Last Rotation Of Earth
                                                                                                    2. The Movie
                                                                                                    3. It Never Rains In Manchester
                                                                                                    4. Kicking Up A Fuss
                                                                                                    Side B:
                                                                                                    1. She's Gone Cold
                                                                                                    2. Fear Life In A Dozen Years
                                                                                                    3. Going Out On A Low Note
                                                                                                    4. I'm Ugly
                                                                                                    5. The Mournin

                                                                                                    Pozi

                                                                                                    Smiling Pools

                                                                                                      Pozi are the sort of band to tackle the creative cycle of deconstruction and rebuilding with relish. Second album ‘Smiling Pools’ is testament to that. An LP that sees them at their most expansive yet, it follows a gradual swelling of their sound across two EPs proceeding the urgent, self-enforced minimalism of their debut album ‘PZ1’ in 2019.

                                                                                                      The trio of Toby Burroughs, Rosa Brook, and Tom Jones quickly established something of a foundational template on that first album: a hyper-skeletal sound palette of drums, bass and three distinct vocals disrupted by Rosa’s churning violins, from which emerged biting social observations and political angst – debut single and angry retort to the 2017 Grenfell tragedy KCTMO still takes pride of place in their live set.

                                                                                                      These hallmarks haven’t fully gone away over time but from that urgent energy there has emerged greater confidence and a playful desire to push further out from the loose genre tag of post-punk they were initially saddled with.

                                                                                                      “We want our music to evoke a feeling and emotion rather than just being a commentary. I feel that the tracks on Smiling Pools demonstrate that we’re taking our music to a different place and we want to bring the listener along on that journey.”

                                                                                                      STAFF COMMENTS

                                                                                                      Barry says: While PZ1 was a statement piece from a band determined to make an impact (and make an impact they did), 'Smiling Pools' shows a development that could only come from a band at ease with their process and inter-band chemistry. It's bold, melodic in parts and yet still true to the moody post-punk adjacent noise we've come to love from them. a stunning and endlessly deep work.

                                                                                                      TRACK LISTING

                                                                                                      Side A
                                                                                                      1. What You Came For
                                                                                                      2. Slightly Shaking Cells
                                                                                                      3. Failing
                                                                                                      4. Pest Control
                                                                                                      5. Somnambulance
                                                                                                      6. Through The Door

                                                                                                      Side B
                                                                                                      7. M6 Toll
                                                                                                      8. Heavenly
                                                                                                      9. Faulty Receiver
                                                                                                      10. Shut Up
                                                                                                      11. 24 Deliveru
                                                                                                      12. A Walk In The Park

                                                                                                      The Dream Machine

                                                                                                      Thank God! It’s The Dream Machine…

                                                                                                        ‘Thank God! It’s The Dream Machine…’ is the hotly anticipated debut album from The Dream Machine. A self-produced collection of 12 tracks exploring everything from love and loss to angels, dogs and The Devil. Recorded on an 8-track in the winter of 2021 in the bands rehearsal space. The album treads a familiar path of 60’s inspired pop anthems, psychedelic-tinged country, punk, doo wop and everything in-between.

                                                                                                        The Dream Machine take their name from ‘Dream Machine’ an invention that recreates hallucinations similar to psychedelics without taking substances with their music being portrayed as enigmatic, mysterious and very psychedelic. Formed in 2021, the band have already gained widespread support including Steve Lamacq, Radcliffe & Maconie and Chris Hawkins on BBC Radio 6 Music, John Kennedy on Radio X, Gary Crowley on BBC Radio Londo, Dave Monks on BBC Introducing in Merseyside as well as repeat plays across Amazing Radio.


                                                                                                        STAFF COMMENTS

                                                                                                        Martin says: The Dream Machine brilliantly toe the line between jangling psychedelic 60's influenced pop and soaring northern indie. It's both melodically rich and full of hooks, but never strays into pastiche.

                                                                                                        TRACK LISTING

                                                                                                        1. Lola, In The Morning
                                                                                                        2. Tears
                                                                                                        3. Children, My England
                                                                                                        4. Sweet Mary
                                                                                                        5. TV Baby/Satan's Child
                                                                                                        6. The Time Around
                                                                                                        7. White Shadow Blues
                                                                                                        8. Intermission
                                                                                                        9. Away For The Summer
                                                                                                        10. The Last Temptation
                                                                                                        11. Always On My Mind
                                                                                                        12. Angel Of The North

                                                                                                        7" With Dinked Edition Only:
                                                                                                        Side A
                                                                                                        Before The Rain
                                                                                                        Side B
                                                                                                        01. Rama Go

                                                                                                        Silver Moth (Stuart Braithwaite Of Mogwai, Elisabeth Elektra & Evi Vine)

                                                                                                        Black Bay

                                                                                                          A leap of faith reaps extraordinary rewards on ‘Black Bay’, an album of depth, atmosphere and daring from the collective known as Silver Moth. Recorded under unusual circumstances, ‘Black Bay’ is the sound of seven storied musicians yielding to shared goals, a policy of trust in action. Between hushed incantations and molten guitars, 15-minute noise-rock epics and healing psalms, the record is a testament to connectivity and receptivity: to a union of disparate minds committing to something greater than the sum of its parts.

                                                                                                          Stuart Braithwaite of Mogwai, Elisabeth Elektra, Evi Vine, Steven Hill, members of Abrasive Trees, Burning House and Prosthetic Head convened to improvise the album in early 2021, inspired by a Twitter exchange between Abrasive Trees guitarist/songwriter Matthew Rochford, musician Elisabeth Elektra and fellow artist Nick Hudson about the Isle of Lewis. A couple of Zoom meetings would subsequently lead to Rochford, Elektra, Vine, Braithwaite, Hill, drummer Ash Babb and cellist Ben Roberts visiting the dramatic location of Great Bernera’s Black Bay Studios on the Isle of Lewis in the Outer Hebrides, where they tracked the songs in just four days: a testament to the musicians’ focused openness to their shared mission and environment.

                                                                                                          This is an album of elemental force and evocative poise, its controlled power focused around the ego-free chemistry between the players. By abandoning all certainties, Silver Moth have found something truly special on ‘Black Bay’.

                                                                                                          STAFF COMMENTS

                                                                                                          Barry says: A stunning debut LP from Silver Moth here displaying every bit of the influence from the myriad heads of the collective, forging brittle ballads and thundering gothic waves from haunting vocals and hypnotic post-rock instrumentals.

                                                                                                          TRACK LISTING

                                                                                                          1 Henry
                                                                                                          2 The Eternal
                                                                                                          3 Mother Tongue
                                                                                                          4 Gaelic Psalms
                                                                                                          5 Hello Doom
                                                                                                          6 Sedna

                                                                                                          Eddie Chacon

                                                                                                          Sundown

                                                                                                            For fans of: Nick Hakim, John Carroll Kirby, Khruangbin, Bullion, Duval Timothy.

                                                                                                            ‘Sundown’ is “low-key R&B legend” Eddie Chacon’s soulful, meditative debut for Stones Throw Records. The album was written with and produced by John Carroll Kirby. Eddie Chacon rose to fame in the duo Charles & Eddie, whose 1992 single “Would I Lie To You” was a #1 hit around the world. Chacon returned in 2020 with the album ‘Pleasure, Joy and Happiness’, widely acclaimed by the New York Times, Guardian, and many more.

                                                                                                            Soulful, low-key R&B from Eddie Chacon, who soared to fame in Charles & Eddie, and returned in 2020 with the beloved album Pleasure, Joy and Happiness.

                                                                                                            Produced by multiple Grammy nominated producer and artist John Carroll Kirby (Solange, Harry Styles, Steve Lacy).


                                                                                                            STAFF COMMENTS

                                                                                                            Barry says: If ever an album screamed 'Rhodes' and 'Ibiza' more than this little gem from Eddie Chacon, i'm yet to hear of it. Wonderfully meditative but without sacrificing the swimming melodicism and horizontal soul we've come to expect from Chacon (of Charles & Eddie fame). A shimmering, hazy Balearic beauty.

                                                                                                            TRACK LISTING

                                                                                                            Side A
                                                                                                            1) Step By Step
                                                                                                            2) Far Away
                                                                                                            3) Comes And Goes
                                                                                                            4) Sundown

                                                                                                            Side B
                                                                                                            5) Holy Hell
                                                                                                            6) Haunted Memories
                                                                                                            7) Same Old Song
                                                                                                            8) The Morning Sun

                                                                                                            SBT (Sarabeth Tucek)

                                                                                                            Joan Of All

                                                                                                              Sarabeth Tucek emerges from a decade-long hibernation with a new double-album ‘Joan of All’ under the new moniker SBT – a longtime nickname given to her by the many musicians she has worked with throughout her career.

                                                                                                              After retreating from the fevered pace of the record business to concentrate on other creative endeavors, Sarabeth began to piece together the music that would eventually become her most ambitious, personal project yet – the sprawling double-album Joan Of All, which will be released world-wide on 19th May 2023 via her own freshly-minted imprint Ocean Omen.

                                                                                                              Sarabeth Tucek officially broke onto the music scene 2003 performing a series of spellbinding duets with Bill Callahan on the acclaimed Smog album Supper. This was swiftly followed by a memorable appearance in the prize-winning Brian Jonestown Massacre documentary DiG! Sarabeth also contributed material to their 2005 EP release, We Are the Radio. One of Sarabeth's compositions covered by the band on that EP, "Seer," would later be retitled and released in 2006 as Tucek's debut single, "Something for You”, which became Steve Lamacq’s Single Of The Week on BBC Radio 6 Music.

                                                                                                              Her self-titled debut album produced by Luther Russell and Ethan Johns hit stores the following year and garnered rave reviews in the press, leading her to supporting Bob Dylan and unfaltering support at the BBC.

                                                                                                              In 2011, Sarabeth followed up her extraordinary debut with a raw, uncompromising album entitled Get Well Soon, praised as an unflinching meditation on the subject of grief. This release made many year-end lists and the title track was featured on the first season of HBO’s Girls. The new album features lead-off single “The Gift”, as featured heavily on Marc Riley’s BBC 6 Music show, which is taken from the double A-side 7”, “The Gift / 13th St. #2”. Also featured on the album is an entirely different, heavier version of the flip side, entitled “13th St. #1”.

                                                                                                              Sarabeth will support the epic Joan Of All with a 18-date tour of the UK May/June 2023, including a BBC 6 Music live session for Marc Riley.

                                                                                                              TRACK LISTING

                                                                                                              Side A
                                                                                                              Joan Says/Amber Shade
                                                                                                              The Living Rool
                                                                                                              Cathy Says
                                                                                                              The Gift

                                                                                                              Side B
                                                                                                              The Box
                                                                                                              Work
                                                                                                              Make Up Your Mind
                                                                                                              !3th St. #1

                                                                                                              Side C
                                                                                                              Swings
                                                                                                              Happiness
                                                                                                              Something/Anything
                                                                                                              Sheep

                                                                                                              Side D
                                                                                                              The Tunnel
                                                                                                              Unmade/The Dog
                                                                                                              Creature Of The Night




                                                                                                              Nighttime

                                                                                                              Keeper Is The Heart

                                                                                                                Eva Louise Goodman’s Nighttime project locates itself on a musical tree planted on the British Isles, perched atop the branch of folk leaning into sixties rock. Her upstate New York environs don’t stray far from that image. With tempered percussion, floating mellotron, and singing that evokes Bleecker & MacDougal on a fervent Saturday afternoon, her new album Keeper Is The Heart reaches deep into the essence of musicians such as Vashti Bunyan, Sibylle Baier and Pentangle, breaking down the decades into a sound thoroughly and bizarrely modern.

                                                                                                                Through her years performing with Mutual Benefit, Goodman fell in love with life on the road and the collaborative energy of a band. In this third Nighttime album, she channels these experiences into her own music. The creative journey from writing to recording to mixing drove her deeper into a sense of self while expanding her sound. In the process, she put aside lo-fi origins and challenged herself to achieve the same intimacy with a bigger production.

                                                                                                                Like most paths of self-discovery, the journey started with displacement. In October 2019, Goodman set out to record the album on her own, while cat-sitting at a friend’s empty Brooklyn apartment. Rather than recording, she was drawn to the overgrown garden, where she spent her days listening to music and reading old journals. Charlie Megira, The Incredible String Band and Roy Montgomery invoked the spirit of the album, as she realized that a new, more collaborative approach would be necessary to bring the songs to life.

                                                                                                                In March 2021, after a pandemic year immersed in sound experimentation and writing, she entered the upstate New York studio of recording engineer Rick Spataro (Florist). Together, Spataro and Goodman dove into creating the album, recording one song a day, letting the spark and excitement of spontaneity be their guide. “I've always been fascinated with ‘automatic’ arts,” Goodman says, “where things are created intuitively and without premeditation, from the subconscious.” In this light, they worked with abandon– pushing through the heaviness of songs written years earlier with the same energy as songs which were not yet fully developed. Taking chances, improvising, they sought to strip away pretense, and elude perfectionism at all cost.

                                                                                                                Among their experiments, the duo manipulated tape speeds–slowing or speeding up different instrument tracks, imbuing passages with altered perspectives. Improvisation was the key in track five, ‘The Way,’ a song about “the magical act of carving out a path through life, amidst all possibility.” After a long day of recording, the song was feeling heavy and uninspired. As night fell, Spataro picked up the Stratocaster and, in one take, laid down a rolling, roiling guitar line that defined the track.

                                                                                                                This spirit of surrender weaves through the album. “Break free from time, and sink in the pool of the mind,” begins ‘Garden of Delight’, an energetic highlight, propelled by 60’s-era organ and Jefferson Airplane-esque vocals. The song was accidentally deleted after the first day of recording. By luck or fate, the one surviving file captured the song’s loose and free-wheeling essence. Inspired, Goodman encouraged her circle of collaborators to work similarly: “I gave everyone trust and total freedom to contribute as they felt called to, encouraging an intuitive approach of simply improvising, playing through the song a few times and then sending over the results.” Synth, cello, violin, saxophone and flute all appear, but often in unconventional ways.

                                                                                                                Keeper Is the Heart reflects Goodman’s process towards greater creative freedom. The first words she sings: “Lift the veil of all of this hate/To see the fear at its base.” Her last lines: “We’ll follow the fates across the great expanse of time/To the source of the light within our mind.” In between is a work of art awash in personal awakenings that revel in the freedom of intuition, the lifting of veils, and the beauty of transformation. As Goodman states, “What is it you find when you look inward to see beyond, past your fears, to your heart's true desires?”

                                                                                                                STAFF COMMENTS

                                                                                                                Barry says: Drifting folky ballads, both psychedelic and rooted in melody, influenced by classics of the 60's but with influences of modern electronica. 'Keeper Is The Heart' flows beautifully, and carries you with it. Lovely.

                                                                                                                TRACK LISTING

                                                                                                                Side A
                                                                                                                1. Veil
                                                                                                                2. When The Wind Is Blowing
                                                                                                                3. Curtain Is Closing
                                                                                                                4. The Fool
                                                                                                                5. The Way
                                                                                                                6. Garden Of Delight
                                                                                                                Side B
                                                                                                                7. Ring Of Fire
                                                                                                                8. Spring, You Come Again
                                                                                                                9. Feeling The Weeks
                                                                                                                10. The Sea
                                                                                                                11. Across The Ocean Of Time

                                                                                                                The Psychotic Monks

                                                                                                                Pink Colour Surgery

                                                                                                                  After two fiery albums, ‘Silence Slowly And Madly Shines’ in 2017 (Alter K) and ‘Private Meaning First’ in 2019 (Vicious Circle / Fatcat Records), France’s The Psychotic Monks have never ceased to impress with their maturity and determination to offer a singular stage and discographic presence.

                                                                                                                  Although radical, ‘Pink Colour Surgery’’s work is truly accessible to those who immerse themselves in its in depth. One is unceasingly hypnotised, shaken, as their soul flirts dangerously with a furious and oppressive trance. How then the journey becomes addictive, letting yourself slide from one track to another, sometimes struck, sometimes set ablaze with an unexpected epiphany, because its light irradiates us. Live their music is an intimate, sensory experience, the affects of which continue to be felt for a long time afterwards.

                                                                                                                  Third album ‘Pink Colour Surgery’, recorded and produced by Daniel Fox of Gilla Band is composed in part by improvisations, and is presented as an act of resistance to the ambient violence. Disconcerting at first sight, this new opus operates in the dark, a surgery of ethics which is fleshed out of pink for a staggering metamorphosis. Its very structure takes the listener on an initiatory trip full of secret corners, provided they are prepared to dive into it, to plunge into it.

                                                                                                                  ‘Pink Colour Surgery’ is like a hidden room in a house that we have never entered before, and the possibility of feeling good there is not excluded.


                                                                                                                  TRACK LISTING

                                                                                                                  Side A
                                                                                                                  (Pre-Enter)
                                                                                                                  Post-Post-
                                                                                                                  Gamble And Dangle
                                                                                                                  Side B
                                                                                                                  (Bird's Part)
                                                                                                                  Crash
                                                                                                                  Imagerie
                                                                                                                  Side C
                                                                                                                  (88)
                                                                                                                  Décors
                                                                                                                  Side D
                                                                                                                  (Gestures)
                                                                                                                  All That Fall
                                                                                                                  Location.memory
                                                                                                                  (traP S'driB)

                                                                                                                  Abracadabra

                                                                                                                  Shapes & Colors

                                                                                                                    If you find the time, please come and stay a while in abracadabra’s beautiful neighbourhood; a magically wonky wonderland where strangers leave as friends to a block party soundtrack as eclectic as it is infectious. The California duo’s album ‘shapes & colors’ is a dazzling collage of psych-fuelled synthscapes and contemporary Baroque-pop of anti-capitalist movements and escapism, precisely pieced around their own working lives in a blue-collar town. In the heart of Oakland’s industrial Jingletown above a former auto-repair shop in what was once a mechanics’ break room where poker rounds ensued, Hannah Skelton (Vocals, Synthesizers) and Chris Niles, (Bass, Synthesizers) constructed the angular 80s-tinged anthems (think John Hughes montages to Talking Heads) of their new album, to positively offset the pandemic’s amplification of dysfunctional society. “It reflects our current reality: a huge mess that is systematically broken but isn’t entirely lost,” Hannah tells. “We’re inviting listeners to conjure up every drop of hope and willpower left inside them, pour that into the giant vat of anger and frustration bubbling inside us all, and with this potion collectively enact the necessary change to bring love and light into this dark space.”

                                                                                                                    When Covid forced Hannah from her salon in San Francisco to become a backyard mobile hairdresser, what she saw inspired them both and the lyrical foundations for their new record. “I’d drive to mansions and people would complain about how hard the pandemic had been next to their swimming pool and tennis courts.” First meeting after the album’s co-producer Jason Kick (Mild High Club, Sonny and the Sunsets) recruited the pair for a Halloween band covering Eurythmics’ art-rock debut ‘In The Garden,’ the pair hit it off and shapes & colors is a product of the years that followed. It combines Chris’ own rhythmic demos following years on the road touring and opening for Amon Tobin, Matthew Dear and Generationals in Maus Haus with Hannah’s lyrical musings honed from project Cassiopeia, so even when topics are as heavy as the beats, they’re met with luminously positive arrangements of hope and warmth.

                                                                                                                    The by-product of a psychedelic New Year’s Eve escaping a monotonous 2020 reality, the title track itself captures fireworks over East Oakland as viewed from the pair’s couch whilst listening to Mort Garson’s Plantasia for 6 hours straight. The daydream collage of ‘inyo county’ is “a little souvenir taking me back into the bottled-up essence of a slow lazy morning, waking up in bed far from home,” Hannah tells recalling those enforced stay-at-home days. “It fell out of me because I was craving that blissful flavour.” Meanwhile ‘dawn of the age of aquarius’s new parallel reality evolved from a happy accident when their demos had reset to a drone which Jason reworked into a Laurie Anderson-esque breathy vocoder effect. Even bloops and beeps from a forgotten recording session at the Vintage Synthesizer Museum in Emeryville can be heard, where the pair used Mini Moog, Fairlight EMI and ARP 2600 to arrange their sound into shapes whilst distortion and dirt from mixing on 1979 Neve 5313 Console added to the recordings’ color.

                                                                                                                    Casting a brighter rainbow still, in all its pastel-hued glory, Hannah, also illustrated a self-portrait of the band for the album artwork. “It reflects our makeshift recording studio to encapsulate all aspects of that time and space,” she shares of their abode where, over an intense two-week period and fuelled by the aroma of fermenting vino from the winery below, their single chord, bass and drum-heavy, groove-first momentum took them on an unexpected journey whilst the next-door couple would fire pizzas in their yard and a grandfather across the road would sweep the street clean. “We’d drink coffee and start the day, consistently working, without interruption,” Chris tells of finding their flow. “The loft is a cool space with skylights, tall ceilings and no shared walls so we could be as loud as we wanted to be.”

                                                                                                                    Just as well. Diving into decades of electronica and crunchy sound effects, field recordings and animal sounds, blended with an infectious Latin influence, shapes & colors is bolstered by live percussionists Greg Poneris (drums), K. Dylan Edrich (Vocals, Percussion: congas, bongos, chimes, cow bells and wood blocks, tone drum and tri-tone whistle) and Tom Smith (Guitar, Synthesizers, Vocals). It shimmies with the charismatic energy of ESG, Tom Tom Club, Lizzy Mercier Descloux, and the dub hits of King Tubby, the melodic sensibilities of Prince, Stereolab, and idiosyncratic Deerhoof offering an ornate alternative to traditional guitar pop chord progressions as they layer wrecking ball-sized danceable motifs to rumble the dust off the cars on the street from the nearby concrete factory. “We take some big swings to create interesting moments,” Chris explains. NIMBY crews grab those earplugs now. abracadabra is your new noisy neighbour, and there’s no turning this party down.

                                                                                                                    TRACK LISTING

                                                                                                                    Side A
                                                                                                                    1. Talk Talk
                                                                                                                    2. In A Photo
                                                                                                                    3. Telling Time
                                                                                                                    4. Swim
                                                                                                                    5. Inyo County
                                                                                                                    Side B
                                                                                                                    6. Don't Like U
                                                                                                                    7. Impactor
                                                                                                                    8. At The Zoo
                                                                                                                    9. Shapes & Colors
                                                                                                                    10. Dawn Of The Age Of Aquarius

                                                                                                                    M(h)aol

                                                                                                                    Attachment Styles

                                                                                                                      Irish intersectional feminist five piece M(h)aol have announced their debut album 'Attachment Styles' out via TULLE.

                                                                                                                      Following the release of their debut EP 'Gender Studies', the band hit the ground running in 2022. Gaining a reputation as one of the most sought after live bands of the summer, M(h)aol performed at Primavera, Green Man, Latitude, and End of the Road, toured Europe with Gilla Band and Shellac, and more.

                                                                                                                      Gracing the cover of Spotify’s Hot New Bands multiple times, and based between Dublin, London, Cork and Bristol, M(h)aol (pronounced male) are formed of Róisín Nic Ghearailt (She/Her), Constance Keane (She/Her), Jamie Hyland (She/Her), Zoë Greenway (She/Her), and Sean Nolan (He/Him).

                                                                                                                      Today the 5-piece announce their debut album Attachment Styles out 3rd February 2023 via TULLE Collective.

                                                                                                                      ‘Attachment Styles’ is a record about social connection, queerness and healing. When Róisín was writing the lyrics, she used the theory of attachment styles as an overarching theme which is a theory that looks at the impact our inter-familial relationships and society have on how we relate to one another.

                                                                                                                      With the album, the listener goes on a journey of healing. We start with 'Asking For It', a song that deals with one of the worst things that can happen to someone, then we travel through various stages of self-acceptance and community building with the triumphant ‘Period Sex’. Bassist Jamie produced, mixed, and mastered the album where she wanted to capture the live element, meaning it was recorded in one small room with no headphones, minimal drum mics, and only a PA for vocals.


                                                                                                                      STAFF COMMENTS

                                                                                                                      Barry says: Bold strokes of booming bass and mid-heavy punky guitar stabs form the perfect backdrop for the emotive vocals of Róisín Nic Ghearailt, tackling issues like social connection and gender identity. It's a ferocious and perfectly delivered maelstrom.

                                                                                                                      TRACK LISTING

                                                                                                                      Side A
                                                                                                                      1. Asking For It
                                                                                                                      2. Bored Of Men
                                                                                                                      3. No One Ever Talks To Us
                                                                                                                      4. Bisexual Anxiety
                                                                                                                      5. Therapy
                                                                                                                      6. Nice Guys
                                                                                                                      Side B
                                                                                                                      1. Kim Is A Punk Type Dog
                                                                                                                      2. Cowboy Honey
                                                                                                                      3. Femme
                                                                                                                      4. Period Sex

                                                                                                                      Free Love

                                                                                                                      Inside

                                                                                                                        Free Love (FKA Happy Meals) and their music are a conscious study in duality: thumping live tracks and meditational mantras, pop songs and esoteric experiments, acoustic and electronic instrumentation, lyrics in French and English, the Masculine and the Feminine, all side-by-side. Paragons of the cross-pollinating Glasgow DIY scene, their rapturous psychedelic odysseys have been emanating from the city since 2013 via esteemed labels including Night School and Optimo Music. Free Love’s debut EP Luxury Hits was released in 2018 to much critical acclaim (“a groovy fever dream” – Line of Best Fit) and saw them shortlisted for the Scottish Album of the Year Award (Suzi and Lewis’s third SAY Award nomination in all, following two under the Happy Meals moniker). It was followed in 2019 by the mini-album Extreme Dance Anthems (“music to move both body and mind” – Clash). In 2018 Free Love released a limited-edition vinyl EP, written and recorded on the isle of Eigg as part of Lost Map’s V I S I T ▲ T I O N S residency programme – strengthening a long-standing kinship between the band and the label which has seen them perform live many times at Lost Map events on Eigg and elsewhere.

                                                                                                                        It leads to the release on Lost Map in 2023 of Free Love’s latest opus INSIDE. Written and recorded at the band’s Glasgow home studio during and after the lockdowns of 2020-2021, and completed just before the birth of Lewis and Suzi’s son Echo in the summer of 2022, its 10 tracks of house-quaking acid pop, celestial drones and yogic devotionals are a by-turns banging and blissed-out meditation on life and death, community and seclusion, worlds both outwith and within. A song about “coming back to the centre after spiralling too far and recognising you’re not the only person wondering what’s going on”, ‘Open The Door’ reaches for the fresh silicon sound of Yellow Magic Orchestra. ‘Stop’ and ‘Golden Goose’ channel the space age pop dreams of Broadcast, while ‘Le Mirage’ and ‘Dans Le Noir’ take influence from 1970s electronic dance music pioneer Patrick Cowley – the former his gay porn movie soundtracks, the latter Cowley’s game-changing hi-NRG productions such as ‘Menergy’ and ‘Megatron Man’. Transportational seven-minute album closer ‘I Become’ sees Free Love borrow lyrics from the first track Lewis and Suzi ever recorded together, ‘Crystal Salutation’. “In doing, we become.”

                                                                                                                        “The sounds and themes on INSIDE came from the experiments we started working on throughout lockdown in our home studio, FULL ASHRAM CELESTIAL GARDEN,” says Lewis. “Sometimes we’d leave a sound running on loop until little melodies would come in and then that would start to take the form of the track. It has been a weird time for anyone to be making anything creative – to make sense of any reason to it all, we had to position creating music as an essential ritualistic part of our daily existence. We used the studio as a portal and made INSIDE.”

                                                                                                                        Free Love’s euphoric live show has seen them tour Europe, USA, India and Russia with the likes of The Flaming Lips, Liars and James Holden and The Animal Spirits, with Suzi often tearing through the audience centring the energy in the middle of the room over the live hardware electronics operated by Lewis from the stage turning into a ritualistic communal catharsis. As well as performing their debut Boiler Room live set from their home studio during lockdown, the band remixed music for Django Django and Charlotte Gainsbourg.


                                                                                                                        STAFF COMMENTS

                                                                                                                        Barry says: Woozy electronic stabs and rich scattered bass weave around lysergic floating vocals. Free Love present a perfect mix between euphoric synth-pop and darkened basement dancefloor grooves.

                                                                                                                        TRACK LISTING

                                                                                                                        Side A
                                                                                                                        1. Le Mirage
                                                                                                                        2. Open The Door
                                                                                                                        3. Fight Or Flight
                                                                                                                        4. All The Same To Me
                                                                                                                        5. Golden Goose
                                                                                                                        Side B
                                                                                                                        1. Dans Le Noir
                                                                                                                        2. Don’t Stop
                                                                                                                        3. Stop
                                                                                                                        4. It’s A Feeling
                                                                                                                        5. I Become

                                                                                                                        MOLLY

                                                                                                                        Picturesque

                                                                                                                          Austrian duo MOLLY return with their second album, Picturesque, via Sonic Cathedral.

                                                                                                                          The album’s seemingly brief tracklisting belies a work of great beauty and depth, and one which turned into a one-man crusade for singer/guitarist Lars Andersson, intertwining deeply personal stories with his love for the era of Romanticism.

                                                                                                                          “Every time I go to a museum and I’m about to pass through the era of Romanticism I stop in awe,” says Lars of the enduring appeal of the 18th century artistic movement. “Whatever it is – stories, paintings, music – it triggers something deep within me, something profoundly human.
                                                                                                                          It really hits a nerve, and it utterly immerses me to a point where I can’t move.”

                                                                                                                          The album replicates this feeling; a gloriously over-the-top blend of Slowdive and Sigur Rós, mixed with the single-mindedness of Daniel Johnston and the noisiness of Nirvana, it’s as bold and beautiful and every bit as ornate as the art that inspired it.

                                                                                                                          Unlike their acclaimed debut, 2019’s All That Ever Could Have Been, which gradually came into focus with a 15-minute opening track, Picturesque hits home from the very first note of the short and sweet opener, ‘Ballerina’. That’s not to say there aren’t epics here – ‘Metamorphosis’ is essentially a 12-minute suite of three movements; blistering closer ‘The Lot’ is 11 minutes of Swans-inspired heaviness – but everything is much more direct and focused. This isn’t an album to lose yourself in, it’s one to get swept away by.

                                                                                                                          “‘More is more’ was definitely the credo when making this record,” agrees Lars. “A big inspiration were bands like Pond and the way they manage to fill their songs up with stuff to the absolute maximum. While I definitely tried to give the listener some room to breathe at certain points and while, in good old post-rock fashion, it still builds up and breaks down, it relies much more on simple melody and harmony as opposed to noisy experimentation to transport feeling.”

                                                                                                                          Never more so than on the first single, ‘The Golden Age’, which is the album’s centre-piece; a soaring slice of über-shoegaze that is so stunning you can’t take your eyes or ears off it.

                                                                                                                          Like all the songs on the album, it’s based around a fairy-tale from the Romantic era. In this case, it’s Heinrich von Ofterdingen by the German poet, author and philosopher Novalis (other influences are: The Steadfast Tin Soldier by Hans Christian Andersen; The Seven Ravens and Hans in Luck by the Brothers Grimm; Undine by Friedrich de la Motte Fouqué and The Golden Pot by E.T.A. Hoffmann), with Lars drawing parallels between the titular character’s mystical and romantic searchings and his own personal quest.

                                                                                                                          This is apt as the album has been an overriding obsession for Lars for the past two-and-a-half years; as well as writing and recording the songs (bandmate Phillip Dornauer played drums), he also mixed and mastered them at his Alpine Audio studio and Picturesque is very much his Brian Wilson or Kevin Shields moment. MOLLY were in the middle of their European tour when Covid hit in early 2020, forcing Lars to retreat back to his home outside Innsbruck and giving him time and space to think about every detail of the record.

                                                                                                                          “Well, I was on a quest I guess,” he admits. “Like everyone, I was stranded at home and at some point I just said to myself, ‘If not now, then when?’ It was an intense process. I’ve worked on music from other bands and artists before but producing and mixing your own music is an utterly different animal. It was probably the most intense thing I’ve ever done, but it was also incredibly rewarding and the feeling of it all coming together piece by piece is incomparable.”

                                                                                                                          The artwork is just as effective. “I think of Radiohead’s OK Computer – what you hear on the record is what you see on the cover,” explains Lars. “We were inspired by what we call ‘wimmelbilder’ [hidden pictures] in German, a very specific style in art where there are a lot of little things happening. When you see it from further away, it looks organic like a lost painting from the area of Romanticism, but the closer you look the more digital it gets. It’s a nice analogy.”

                                                                                                                          He’s right, it perfectly sums up the conflict between Romanticism and 21st century life.

                                                                                                                          “Romanticism was basically an answer to the Industrial Revolution as well as the social and political norms of the Age Of Enlightenment,” concludes Lars. “Now, we all live in a much more industrialised, materialistic, individualistic and sterile society than any early Romanticist could have ever possibly imagined. Over 200 years later the Romanticists have lost the battle.”

                                                                                                                          With the divine and downright pulchritudinous Picturesque, MOLLY begin the fightback.

                                                                                                                          TRACK LISTING

                                                                                                                          Side A
                                                                                                                          Ballerina
                                                                                                                          Metamorphosis
                                                                                                                          The Golden Age
                                                                                                                          Side B
                                                                                                                          Sunday Kid
                                                                                                                          So To Speak
                                                                                                                          The Lot

                                                                                                                          Teleman

                                                                                                                          Good Time / Hard Time

                                                                                                                            A tree may lose its leaves but will continue to grow. For Teleman, the band’s fourth album ‘Good Time / Hard Time’ is their first as a trio and sees them evolve as a force of nature as they navigate new beginnings despite a wealth of experience behind them. Music and lyrical stream of consciousness entwined, the album makes sense of a world in chaos and its words of wisdom are a vital reminder that even when things seem heavy, life is precious.

                                                                                                                            “Nature can teach us so much about patience and how you can’t control everything - you just have to let things happen as it intends… it’s great therapy,” tells the band’s singer and guitarist, Thomas Sanders whose garden-dwelling and park strolls to the studio have inevitably wormed their way into Teleman’s songwriting. “I was reading about forests and how trees help each other, they don’t survive on their own, they grow together… as a band we’ve now grown into each other as a triangle shape after having been a square for so long.”

                                                                                                                            With classic Teleman style, ‘Good Time / Hard Time’ is their most dancefloor-friendly record to date. Following the departure of the band’s long-time keyboard player Jonny Sanders to focus on his film and design work, Peter Cattermoul now leads on keyboard duties and Hiro Amamiya slides seamlessly between drum machine, live drums and even the odd keyboard solo as it captures the bounce of choice cuts from their own DJ sets such as Metronomy or the classic disco of Boney M, Giorgio Moroder, early house music and 80s vibes - all the while doused in their trademark blend of uplifting melancholy. “You’ve got to experience the hard times to appreciate the good times in life,” Tom explains. “Most of the songs are about universal things everyone can relate to, the small and simple details about difficult connections and overcoming them.”


                                                                                                                            STAFF COMMENTS

                                                                                                                            Martin says: Teleman release their latest outing for stalwart indie label, Moshi Moshi and it includes all of the latent melodicism and note-perfect production we've come to know from Teleman, but this time with a bit more of an emphasis on the danceable rhythms and rolling bassy licks we heard on 2018's 'Family Of Aliens'.

                                                                                                                            TRACK LISTING

                                                                                                                            Side A
                                                                                                                            Short Life
                                                                                                                            Trees Grow High
                                                                                                                            Wonderful Times
                                                                                                                            Easy Now I've Got You
                                                                                                                            Cherish
                                                                                                                            Side B
                                                                                                                            1. Hello Everybody
                                                                                                                            2. I Can Do It For You
                                                                                                                            3. The Juice
                                                                                                                            4. The Girls Who Came To Stay
                                                                                                                            5. Good Time/Hard Time

                                                                                                                            Dinked Edition Bonus 7”:
                                                                                                                            Side A
                                                                                                                            Somebody Tell Me It’s Alright
                                                                                                                            Side B
                                                                                                                            Short Life Demo

                                                                                                                            James Yorkston, Nina Persson & The Secondhand Orchestra

                                                                                                                            The Great White Sea Eagle

                                                                                                                              James Yorkston, Nina Persson and The Second Hand Orchestra release The Great White Sea Eagle, the follow up to James Yorkston and The Second Hand Orchestra’s The Wide, Wide River - a Guardian Top 10 Folk Album of 2021.

                                                                                                                              The record didn’t start life as a follow up; in early 2021, Yorkston began visiting his studio in Cellardyke, Fife and for the first time, starting writing songs on the piano as opposed to his usual guitar as he gazed upon the sea outside his window.

                                                                                                                              After sending the first five or six songs to Karl-Jonas Winqvist (the ringleader/conductor of TSHO), they began to discuss working on the music together. With Yorkston’s shift from guitar to piano, they thought about what other changes they could make to their process which led to the involvement of a guest singer and the legendary Nina Persson (The Cardigans) was brought into the fold.

                                                                                                                              They followed the same methodology as The Wide, Wide River – apart from James, Nina and KJ, none of The Second Hand Orchestra had heard the music prior to entering the studio – and the arrangements were made up on the spot. Yorkston summarises: “Everyone who was playing in The Second Hand Orchestra, in their own way they are all unique and colourful players. There was no-one there who didn’t know what to do. I would bring them the songs, we would start one - I would play it, and second time round people would start singing and playing, and by the time we had done it three or four times we would hit record and we would be ready to go. And the thing that they all had was the ability to give each other space and to come up with their parts based on what other people were playing naturally was a very quick process, and they were all so open, nobody was egotistical. Everything was just happy. I love the wildness in it.”


                                                                                                                              STAFF COMMENTS

                                                                                                                              Barry says: It's the second cracking Dinked release for the week and sees The Cardigans' Nina Persson team up with the endlessly talented James Yorkston and The Secondhand Orchestra for a beautiful LP brimming with brittle guitars and twinkling piano, all topped with those instantly recognisable vocal talents. A very welcome meeting of minds.

                                                                                                                              TRACK LISTING

                                                                                                                              Side A
                                                                                                                              Sam & Jeanie McGreagor
                                                                                                                              An Upturned Crab
                                                                                                                              Keeping Up With The Grandchildren, Yeah
                                                                                                                              The Heavy Lyric Police
                                                                                                                              A Sweetness In You
                                                                                                                              A Forestful Of Rougues
                                                                                                                              Side B
                                                                                                                              Peter Paulo Van Der Heyden
                                                                                                                              Mary
                                                                                                                              Hold Out For Love
                                                                                                                              The Harmony
                                                                                                                              The Great White Sea Eagle
                                                                                                                              A Hollow Skeleton Lifts A Heavy Wing

                                                                                                                              Baby Cool

                                                                                                                              Earthling On The Road To Self Love

                                                                                                                                Marrying psychedelic pop with folk and a touch of country, 'Earthling On The Road To Self Love' is the sublime debut album by Brisbane, Australia-based artist Baby Cool – the latest side project by Nice Biscuit co-front woman Grace Cuell.

                                                                                                                                Cuell says of the record, which follows her debut single 'Magic' and tours with Babe Rainbow and The Lazy Eyes: “The songs on this album are deeply sentimental. I have a lot I need to sing about to help me make sense of this earthly pod I have been gifted. If in singing these words out loud, I can help others find solace in knowing that we’re all out here flailing about in the cosmos, then it feels good to me.”

                                                                                                                                Recorded with Sam Joseph (Family Jordan), the songs on 'Earthling' were brought to life with the help of Jess Ferronato (Nice Biscuit), Nick Cavendish (Nice Biscuit) and Drew Heyden (The Flamingo Jones): "I had such a beautiful community of friends that helped bring this whole thing to life. There was magic and love in every part of the process of creating this album.”



                                                                                                                                STAFF COMMENTS

                                                                                                                                Barry says: Grace Cuell's new album perfectly mixes the hazy saturated sounds of 60's psych-folk and jangling indie-rock seamlessly and without missing a beat. There are moments of stripped-back beauty here but also a keen ear for the just-in-time layered soundbath of Barrett era Floyd or Jefferson Airplane.

                                                                                                                                TRACK LISTING

                                                                                                                                Side A
                                                                                                                                1) The Sea
                                                                                                                                2) Mother Luna
                                                                                                                                3) Altar
                                                                                                                                4) For Us
                                                                                                                                Side B
                                                                                                                                5) Poison
                                                                                                                                6) Country Song
                                                                                                                                7) Interlude
                                                                                                                                8) Magic
                                                                                                                                9) Daydream

                                                                                                                                Dinked Edition Flexi-Disc
                                                                                                                                1) Daydream (Stripped-Back)

                                                                                                                                The Eighties Matchbox B-Line Disaster

                                                                                                                                Horse Of The Dog - 2023 Reissue

                                                                                                                                  In the early 2000s, The Eighties Matchbox B-Line Disaster emerged with a black-hearted blast of frenetic psychobilly, punk and goth that felt like a closing time punch-up between The Birthday Party, The Cramps and The Make-Up. Their lunatic intensity was best captured within their first two albums, 2002’s ‘Hörse of the Dög’ and 2004’s ‘The Royal Society’, both of which remain adored as cult classics to this day by a fanbase still addicted by their visceral, riotous noise rock.

                                                                                                                                  One of the band’s biggest fans is the film director Edgar Wright, who directed the music video for their song ‘Psychosis Safari’ as he was working on his own cult classic, ‘Shaun of the Dead’. The film even featured ‘Mister Mental’ (from ‘The Royal Society’) on its soundtrack. Still a fan to this day, Wright has penned the accompanying liner notes that will feature in all physical versions of the reissue. He writes:

                                                                                                                                  “The aural assault of ‘Celebrate Your Mother’, ‘Chicken’, ‘Giant Bones’, ‘Fishfingers’ and, frankly, the whole fucking album, represents the uniquely combustive togetherness of this band who in 2002 existed paradoxically both within and outside the music scene of the day… Behold an album too fast to live, but too young to ever die. The finest 25 minutes of freak energy one can handle.”

                                                                                                                                  Formed in Brighton on January 1st 2000, The Eighties Matchbox B-Line Disaster went on to release one final record, 2010’s ‘Blood & Fire’, before disbanding. They experienced a rediscovery in 2012 when ‘Chicken’ featured in a Nike campaign, which led to the band reuniting for sold-out shows in London, Brighton and Manchester. 


                                                                                                                                  TRACK LISTING

                                                                                                                                  Vinyl Tracklisting:
                                                                                                                                  Side A
                                                                                                                                  1. Celebrate Your Mother 2:33
                                                                                                                                  2. Chicken 2:47
                                                                                                                                  3. Whack Of Shit 2:18
                                                                                                                                  4. Psychosis Safari 2:52
                                                                                                                                  5. Giant Bones 1:46
                                                                                                                                  Side B
                                                                                                                                  6. Fishfingers 2:07
                                                                                                                                  7. Charge The Guns 1:25
                                                                                                                                  8. Morning Has Broken 2:33
                                                                                                                                  9. Team Meat 2:45
                                                                                                                                  10. Presidential Wave 4:06
                                                                                                                                  "B-Side" Bonus Tracks:
                                                                                                                                  Side A
                                                                                                                                  Alex
                                                                                                                                  Torrential Abuse
                                                                                                                                  Return December
                                                                                                                                  Briefcases For Girls
                                                                                                                                  Sacred Metal
                                                                                                                                  Side B
                                                                                                                                  Turkish Delights Of The Devil
                                                                                                                                  Ho Ha
                                                                                                                                  Palomino's Dream
                                                                                                                                  Lazy Bones
                                                                                                                                  Flag Party

                                                                                                                                  CD Tracklist:
                                                                                                                                  1. Celebrate Your Mother
                                                                                                                                  2. Chicken
                                                                                                                                  3. Whack Of Shit
                                                                                                                                  4. Psychosis Safari
                                                                                                                                  5. Giant Bones
                                                                                                                                  6. Fishfingers
                                                                                                                                  7. Charge The Guns
                                                                                                                                  8. Morning Has Broken
                                                                                                                                  9. Team Meat
                                                                                                                                  10. Presidential Wave

                                                                                                                                  Cate Le Bon

                                                                                                                                  Cyrk & Cyrk II - 10th Anniversary Exclusive Dinked Edition

                                                                                                                                    There are small musical touches throughout CYRK which make it distinctive from the work of any other singer-songwriter, colouring the record with splashes of ingenious eccentricity and psych-pop flourishes. Cyrk II is gentler and dreamier, a pleasant blend that gives way to soothing harmonies with less of the eccentricities that Le Bon has become known for. 2022 marks 10 years of the release of both Cyrk and Cyrk II.

                                                                                                                                    Cryk
                                                                                                                                    Cate Le Bon’s second album, Cyrk, was released to widespread acclaim in 2012 and saw the Welsh singer/songwriter play live across the world, including being invited by St Vincent to tour the United States. There are small musical touches throughout CYRK which make it distinctive from the work of any other singer-songwriter, colouring the record with splashes of ingenious eccentricity and psych-pop flourishes.

                                                                                                                                    Cryk II
                                                                                                                                    Cryk II is a collection of the 5 tracks that didn’t make it onto the Cyrk , the rationale being that they’re distinctively different from those on the parent LP. Cyrk II is gentler and dreamier, a pleasant blend that gives way to soothing harmonies with less of the eccentricities that Le Bon has become known for.

                                                                                                                                    “A songwriter this unique and talented shouldn’t be standing in anyone’s shadow.” Pitchfork

                                                                                                                                    “Cyrk is a curious musical brew that blends Velvet Underground-style shaggy jangles with a kind of bucolic psych-folk sound” BBC Music

                                                                                                                                    “One of the most characterful voices of recent times” MOJO

                                                                                                                                    "A common thread can be found in CYRK, Cate's second album: the application of a sincere pop-song sensibility, and a yen for the surreal that sidesteps the zany." NME

                                                                                                                                    The Murder Capital

                                                                                                                                    Gigi's Recovery

                                                                                                                                      The Murder Capital’s first album ‘When I Have Fears’ had all its songs written and recorded within the first 9 months of the band knowing each other.

                                                                                                                                      Now, with ‘Gigi’s Recovery’, the band had to learn to navigate their personal relationships through the relationships they harnessed with these new songs. Without knowing what these songs would sound like, the band knew what they wanted them to feel like- and worked backwards from there - “We had this slightly tongue-in-cheek mantra at the near-beginning of writing this record, it was - The evolution will not be compromised. This kept us on a course, even when we didn’t know where we were going”. And that’s exactly how The Murder Capital ended up with an album that is both totally pure and yet completely confident in its direction.

                                                                                                                                      STAFF COMMENTS

                                                                                                                                      Liam says: When we were first introduced to The Murder Capital, they were leading the post-punk charge alongside Fontaines D.C. However, whilst their post-punk core does remain intact, 'Gigi's Recovery' sees The Murder Capital acknowledging and thriving within their musical evolution.

                                                                                                                                      “Crying” sees them capturing the 'Primary Colours' era of The Horrors, whilst “Return My Head” and “Ethel” seize their post-punk roots and take them to new heights. As for “The Lies Becomes The Self” and “A Thousand Lives”, their more art-rock leanings wouldn't go amiss on a Radiohead record. Then there's “We Had To Disappear”, a powerfully beautiful lullaby that is easily one of the best tracks they've ever done. James McGovern's poetic lyricism remains one of The Murder Capital's strongest attributes, always commanding each track with hypnotic exposition.

                                                                                                                                      Full of passion and spirited urgency, but also moments of tender nuance, 'Gigi's Recovery' is a special album by a truly special band.

                                                                                                                                      TRACK LISTING

                                                                                                                                      1. Existence
                                                                                                                                      2. Crying 
                                                                                                                                      3. Return My Head
                                                                                                                                      4. Ethel
                                                                                                                                      5. The Stars Will Leave Their Stage
                                                                                                                                      6. Belonging
                                                                                                                                      7. The Lie Becomes The Self
                                                                                                                                      8. A Thousand Lives
                                                                                                                                      9. We Had To Disappear
                                                                                                                                      10. Only Good Things
                                                                                                                                      11. Gigi's Recovery
                                                                                                                                      12. Exist

                                                                                                                                      TVAM

                                                                                                                                      High Art Lite

                                                                                                                                        TVAM self-released his much-acclaimed debut Psychic Data in the autumn of 2018, something of a cult-classic, the album joined the dots between Suicide’s deconstructed rock ’n’ roll, Boards of Canada’s irresistible nostalgia and My Bloody Valentine’s infinite noise. Psychic Data spawned an ‘Album Of The Day’ at BBC 6Music whilst signature tune ‘Porsche Majeure’ featured in HBO’s smash-hit ‘Succession’.

                                                                                                                                        Fast forward the VCR to 2022, High Art Lite takes a different tilt to its predecessor by emphasising the immediate and the personal.The colours are blown-out and the brightness is cranked up.TVAM’s take on role models, fictional movie character tropes, and fables of good and evil, are all tackled with the same suspicious cynicism but this time with an urgent belief in the human condition.

                                                                                                                                        A heady mix of Black Mirror’s modern fables, JG Ballard’s gated communities of sun-drenched wealth, and Mulholland Drive’s boulevard of broken daydreams, High Art Lite offers an all-inclusive package of redemption.

                                                                                                                                        High Art Lite is the first-ever Dinked Edition collaboration with Invada Records.

                                                                                                                                        TRACK LISTING

                                                                                                                                        Side A
                                                                                                                                        Future Flesh
                                                                                                                                        Every Day In Every Way
                                                                                                                                        Club Nautico (Part 1)
                                                                                                                                        Piz Buin
                                                                                                                                        Double Lucifer
                                                                                                                                        Shallow Ends
                                                                                                                                        Side B
                                                                                                                                        Semantics
                                                                                                                                        Say Anything
                                                                                                                                        Host
                                                                                                                                        Club Nautico (Part 2)
                                                                                                                                        High Art Lite

                                                                                                                                        SLUG

                                                                                                                                        Thy Socialite!

                                                                                                                                          “I started to think about what I could do to challenge my own listeners,” says Ian Black aka SLUG. “And what would be my angle without just releasing 40 minutes of generic bad music?”

                                                                                                                                          This was a question that Black found himself asking after thinking about albums made by revered artists who released specific records that some of their loyal fanbase hated - Arctic Monkeys and Tranquillity Base Hotel and Casino, Leonard Cohen and Death of a Ladies Man, Lou Reed and Berlin. “My friend likened Lou’s Berlin to ‘Andrew Lloyd Webber on a horrendous drug come down’. Andrew Lloyd Webber on a horrendous drug come down? That sounds amazing!”

                                                                                                                                          Although Thy Socialite!, the first release from Field Music’s new record label Daylight Saving Records, is not the sound of Lloyd Webber quivering and sweating in a rotting Berlin flat but instead, a fun, joyous, audacious record of hard rock, glam, and pop that ranges from arena to art school. “I wanted to include a more rockist palette,” Black says. “My last album, Higgledypiggledy, had influences including The Cardiacs, Prince and The Residents. For this one I wanted to see what I could get out of less indie audience friendly artists such as Toto, Sweet, Wings, Def Leppard and ZZ Top and merge it with a SLUG sensibility. Due to the more rock approach, I was happy for the album to become a big classic rock unit - pompous even.”

                                                                                                                                          However, simply a pastiche and nostalgic throwback this isn’t. Despite the playful nods to some of the more grandiose, theatrical and overblown elements of the aforementioned genre, it’s also an album with a contemporary pop edge, slick production and a tangible connection to SLUG’s previous deft mix of indie, rock and art pop.

                                                                                                                                          The result of all of this is an album that is fun and unpredictable but also conceptually smart, ambitious and adventurous. A place where classic hard rock and smart art-pop are treated equal, and where taking the piss doesn’t have to equate to being novelty or disposable. It was all part of the challenge that Black set himself from the off when he asked himself “how could I challenge the SLUG listener but bring them on a new fresh journey which will confuse them at first but they will ultimately love?”

                                                                                                                                          For David Brewis of Field Music, it was the ideal first record to kick off their new label. "This seemed like the perfect start for Daylight Saving Records," he says. "We've always loved what Ian does and it's been a thrill over the years to help Ian dig these wild musical ideas out from his brain. Now we can have a hand in putting them into people's ears too."


                                                                                                                                          STAFF COMMENTS

                                                                                                                                          Martin says: A reasonably bonkers, shockingly cohesive mashing together of spiky math-rock, dreamy prog and slick indie music that never strays far enough from the melody to be prohibitive. There are definitely echoes of fellow North-Easterner Richard Dawson here too and that's certainly no bad thing.

                                                                                                                                          TRACK LISTING

                                                                                                                                          Side A
                                                                                                                                          Insults Sweet Like Treacle
                                                                                                                                          Please Turn It Up
                                                                                                                                          Casual Cruelty
                                                                                                                                          Instant Reaction
                                                                                                                                          Honestly Subjective 'Bout Your Own Thing
                                                                                                                                          Lovingly Legerdemain
                                                                                                                                          Wow (Whatta Gurl)
                                                                                                                                          Side B
                                                                                                                                          Depends On What You Think Is Nice
                                                                                                                                          Be A Good Martyr!
                                                                                                                                          Settled With A Wink
                                                                                                                                          I Love That Actually
                                                                                                                                          Silly Little Things That We Do
                                                                                                                                          Cut Of Your Jib

                                                                                                                                          Italia 90

                                                                                                                                          Living Human Treasure

                                                                                                                                            RIYL: Folly Group / M(h)aol / The Murder Capital / LIFE / Crack Cloud / Squid / CROWS

                                                                                                                                            Italia 90 release their debut album Living Human Treasure on Jan 20th on Brace Yourself Records. The London based 4-piece have released a number of singles and EPs since their breakthrough and have steadily built a cult following in England and mainland Europe. Italia 90 have received critical acclaim from publications such as DIY Magazine, The Quietus, So Young as well as extensive coverage at BBC 6music - with Steve Lamacq in particular offering continued support. Across the album, tracks from the band’s earliest days (New Factory, Competition) sit side by side with newer tracks, in a breadth of new styles for the band. "We consciously drew on elements from other genres, like new wave, goth rock, post-hardcore, jazz, jungle and ranchera that have inspired us but which we hadn't incorporated into our music previously”.

                                                                                                                                            To record the album, the band decamped to the residential Echo Zoo studio in Eastbourne. With five days booked – far longer than the band had ever recorded for in the past – the whole album was tracked within two days with producer Louis Milburn. For the rest of the allotted time, they explored the nooks and crannies of the building and the bounty of unusual instruments lying around to add mystical textures to the bones of the songs.

                                                                                                                                            Italia 90's songs aim to be timeless. Like the painting on the album’s cover, which shows a crowd of people all facing away from the viewer, the idea of the collective takes precedence over the individual. “I care deeply about the things that I’m singing about,” says singer, Les Miserable, “but I don’t think that it needs to be me that is saying it. I have my point of view, and think that the ideology that I’m forwarding in the songs is correct, and very important, but it’s not important that it’s me saying them. If I did, I would already be contradicting the things that I am saying in the songs.”

                                                                                                                                            This philosophy is the sign of a band going against the grain and stopping to really consider their statements, both musically and lyrically, rather than hopping on trends. Across their debut album, Italia 90 step off the relentless, exhausting hamster wheel and create something fantastic with the abundance of ingredients already here, pointing a different way forwards.


                                                                                                                                            TRACK LISTING

                                                                                                                                            Side A
                                                                                                                                            1. Cut
                                                                                                                                            2. Leisure Activities
                                                                                                                                            3. Magdalene
                                                                                                                                            4. Competition
                                                                                                                                            5. New Factory
                                                                                                                                            Side B
                                                                                                                                            6. The MUMSNET Mambo
                                                                                                                                            7. Funny Bones
                                                                                                                                            8. Golgotha
                                                                                                                                            9. Does He Dream?
                                                                                                                                            10. Tales From Beyond
                                                                                                                                            11. Harmony

                                                                                                                                            DInked Edition Bonus 7":
                                                                                                                                            Side A 7”
                                                                                                                                            1. This Is Not My Fire (exclusive New Song)
                                                                                                                                            2. Ghosts (Japan Cover)
                                                                                                                                            Side B 7”
                                                                                                                                            An Audio Story By Les Miserable And J Dangerous

                                                                                                                                            Rozi Plain

                                                                                                                                            Prize

                                                                                                                                              Rozi Plain returns with new album ‘Prize’ on Memphis Industries. 

                                                                                                                                              Don’t ask Rozi Plain to explain her spellbinding fifth album Prize. Its ten, magical tracks exist as if in another realm, where feelings matter more than meanings, where thoughts have room to roam and where you can live in the moment for as long as you like.

                                                                                                                                              Rozi’s signature, free-floating sound was set with her 2015 breakthrough Friend and cemented with 2019’s globally adored What A Boost (‘Like slipping between cotton sheets’ was Pitchfork’s description). Prize builds on both, but takes its cues from elsewhere. By a stretch, it’s Rozi’s most upbeat and daring album to date.

                                                                                                                                              References to disco and rave, saxophone treated to sound like strings, silly synths and harp all play a part. Economy is key – every sound has an impact out of proportion to its size, every texture pays dividends. Rozi’s bewitching vocals are bolder and brighter than ever before. Male and female backing vocals feel like friends dropping by.

                                                                                                                                              Begun pre-pandemic and composed and recorded everywhere from Glasgow and the Isle of Eigg to a seaside village in French Basque Country, Margate and London’s legendary Total Refreshment Centre, Prize may sound effortless but creating each song was as industry intensive as spinning a spider’s web. A cast of 15 feature, including Kate Stables, with whom Rozi has toured for the past decade in This Is The Kit, contemporary jazz titan Alabaster De Plume and Minneapolis based saxophonist Cole Pulice.


                                                                                                                                              STAFF COMMENTS

                                                                                                                                              Barry says: Aaah, it's always lovely to hear some more Rozi plain, and 'Prize' is by far her most spellbinding and focused work yet. The perfect backdrop to Plain's airy vocals has always been the more off-kilter instrumental backing (Múm's perfectly chaotic brand of childlike electronica comes to mind), and here we get the syncopated rhythms and jangling guitars of old, but with a more layered, intricate core. It's both beautifully meditative and hugely uplifting, the perfect balance.

                                                                                                                                              TRACK LISTING

                                                                                                                                              Side A
                                                                                                                                              Agreeing For Two
                                                                                                                                              Complicated
                                                                                                                                              Help
                                                                                                                                              Prove Your Good
                                                                                                                                              Side B
                                                                                                                                              Painted The Room
                                                                                                                                              Sore
                                                                                                                                              Spot Thirteen
                                                                                                                                              Standing Up

                                                                                                                                              Saint Jude

                                                                                                                                              Signal

                                                                                                                                                Jude Woodhead AKA Saint Jude is a born and bred South London based producer who first approached songwriting after being diagnosed with Tinnitus which prevented him from pursuing his DJ career. While his previous works found space between genres, with elements of indie, ambient pop, hip-hop, Uk garage and noise, his debut self-produced album 'Signal' rejects the limitations of genres altogether while anchoring his music firmly in the sounds of his native South London.

                                                                                                                                                Conceptualized during the lockdown in 2020, ‘Signal’ is a self-portrait about coming of age during a time of political crisis and social change.

                                                                                                                                                Enlisting the help of past collaborators and friends (Aga Ujma, Low Loudly - Sarah from Drug Store Romeos - Louis Culture, Trim, HALINA and Zeke Ultra), Jude uses a wide range of voices to communicate different perspectives on his subject matter.

                                                                                                                                                BIO:
                                                                                                                                                Jude has, been around since the beginning, playing one of the first Slow Dance parties in a west London warehouse. His sound stems from his youthful and immersive club experiences. Bringing that electronic intoxication back to his bedroom to create music comparable to the electronic sound of Archy Marshall and Mount Kimbie. Jude Woodhead’s material under his own name ‘Beautiful Rain’ and ‘For The Birds’ revealed an exciting new producer in his teens with potential to carve out a similar space to Floating Points, Four Tet, Joy Orbison, and RJD2. Written at 16, 'Beautiful Rain’ brought Graceland to Forest Hill. He repeated the feat on follow-up ‘For The Birds’. With its emotive Arabic vocal line, courtesy of his friend Rachida, an i-D profile entitled "The Captivating Sound of Jude Woodhead'' acknowledged the teenager had "created something truly special.” Jude’s second single under the moniker Saint Jude, ‘Head Is Spinning’ followed ‘Deaf Ears Blind Years’ in its nostalgia for the sweat soaked nights and steamy dance floors of his formative years. It was in those clubs that Jude, a budding DJ, developed tinnitus, drawing him back into the bedroom to work on music that could be played at quieter volumes. ‘Head Is Spinning’ evokes the ecstasy and naivety of those early nights. Inspired by Caribou’s idea of liquid dance music, in which the arrangement is never static, ’Head Is Spinning’ crescendos along with a four-on-the-floor beat, carried by vocals by Poppy Billingham (Sunken). Jude’s musicality has run through his songwriting, production and beat-making from the start. With a sound that nods to everyone from Mount Kimbie to William Basinski Jude’s approach is honest, eclectic and raw. His full debut EP was released under the name Saint Jude in October of 2019.


                                                                                                                                                TRACK LISTING

                                                                                                                                                Side A
                                                                                                                                                Does
                                                                                                                                                Halfway
                                                                                                                                                Late Summer
                                                                                                                                                Signal Ft. Trimm
                                                                                                                                                Barrel Of A Gun (Side A Ending)
                                                                                                                                                Side B
                                                                                                                                                Signal Ft. Louis Culture
                                                                                                                                                No Angels
                                                                                                                                                Feedback Song
                                                                                                                                                What You Don’t Want Me To Be
                                                                                                                                                Signal Ft. Halina
                                                                                                                                                Rosa
                                                                                                                                                To Repel Ghosts

                                                                                                                                                Dinked Edition Bonus 7”
                                                                                                                                                Side A
                                                                                                                                                Garden Ft. Fredwave
                                                                                                                                                Side B
                                                                                                                                                Alright, All Tied

                                                                                                                                                Craig Armstrong

                                                                                                                                                As If To Nothing - 2023 Reissue

                                                                                                                                                  Award-winning Scottish composer Craig Armstrong’s trailblazing 2002 album ‘As If To Nothing’ receives 20th anniversary first-ever vinyl release on Hydrogen Dukebox.

                                                                                                                                                  Twenty years on from its original release, Craig Armstrong’s ‘As If To Nothing’ - his electronic/orchestral masterpiece featuring musical heavyweights Bono, Mogwai, Evan Dando, King Crimson and others - is being reissued for the first time on vinyl in a super-deluxe, super-limited edition run via Hydrogen Dukebox.

                                                                                                                                                  Remastered at Abbey Road Studios and cut at half-speed to produce a superior sound quality, the release comes completely repackaged with reimagined artwork by award-winning designer Christopher Thomson and there's also a special 'Dinked Archive Edition' version limited to just 500 copies worldwide including a bonus 10" of a newly unearthed track from the original recording sessions.

                                                                                                                                                  ‘As If To Nothing’, Armstrong’s second solo album following 1998’s ‘The Space Between Us’, is a timeless, groundbreaking record that marries stunning string arrangements, atmospheric electronics and contemporary popular music.

                                                                                                                                                  Originally released on renowned UK electronic outfit Massive Attack's label Melankolic, the record captures an enduring mood and sentiment that continues to enchant listeners today, from the stirring opener ‘Ruthless Gravity’ to the euphoric closing of ‘Choral Ending’. Armstrong’s collaborative work with Massive Attack on the 1994 album ‘Protection’ is an influence that can be heard throughout ‘As If To Nothing’:
                                                                                                                                                  “It was a very particular time musically within Britain, and the world”, he says. “To be part of the label, Melankolic, and working with Massive Attack, was a unique moment in time. They gave me real freedom to do what I wanted. The album was ahead of its time, I think - it still sounds pure and contemporary.”
                                                                                                                                                  “A lot of younger acts have contacted me over the years to say how seminal the album has been to them. One of the great things is that people have never stopped listening to the album. To have it reissued and released on this first-ever vinyl package is a very special thing to me.”

                                                                                                                                                  The album features a cast of luminaries including Bono on ‘Stay (Farway, So Close!’), Mogwai on ‘Miracle’ and Lemonheads’ Evan Dando ‘Wake Up In New York’, as well as producer Photek, soul singer David McAlmont, Alpha vocalist Wendy Stubbs, and Antye Greie-Fuchs, and a sample of King Crimson’s ‘Starless’ on ‘Starless II’. Praise for the album at the time of its release included Pitchfork ("Powerfully evocative and serene") and Rolling Stone ("[Armstrong] makes Bono sound like a fallen angel on a majestic remake of "Stay (Faraway, So Close!)".

                                                                                                                                                  Through his orchestral writing, electronic compositions and wide-ranging artistic collaborations in classical and film music, Craig Armstrong’s work has received worldwide acclaim. Armstrong is widely known for composing award winning film music, having scored both Hollywood and independent films, from Peter Mullan’s directorial debut 'The Close Trilogy' to the BAFTA, Ivor Novello and Golden Globe-winning award scores for Baz Luhrmann’s 'Romeo and Juliet', 'Moulin Rouge!' and 'The Great Gatsby'.

                                                                                                                                                  His film scoring has also featured in many other popular films including 'The Quiet American', 'Orphans', 'Love Actually', 'World Trade Centre', 'Elizabeth: The Golden Age', 'Far From The Madding Crowd', and 'Ray!', with the latter awarded a Grammy for Best Original Score. And several collaborations with Oliver Stone, ‘World Trade Center’ and ‘Snowden’.

                                                                                                                                                  The reissue of ‘As If To Nothing’ is a fitting celebration of this exemplary album’s 20th anniversary, and an opportunity to own this key record from Armstrong’s celebrated body of work on vinyl for the first time.


                                                                                                                                                  TRACK LISTING

                                                                                                                                                  Side A
                                                                                                                                                  Ruthless Gravity
                                                                                                                                                  Wake Up In New York
                                                                                                                                                  Miracle
                                                                                                                                                  Amber
                                                                                                                                                  Side B
                                                                                                                                                  Finding Beauty
                                                                                                                                                  Waltz
                                                                                                                                                  Inhaler
                                                                                                                                                  Hymn 2
                                                                                                                                                  Side C
                                                                                                                                                  Snow
                                                                                                                                                  Starless II
                                                                                                                                                  Stay
                                                                                                                                                  Side D
                                                                                                                                                  Niente
                                                                                                                                                  Sea Song
                                                                                                                                                  Let It Be Love
                                                                                                                                                  Choral Ending



                                                                                                                                                  Sarathy Korwar

                                                                                                                                                  KALAK

                                                                                                                                                    Sarathy Korwar returns with new album KALAK. The follow up to the politically charged, award-winning More Arriving is an Indo-futurist manifesto - in rhythmic step with the past and the present, it sets out to describe a route forward. It celebrates a rich South Asian culture of music and literature, which resonates with spirituality and community, while envisaging a better future from those building blocks.

                                                                                                                                                    Recorded at Real World studios with meticulous production by New York electronic musician, DJ and producer Photay, who translates these communal rhythms and practices into a timeless and groundbreaking electronic record. There’s a spirituality and warmth at play in the polyrhythms, group vocals and melodic flourishes.

                                                                                                                                                    The KALAK rhythm is the fulcrum upon which the 11-track project balances. After an intense lockdown induced period of reflection and meticulous note-making, Korwar boiled this down to the circular KALAK symbol which he then presented to his band before recording began. With the symbol projected on the walls in order to de-code and improvise around, Korwar had utter faith in the musicians he’d assembled and conviction in the concept.

                                                                                                                                                    The final part of the KALAK project is realised in the cover artwork by New Delhi-based designer Sijya Gupta. Korwar and photographer friend Fabrice Bourgelle took a light sculpture of the KALAK symbol on a road trip around Southern India, through Chennai, Pondicherry and Auroville. The evocative shots appear on the cover of the various formats, with each one offering a different angle on the country, continent and culture that inspired the album.

                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                    Barry says: A stunning selection of rhythmic counterpoints and vocal melodies, falling somewhere between deep house, traditional South Asian communal chant and jazzy funk. It's an intoxicating listen throughout. Ace.

                                                                                                                                                    TRACK LISTING

                                                                                                                                                    1. A1. A Recipe To Cure Historical Amnesia
                                                                                                                                                    2. A2. To Remember (feat. Kushal Gaya)
                                                                                                                                                    3. A3. Utopia Is A Colonial Project
                                                                                                                                                    4. A4. Back In The Day, Things Were Not Always Simpler (feat. Noni-Mouse)
                                                                                                                                                    5. A5. The Past Is Not Only Behind Us, But Ahead Of Us
                                                                                                                                                    6. B1. Kal Means Yesterday And Tomorrow
                                                                                                                                                    7. B2. Remember Begum Rokheya
                                                                                                                                                    8. B3. That Clocks Don’t Tell But Make Time (feat. Kodo)
                                                                                                                                                    9. B4. Remember Circles Are Better Than Lines
                                                                                                                                                    10. B5. Remember To Look Out For The Signs
                                                                                                                                                    11. B6. KALAK - A Means To An Unend

                                                                                                                                                    Girls In Synthesis

                                                                                                                                                    The Rest Is Distraction

                                                                                                                                                      Experimental post-punk outfit Girls In Synthesis release the eagerly anticipated follow-up to 2020’s incendiary debut, ‘Now Here’s An Echo From Your Future’. Entitled ‘The Rest Is Distraction’, its mix of fractured guitar, crushing drums and bass, intense vocals and lyrical content - create as challenging a record as you will hear this year.

                                                                                                                                                      Formed in 2016, Girls In Synthesis are John Linger (bass / vocals), Jim Cubitt (guitar / keys) and Nicole Pinto (drums). The trio’s double a-sided debut single ‘The Mound’/’Disappear’ came out in the early part of 2017, and since then they have established themselves as the most forward thinking, viscerally challenging band around with unmissable live shows that continue to excite and astound in equal measure.

                                                                                                                                                      Recorded last year amidst the uncertainty of continuous lockdowns as a result of the global Covid-19 pandemic, ‘The Rest Is Distraction’ is far darker in content than its predecessor. Mainly exploring internal and mental struggles as opposed to external current affairs, it focuses on the claustrophobia of emotional anguish and continues to bravely delve into previously un-ventured topics. Featuring frequent collaborators funkcutter and Stanley Bad on horns and violin, respectively, two songs also see Eleni Poulou, ex-The Fall, on keyboards. The album was mixed by long-term collaborator Max Walker, and features stunning landscape photography by Bea Dewhurst. The album was mastered in France by Ayumu Matsuo.

                                                                                                                                                      Sonically atramentous and less one dimensional than the band’s debut, ‘The Rest Is Distraction’ takes its cues from ‘Join Hands’ era Siouxsie & The Banshees, Brainiac and Crass’ ‘Christ The Album’, among others. From the first crackle of electricity on the opening track, to the heart wrenching taped voice-recording on the final outro, this LP triumphantly retains every ounce of intensity and vitality that makes Girls In Synthesis the most captivating band to emerge from the UK DIY underground in recent years. Listeners will find ‘The Rest Is Distraction’ a challenging, yet ultimately cathartic listen. Prepare yourselves for a sonic cleansing, Girls In Synthesis style.

                                                                                                                                                      TRACK LISTING

                                                                                                                                                      Side A
                                                                                                                                                      1. It’s All Beginning To Change
                                                                                                                                                      2. Watch With Mother
                                                                                                                                                      3. Total Control
                                                                                                                                                      4. Swallowed Pill
                                                                                                                                                      5. Screaming
                                                                                                                                                      6. My Husband
                                                                                                                                                      Side B
                                                                                                                                                      1. Cottage Industry
                                                                                                                                                      2. Not As I Do
                                                                                                                                                      3. Lacking Bite
                                                                                                                                                      4. Your Prayers Have Changed
                                                                                                                                                      5. To A Fault

                                                                                                                                                      Abraxas

                                                                                                                                                      Monte Carlo

                                                                                                                                                        Carolina Faruolo (ex-Los Bitchos) and Danny Lee Blackwell (Night Beats) had been friends and mutual admirers of each other’s musical projects for years, though with Faruolo residing in the UK and Blackwell residing in Texas, their interactions were limited. Yet as was so often the case for many of us during the shelter-in-place stretches of 2020, geographic proximity wound up being a non-issue as our socializations became almost exclusively online endeavors. In this era of isolation and uncertainty, Faruolo and Blackwell invented their own private escape to Latin rhythms, colorful vistas, and smoky revelries under the project name of Abraxas. Combining their shared love of Wendy Renee, Los Destellos, doo-wop and R&B, they crafted their debut album Monte Carlo by bouncing ideas across the Atlantic.

                                                                                                                                                        “Planet Abraxas is a world filled with jungles, mist-covered rivers, panthers lurking in the night, desolate shopping malls, Neolithic citadels and sand-worn walls,” Blackwell says of the muse behind Monte Carlo. “The nights are usually dense with fog and the air is filled with the sounds of cicadas and faraway drumming.” This visual manifestation of their sound stands in stark contrast to the environment in which the songs were written. “I remember the feeling I got the first time Danny added vocals to one of my tracks,” Faruolo recalls. “I was sitting on my sofa in rainy Manchester in the middle of winter. I pressed play and the song just made my heart jump. It instantly felt special and, more importantly, it felt like a perfect portrait of both of us.”

                                                                                                                                                        Uruguayan-born Faruolo grew up with the tropical beats of cumbia and the psychedelic flavor of classic chicha artists, and it became her mission to infuse those sunny influences in her work as a UK musician. Blackwell’s work under the Night Beats handle involves the fusion of outlaw soul and R&B with a resourceful DIY spirit. Despite the apparent contrast in their styles, the two musicians bonded over their reverence for Selena and Sade, exemplars of the humid pulse and sultry spirit of their respective approaches. As Abraxas, their distinctive musical perspectives created a sound that encompassed the tropicalia of Os Mutantes, the scrappy songwriting of Cleaners From Venus, and the trippy production of Lee “Scratch” Perry, though the duo is quick to assert that they were finding their own distinctive voices rather than adhering to pre-existing stylistic codes and constraints. And indeed, Monte Carlo feels rooted in tradition but blossoms into its own unique timbres and vibrations.

                                                                                                                                                        Monte Carlo opens with “Sunrise State (of Mind),” where a hypnotic cumbia beat serves as the bedrock for cosmic guitar leads, hazy choral melodies, and Blackwell’s seductive vocals. From there, the album continues its steady Latin pulse on “Mañana,” a perfect soundtrack to feverish nights in dancehalls, sipping on caipirinhas and sharing cigarettes with strangers on the dancefloor. Across its twelve tracks, Monte Carlo unfurls a myriad of exotic influences, from the Eastern melodies and guitar trills on “Sultan,” through the dub-inflected stomp and scorching fuzz of “La Estampida,” and on to the Anatolian psych-funk of album closer “Göbekli Tepe.”

                                                                                                                                                        Blackwell recorded his contributions with the assistance of engineer Chris Maciel at his studio the 22nd Dimension in Pomona, California and Faruolo recorded her parts in Manchester, England at Brunswick Mill. While Abraxas conceived their material in bedrooms and studios six timezones apart, the music on Monte Carlo sounds like a live band in the throes of an ecstatic performance. And Abraxas plans to make the live incarnation of the band a reality when conditions allow for it. Until then, listeners can bask in the invented world of Abraxas and all its exotic and enticing splendor across the twelve tracks of Monte Carlo. Suicide Squeeze Records is proud to present Monte Carlo to the world later in 2022 on digital and vinyl formats.

                                                                                                                                                        TRACK LISTING

                                                                                                                                                        Side A
                                                                                                                                                        1. Sunrise State (Of Mind)
                                                                                                                                                        2. Mañana
                                                                                                                                                        3. Sultan
                                                                                                                                                        4. Monte Carlo
                                                                                                                                                        5. La Estampida
                                                                                                                                                        6. Hourglass
                                                                                                                                                        Side B
                                                                                                                                                        1. Prismatic
                                                                                                                                                        2. Yes
                                                                                                                                                        3. Golden
                                                                                                                                                        4. Fuji
                                                                                                                                                        5. Shapeshifter
                                                                                                                                                        6. Göbekli Tepe

                                                                                                                                                        Peel Dream Magazine

                                                                                                                                                        Pad

                                                                                                                                                          With his third album as Peel Dream Magazine, Joseph Stevens beckons you toward a fabulist, zig-zag world entirely of his own design. On ‘Pad’, he eschews the fuzzy glories of his indie pop past – vibraphone trembles while chamber strings take center stage. The curtains lift to reveal banjo. Chimes. Farfisa. And as he lets out a moan atop the album’s title track, it becomes clear that this is no ordinary performance. A conceptual work about losing oneself when all they have is themself, ‘Pad’ gestures towards an exciting new future for Stevens’ pop moniker by reimagining its own very existence.

                                                                                                                                                          The follow-up to 2020’s breakthrough album ‘Agitprop Alterna’, ‘Pad’ presents a major sonic evolution for the 34 year old songwriter, who moved to Los Angeles amid the cataclysm that same year. Seventies era drum machines and synthesizers remain here, but he’s traded his buzzing offset guitar for a nylon-string, opting for a gentle baroque pop sound steeped in Bossa, folk, and its own eerie mysticism. Alongside mid century touchstones like Burt Bacharach, Stevens draws on the cultishly-beloved tinkerings of late-1960s Beach Boys, offering a surreal melange of vintage organs and found percussion, as well as Harry Nilsson’s 1970 song tapestry ‘The Point!’.

                                                                                                                                                          And similar to ‘The Point!’, ‘Pad’ is a conceptual work reflecting on isolation and identity. The album tells a bedtime story in which Stevens’ bandmates kick him out of Peel Dream Magazine – banished and now without purpose, he sets out on a journey to rejoin the band. Misadventures ensue, such as when he joins a cult on “Self Actualization Center”, featuring friend and oft collaborator Winter. But this is also music that’s purely pleasurable in its own context, as our protagonist explores the boundaries of easy-listening with discordant textures, and bleeps and bloops that tickle. Songs like “Pictionary” chime delicately with sinister intent, evoking a palette that is outright Mod. ‘Pad’ also recalls the space age bachelor stylings of Stereolab and The High Llamas, with an occult twist that borrows from Tropicalia legends Os Mutantes.

                                                                                                                                                          There’s an unmoored frivolity to ‘Pad’, standing in stark contrast to the severe, droning motorik of Steven’s previous albums. Overwhelmed by the political upheaval of the day, he reimagines what Van Dyke Parks once referred to as musical counter-counterculturalism, blurring the line between blithe escapism and pointed subversion. “I felt like there was no other way for me to authentically react to what was happening than to make this record”. The album also draws on library music from the same era to similar effect, conjuring the likes of Basil Kirchin and Pierro Piccioni, as well as Stevens’ newfound arranging skills, honed composing advertisement scores as a day job.

                                                                                                                                                          While ‘Pad’ sounds beautiful, there’s a certain darkness to it as well. Stevens is addressing our general ambivalence toward the future of everything we know, informed partly by his time in New York at the onset of the pandemic. On “Hiding Out”, he laments: Wander past the Vernon Mall, and up to Queensboro Bridge. Made to feel I’m two feet small, but that’s no way to live. Ultimately, Stevens is embracing a first-thought-best-thought approach, leaning into the fantastical elements of his own life story. ‘Pad’ is as archetypal as it is strange, blurring the very lines that it asks to be defined by. Art imitates life, but life imitates art too – and the results can sometimes be unpredictable.


                                                                                                                                                          TRACK LISTING

                                                                                                                                                          Not In The Band
                                                                                                                                                          Pad
                                                                                                                                                          Pictionary
                                                                                                                                                          Wanting And Waiting
                                                                                                                                                          Self-Actualisation Centre
                                                                                                                                                          Walk Around The Block
                                                                                                                                                          Hamlet
                                                                                                                                                          Penelope’s Suitors
                                                                                                                                                          Hiding Out
                                                                                                                                                          Jennifer Hindsight
                                                                                                                                                          Reiki
                                                                                                                                                          La Sol
                                                                                                                                                          Message The Manager
                                                                                                                                                          Roll In The Hay
                                                                                                                                                          Back In The Band

                                                                                                                                                          Breanna Barbara

                                                                                                                                                          Nothin' But Time

                                                                                                                                                            The Minnesota-born, Florida-raised, NYC-based artist Breanna Barbara’s 2nd album - ‘Nothin’ But Time - is a raw and immersive trip through the sounds of psychedelic rock and blues, anchored by her forceful vocals and unforgettable songwriting. Sporting a sound that feels classic and of-the-moment at the same time, Nothin’ But Time is the next chapter in Barbara’s exciting career, cementing her as an artist who’s committed to plumbing new emotional depths as she bursts through every sonic barrier put in her way.

                                                                                                                                                            Nothin But Time arrives following Breanna’s 2016 debut Mirage Dreams, a trio of critically acclaimed singles (most recently ‘New Moon’) and a number of collaborations with legendary trip-hop vanguard Tricky. As well as joining his US touring band as lead female vocalist, Breanna also did an official rework of his 'When We Die' track and featured on the 2021 Lonely Guest album, False Idols.

                                                                                                                                                            For the recording of Nothin’ But Time Barbara and her band returned to Nashville’s Bomb Shelter studio with Andrija Tokic (Alabama Shakes, Hurray For The Riff Raff) – with whom she recorded Mirage Dreams. With musical contributions from Jack Lawrence (The Dead Weather), Tall Juan, Derry DeBorja (Jason Isbell), and Champagne Superchillin’s Ben Trimble and Charles Garmendia, the album was put to tape in the months prior to the COVID-19 pandemic: “I’d learned so much since the last time we were in the studio that I knew I could have a stronger voice getting back into the studio again.”

                                                                                                                                                            Nothin’ But Time reflects Barbara’s headlong journey into the world of psychedelic rock and pop, mixing these heady styles with her already established hard-driving blues-rock approach with warped theremin tones as well as celestial vibes courtesy of DeBorja’s own synth wizardry, as Barbara and her band sought out to create mind-expanding music that’s also firmly rooted in the real.

                                                                                                                                                            There’s the organ-rich ecstasy of “You Got Me High” and the hair-raising, Cat Power-recalling intimacy of “Devil”; “Me Too” is a searing rumination on the patriarchy’s oppressiveness over punchy strings, while opener “Diamond Light” features rolling drums and miles-long guitar lines, as Barbara’s voice cuts through the atmosphere while ruminating on nostalgia and the perils of looking back. “We can look at things so beautifully, but in hindsight they have another facet to them,” she explains regarding the lyrical perspective.

                                                                                                                                                            Over the driving beat of “Landslide,” Barbara zooms in on the ways that fate affects our daily living, and the complications that come from taking the wheel yourself. “I’ve been trying to trust my intuition more as I get older,” she explains. “I’m very impressionable, so I find it best for me to focus when there’s nothing else around to influence my decision.” Then there’s the howling title track, which takes on the heavy subject matter of facing down death itself.

                                                                                                                                                            “Death has always been something that’s hung over my head,” Barbara ruminates while discussing the song. “The idea that we have nothing but time makes me want to throw everything in the air, but I also want to hold on to everything so tightly that I don’t want to move forward.” And ‘Nothin’ But Time’ is defined by such honest self-expressions—a fearlessness that’s at the core of her artistic outlook and overall way of being. “I’m all about not being afraid of your own voice,” Barbara states. “The way out of the hardest times is deep within you. You are enough.”


                                                                                                                                                            TRACK LISTING

                                                                                                                                                            Side A
                                                                                                                                                            1) Diamond Light
                                                                                                                                                            2) Landslide
                                                                                                                                                            3) Nothin’ But Time
                                                                                                                                                            4) Rise
                                                                                                                                                            5) Me Too
                                                                                                                                                            6) Weight Of The World
                                                                                                                                                            Side B
                                                                                                                                                            7) You Got Me High
                                                                                                                                                            8) Exist
                                                                                                                                                            9) Old Soul
                                                                                                                                                            10) Devil
                                                                                                                                                            11) Weaning

                                                                                                                                                            Brutus

                                                                                                                                                            Unison Life

                                                                                                                                                              When times are tough, or you’re feeling worn down, you start longing for a life of total peace. A life where there are no fights, arguments or lies; where there is no such thing as disappointment and your actions have no consequences. Some might call it a “fantasy world”. Genre-jumping Belgian trio Brutus call it the “Unison Life” – a phrase that titles their third studio album. Unison Life is about all the stuff that wears you down in the first place. It’s the ugliness, the pain, and the acts of bravery that get you through it all. Beginning with a portrait of contentment and unravelling from there, the album goes into battle and asks what really counts. In their own words: “Is this Unison Life a hoax? Or a quest?”

                                                                                                                                                              Since their formation in 2014, Brutus have made a name for themselves with their restless, emotionally raw rock that traverses the landscape of metal, punk, post-hardcore and beyond – often in the same song. The three members first met in their hometown of Leuven, where they cut their teeth playing in different local bands. Their influences are wide and varied. Drummer/vocalist Stefanie Mannaerts – who grew up above a music shop run by her family – is into a variety of genres from post-metal to electronic music. Bassist Peter Mulders is more of a punk guy, while guitarist Stijn Vanhoegaerden is into country and more melodic rock. Their diverse tastes come together through Brutus to create a sound that’s as heavy as it is unexpected, full of beauty and surprises.


                                                                                                                                                              TRACK LISTING

                                                                                                                                                              A1 Miles Away
                                                                                                                                                              A2 Brave
                                                                                                                                                              A3 Victoria
                                                                                                                                                              A4 What Have We Done
                                                                                                                                                              A5 Dust
                                                                                                                                                              B1 Liar
                                                                                                                                                              B2 Chainlife
                                                                                                                                                              B3 Storm
                                                                                                                                                              B4 Dreamlife
                                                                                                                                                              B5 Desert Rain



                                                                                                                                                              A.O. Gerber

                                                                                                                                                              Meet Me At The Gloaming

                                                                                                                                                                When we pick apart the pieces of our past, and turn them over in our hands, they can feel weighted, worn, and weathered with the smog of perspective. And as we try to stitch them together, how do we navigate our own pattern when what we might’ve been taught is too binary, too black and white, a thread woven too tight?

                                                                                                                                                                On her new album Meet Me at the Gloaming, A.O. Gerber carefully grapples with the constraints she was taught as a child to reach for the flourishing that comes when we look past the black and white, and into the gray gauze of the in-between. “I was thinking about how damaging it can be to exist in that binary space of good and evil,” Gerber explains. “When we see everything in either/or’s, we lose the nuance and complexity that make life rich enough to be worth living.” By interlocking memory and imagination, Gerber crafts a gleaming future, where the light and the dark don’t just coexist––they create a new color entirely.

                                                                                                                                                                Gerber’s debut LP Another Place To Need (2020) garnered critical acclaim for its candid, orchestral ruminations on splintered relationships and the cage of overthinking. While that record took three years to complete, and saw Gerber collaborate with much of her musical community in Los Angeles and the Bay Area – including Sasami, Madeline Kenney, Marina Allen and Noah Weinman (Runnner) – Gerber stripped back the team for Meet Me at the Gloaming. Once again co-producing with Madeline Kenney, Gerber shunned the usual process of seeking constant feedback, and instead leaned into a more isolated process, later producing much of the record at home. “I found a lot of healing while making this record because I had to be the person to call the shots,” she says. “I realized that I can exist as a musician completely outside of other people’s opinions of me.” Recording at Kenney’s home studio on nights and weekends in-between their day jobs, Alex Oñate joined Gerber and Kenney on drums while Gerber also collaborated remotely with Megan Benavente on bass and Lauren Elizabeth Baba on violin and viola.

                                                                                                                                                                This somewhat secluded process serves as a mirror to the deeply introspective and thoughtful nature of Meet Me at the Gloaming. Here, Gerber explores her upbringing, much of which took place under the watchful gaze of a spiritual teacher who led her mother to completely uproot their lives, and move the family from Northern California to Southern Oregon. But this isn’t a scathing composition of redemption or revenge; instead, Gerber parses out her own history with care and grace. “It can be difficult to write about your childhood when you have a lot of shame around it,” she explains. “I wanted to approach it from multiple perspectives, to try to hold the complexity of formative experiences and relationships, and resist the temptation to over-simplify them.”

                                                                                                                                                                Through unwavering, underwater synths and gentle plucked strings, ethereal opener “Disciple Song” chronicles the hold this spiritual teacher had on Gerber’s sense of self. “Arbiter of my worthiness / Arbiter of truth / Make me into a melody / I can sing when you are through,” she laments over a patient, kaleidoscopic arrangement. It’s a taster of the more avant-garde sonic palette that permeates Meet Me at the Gloaming, where Gerber leans into her curious producer side.

                                                                                                                                                                On “Looking for the Right Things,” the production thrives under an electro-pop blanket, as bright percussion and sharp, vivid keys give rise to Gerber’s warm, velvet-smooth vocal. “I just wanna feel clean / I’m missing someone I knew once / Now she doesn’t exist,” she croons,
                                                                                                                                                                charting the push-and-pull between wanting to be good, and the seeming impossibility of it. We are always at odds with ourselves, and “Looking for the Right Things,” peels back the desire to attain this idea of goodness while reckoning with the reality of our humanness, and the beauty of our imperfections. “As much as I’d like to make relationships as simple as figuring out how to be ‘good’ and that being enough, it’s always messier than that.”

                                                                                                                                                                Later, “Hunger” sees Gerber pick apart the opposing forces of desire and restriction through soft-yet-persistent synths and cloud-reaching riffs. “I’ve spent so much of my life vacillating between these polarities, craving and negating,” she says. “Both states of being are a hunger for something, and I like to think there’s a reality where pleasure and accountability to yourself and others can coexist.” On the guitar-led gentle anthem “For,” Gerber wrestles yet ultimately welcomes the darker parts of her personality. Inspired by her experience with a struggling friend, Gerber admits that while we can recognize and see ourselves in another’s pain, we can also acknowledge our limitations in showing up for them, and how we may not feel able to help them through it.

                                                                                                                                                                Closer “Only Mystery,” brings Meet Me at the Gloaming full circle, as Gerber unpacks her complex relationship with her father. Leaning into the eclectic sonic landscape of the album, fluttering strings dance alongside finger-picked guitar, while diaphanous synths coat lyrics of loneliness and betrayal. “Asking where you were / In the years / I called our backyard home” she sings, pointing to her solitary experience as a child. “I’m tenderly trying to meet someone as they are, while carrying the baggage of a life and past disappointments,” she says. “It’s exploring that complexity; of looking at this person who I barely know and who barely knows me, recognizing that there’s still this part of me that just wants to be seen as good, as having done my best, and hoping that’s good enough.”

                                                                                                                                                                Meet Me at the Gloaming is certainly an album that pierces grief head-on but it’s not without hope or certainty. Like curtains strong enough to block the view, but thin enough to let in the light, Gerber is reclaiming the meaning of goodness, where the harsh overwhelming brightness is dimmed to a beautiful, iridescent blue. During the gloaming we are between two spaces, two worlds, two selves and it’s here that we can fully embrace everything that we are.

                                                                                                                                                                Let us remember how dark the beginning of the day is ~ Maggie Smith


                                                                                                                                                                TRACK LISTING

                                                                                                                                                                Side A
                                                                                                                                                                1. Disciple Song
                                                                                                                                                                2. Walk In The Dark
                                                                                                                                                                3. Looking For The Right Things
                                                                                                                                                                4. You Got It Right
                                                                                                                                                                5. Mount Washington Phone Company
                                                                                                                                                                Side B
                                                                                                                                                                1. Hunger
                                                                                                                                                                2. For
                                                                                                                                                                3. Just As A Child
                                                                                                                                                                4. Noon Of Love
                                                                                                                                                                5. PFS
                                                                                                                                                                6. What Are You Reading?
                                                                                                                                                                7. Only Mystery

                                                                                                                                                                Turnover

                                                                                                                                                                Myself In The Way

                                                                                                                                                                  Myself in the Way is the band’s fifth full-length album, and it follows their first pause in consistent touring in almost 10 years. While the world was shut down, Turnover’s four bandmates spent time meditating, painting, volunteer firefighting, skateboarding, and working in state parks - deepening interests and growing roots in places they hadn’t been able to while living life on the road for so long.

                                                                                                                                                                  Over 18 months, these individual experiences acted as the soil in which Myself in the Way grew into Turnover’s next album. Returning to Pennsylvania to track with longtime friend and producer Will Yip, vocalist & guitarist Austin Getz cites Quincy Jones, Chic, and Dark Side of the Moon as influences in the way that songs like the infectiously-rhythmic “Ain’t Love Heavy” and the trippy, disorienting “Tears of Change” feel wider, deeper and more whole than anything in the band’s catalog to date. Drummer Casey Getz’ new skills behind the drum set that open up songs on Myself in the Way to more improvisation and fluidity, pairing well with bassist Dan Dempsey’s infectious bass-lines and Nick Rayfield’s sharpened guitar and piano playing.

                                                                                                                                                                  On Myself in the Way, Turnover’s creative vision takes center-stage in every way. The album’s cover art - a sparkling array of multicolored gems scattered across a neutral canvas - was painted during lockdown by Dempsey. Music videos for the record were directed and filmed by the band, including the dizzy “Wait Too Long” video shot on retreat in upstate New York with friends and collaborators Kyle Lamb and Blair Kemp. Austin’s increased involvement on the production side earned him his first-ever co-producer credit, and Nick Rayfield contributed a new perspective as a songwriter for the first time in the recording process. For a band that has never stopped evolving, Turnover has always remained authentic with every release. Myself in the Way is an achievement that ties new and exciting ideas in with the band’s unique artistic ambition. 


                                                                                                                                                                  TRACK LISTING

                                                                                                                                                                  Side A
                                                                                                                                                                  1. Stone Station
                                                                                                                                                                  2. Tears Of Change
                                                                                                                                                                  3. Myself In The Way Feat. Brendan Yates
                                                                                                                                                                  4. Wait Too Long
                                                                                                                                                                  5. People That We Know
                                                                                                                                                                  6. Mountains Made Of Clouds
                                                                                                                                                                  Side B
                                                                                                                                                                  1. Ain’t Love Heavy Feat. Bre Morell
                                                                                                                                                                  2. Pleasures Galore
                                                                                                                                                                  3. Stone Station Reprise
                                                                                                                                                                  4. Fantasy
                                                                                                                                                                  5. Queen In The River
                                                                                                                                                                  6. Bored Of God / Orlando

                                                                                                                                                                  PVA

                                                                                                                                                                  Blush

                                                                                                                                                                    The eleven blistering tracks from the trio, made up of Ella Harris and Josh Baxter (who share lead vocals as well as handling synths, guitars and production) alongside drummer and percussionist Louis Satchell, are made from a formula of acid, disco, blistering synths, the release of the dancefloor and cathartic sprechgesang post-punk.

                                                                                                                                                                    On their debut album PVA carry that same energy from the live circuit, while also building out a holistic world full of texture and heart. 'Blush' is rich with industrial-sized beats that pack a heavyweight punch, jagged punk spirit, and moments of hushed contemplation from Harris’ poetic lyrics.

                                                                                                                                                                    It sprints tirelessly throughout, linking influences including Portishead, PC Music, Laurie Anderson, and cult rave-pop duo The Pom-Poms with ease. The album was produced by the band alongside friends Ben Romans-Hopcraft (Warmduscher) and Jamie Neville (Pumarosa) over a two week period at Neville’s home studio in South London. They then mixed the record at FOLD, the club hidden away on a trading estate in East London.

                                                                                                                                                                    One place intimate, another industrial; this is PVA’s world.

                                                                                                                                                                    TRACK LISTING

                                                                                                                                                                    A1. Untethered
                                                                                                                                                                    A2. Kim
                                                                                                                                                                    A3. Hero Man
                                                                                                                                                                    A4. Interlude
                                                                                                                                                                    A5. Bunker
                                                                                                                                                                    A6. Comfort Eating
                                                                                                                                                                    B1. The Individual
                                                                                                                                                                    B2. Bad Dad
                                                                                                                                                                    B3. Transit
                                                                                                                                                                    B4. Seven (feat. Tony Njoku) 

                                                                                                                                                                    Aoife Nessa Frances

                                                                                                                                                                    Protector

                                                                                                                                                                      In spring of 2020, Aoife Nessa Frances moved out of the city for the first time in her life. After packing up her things in Dublin, she moved to rural County Clare on the west coast of Ireland, and there, amidst the stillness, she worked on the songs that would become her second album, Protector. The resulting body of work deftly juxtaposes golden hours and arguments, affection and alienation, and above all marks a crucial period of her life that was transformative and left her wiser.

                                                                                                                                                                      "I might have been running away from my problems," she admits. "I was disconnected from myself and from nature, but I found peace far away from the city, where there were no distractions. I isolated myself with nothing to do but make music.” Writing Protector provided Frances an essential sounding board for this journey. "I felt a growing inner strength that guided me through the making of this album. It was like sculpting with my eyes closed, this intense sense of self-preservation leading me and growing with each song I wrote. When I started, I didn't recognise myself. With each song, I became more human.”

                                                                                                                                                                      Aoife spent that summer with her dad and two sisters. “It was a very special time for my family as we had never been that tight knit before,” she says, “and we all became very close…driving the country roads and swimming in the Atlantic Ocean and lakes of Clare. I had one CD in my car: Jim Sullivan’s UFO and we listened to it over and over again.” Like many people in their late twenties shaking off youthful rebelliousness, Frances experienced a solidification of familial ties like never before, and felt the formation of a protective, impenetrable shell. “For me, Protector acknowledges the part of myself that steers me towards a brighter path. The almost psychotropic power of nature gave me a connection I never felt before. As the countryside seeped into me and lines of communication opened up with my family, I developed an ability to perceive myself and my choices within an expanded world.”

                                                                                                                                                                      Protector builds pastoral landscapes through light flourishes and open spaces. Songs float along effortlessly, remaining anchored by Frances’ deep voice. Contemplative tempos tug along atmospheric synths, minimal bass, and shimmering guitar notes, conveying a serenity like early morning. Frances found that the noiselessness allowed her, at long last, to listen to herself. “I got up every day before sunrise and took my guitar to a place where nobody could hear me,” she discloses. “These songs were written in the magic hour before the world wakes up.”

                                                                                                                                                                      Recording took place in a small house in County Kerry, at the foothills of the Annascaul, along with Brendan Jenkinson (producer, keys, bass, synth, clarinet) and Brendan Doherty (drums). “We’d wake up early every day and swim at Inch Beach before making music,” Frances describes. “This ritual was crucial for our process. There was an unexplainable joy happening between the three of us.” The arrangements grew with later contributions from Ailbhe Nic Oiroictaigh (strings), Meabh McKenna (harp), and Conor O’Brien (horns). No matter how it expanded in scope and involvement, Frances never let it stray from a central focus on deep truths. “I wanted my voice to be as up front and dry as possible, to create a sense of raw and powerful vulnerability, like Serge Gainsbourg’s ‘Histoire de Melody Nelson’ where the voice feels right in front of you.”

                                                                                                                                                                      Across eight songs, Frances found innovative ways to project her intentions. “Emptiness Follows” carries a striking sense of grace, the playfulness of the track’s instrumentation contrast lyrics about friends drifting apart (“the weight of the water, it holds you and tortures time away from you”). “Soft Lines,” spans weightless and brooding, the shimmer of the musical backdrop like a low-settled fog obscuring one’s way, as Frances sings of the illusion of idealized love (“All that I’d give for a life by your side”). “Chariot” is at the core of the record, a powerful testament to the strength and bonds of family and friendships.

                                                                                                                                                                      With Protector, Frances has delivered a glowing act of restoration, informed by the power of connection. The songs find the resonance in the hum of life, trapping glimpses of light and crystalizing them into new modes of being. Each track is a nuanced take on a different subject. “Writing and recording this album was a spiritual experience. I experienced love for my family on a level I didn’t know existed, while slowly putting myself back together and watching the ‘protector’ in me grow much bigger.”


                                                                                                                                                                      TRACK LISTING

                                                                                                                                                                      Side A
                                                                                                                                                                      A1 Way To Say Goodbye
                                                                                                                                                                      A2 This Still Life
                                                                                                                                                                      A3 Emptiness Follows
                                                                                                                                                                      A4 Only Child
                                                                                                                                                                      Side B
                                                                                                                                                                      B1 Chariot
                                                                                                                                                                      B2 Back To Earth
                                                                                                                                                                      B3 Soft Lines
                                                                                                                                                                      B4 Day Out Of Time

                                                                                                                                                                      Lande Hekt

                                                                                                                                                                      House Without A View

                                                                                                                                                                        Lande Hekt’s natural state of being is in the writing of a song. Having crafted politically aware, heart-on-sleeve, punchy yet tender, punk-flecked songs with her band Muncie Girls, Lande turned her hand to an even more personal songwriting approach as she embarked on writing a solo record - 2021’s ‘Going to Hell’. The debut full-length documented her experience coming out as gay. It set out her stall as a solo artist with supreme storytelling abilities and a knack for understatedly luminous melodies. Lande’s music sits beautifully alongside such essential artists as The Wedding Present, The Sundays, The Replacements, Sleeper and Sharon Van Etten

                                                                                                                                                                        With her debut album barely a year old, 2022 sees Lande armed with a whole new collection of song-form vignettes and musings on her life and experiences. Kicking off where the last record left off, the opening track of new album ‘House Without a View’ is ‘Half With You’ which “is about growing into yourself as a queer person, and enjoying who you are after not enjoying it for so long,” says Lande. ‘Cut My Hair’ is about how her relationship with her gender has changed over the last few years, becoming more comfortable in herself and understanding more about what makes her happy. “It’s also about how easy it is to not talk to people when you’re struggling, which is something I did for a long time,” admits Lande.

                                                                                                                                                                        The title track of ‘House Without a View’ deals with childhood trauma and how events of our formative years “affect us so much into our adult lives and are intrinsic to our personalities and the way we cope (or don’t) with life and relationships,” says Lande. Although there’s darkness and sadness within the record, there’s also some shining beacons of positivity and a light-hearted side, albeit with a side of frustration. ‘Lola’ was written about Lande’s cat shortly after she came to live with her and her girlfriend. “She’s the first pet I’ve ever had and I wasn’t quite ready for how hard it would be to not be able to verbally communicate with her. I worried constantly that she was depressed because all she did was sleep, but my girlfriend assured me that that was regular cat behaviour.”

                                                                                                                                                                        TRACK LISTING

                                                                                                                                                                        Half With You
                                                                                                                                                                        Backstreet Snow
                                                                                                                                                                        Cut My Hair
                                                                                                                                                                        Gay Space Cadets
                                                                                                                                                                        Always Hurt
                                                                                                                                                                        House Without A View
                                                                                                                                                                        Ground Shaking
                                                                                                                                                                        What Could I Sell
                                                                                                                                                                        Lola
                                                                                                                                                                        Take A Break
                                                                                                                                                                        First Girlfriend

                                                                                                                                                                        Elaine Howley

                                                                                                                                                                        The Distance Between Heart And Mouth

                                                                                                                                                                          Touch Sensitive Records proudly presents the Cork-based musician Elaine Howley’s debut solo album The Distance Between Heart and Mouth. The product of an audio diary kept on a 4 track cassette machine throughout 2019 and 2020, the album recreates the intimacy of a radio show filled with Howley’s favourite sounds, palettes, and textures; effortlessly joining the dots between pop and experimentation, summoning the kaleidoscopic world of Trish Keenan & Broadcast, the bruised lo-fi soul of Tirzah and the dubbed-out blues of Leslie Winer. Over nine patient, spontaneous self-recorded and produced tracks, Elaine Howley traces the outline of a small space that could be considered one of the longest journeys to be taken - The Distance Between Heart And Mouth.

                                                                                                                                                                          As a member of Crevice, Howlbux and, perhaps most notably, psychedelic rock group The Altered Hours, Elaine Howley is renowned as a singular voice in the Irish underground. The Distance Between Heart and Mouth is her most personal statement to date. “I was thinking a lot about the themes of silencing and communication,” she explains. “My voice and a lot of my feelings were buried and I wanted to push that out using music. That is the intention of this album - trying to be brave enough to share and to open up; along with the internal and external barriers that exist when it comes to doing that."

                                                                                                                                                                          The Distance Between Heart and Mouth is the product of an audio diary kept on a 4 track cassette machine throughout 2019 and 2020. Pulling on formative teenage musical influences alongside memories of a childhood spent home-recording Longwave 252 transmissions, Howley recreates the intimacy of a radio show filled with her favourite sounds, pallets, and textures; effortlessly joining the dots between pop and experimentation. "I brought all those early influences along with me. It was a private time to enjoy music - listening to my Walkman or making mixtapes. I hear the roots of the sounds I am drawn to beginning then. I found myself returning to, and recreating something of that time, for this record."

                                                                                                                                                                          The daily sit-down at her tape machine became an almost ritualistic experience over this period as Howley both experimented in sound and worked through her own vulnerabilities. “I wasn't burdening anyone or adding pressure to myself. I've always found music cathartic but this felt like a deeper level for me”. This release can be tangibly felt in lead single ‘Silent Talk’. “That track is about the urge to run and not share parts of myself but also about continuing to try to do that and about the patience people can show in waiting for me.” On second track ‘Autumn Speak’, we fully step into the album’s journey through the transition of Howley’s favourite season. “I was thinking about how resistance to decay through self preservation disrupts the process but cannot stop it and only serves to distort and delay. It’s a celebration of endings and allowing change to occur.” Such internal conflicts and strivings are captured sonically throughout the album as echoes and delays whirl into an endless expanse and samples run backwards and onwards.

                                                                                                                                                                          Themes regarding memory are also written throughout, particularly in ‘Song For Mary Black’, previously issued on Touch Sensitive’s ‘Wacker That’ compilation. “Mary Black was the first concert I saw and it had a huge impression on me. Growing up, I was a fan of the ‘A Woman’s Heart’ compilation of amazing Irish female voices. It made music feel closer to me than it had previously; it was local and it felt tangible. It reminded me of my Mam and Aunts.” Alongside those early inspiring voices and the defining sounds of her teenage years, we can hear the dubbed-out blues of Leslie Winer, the kaleidoscopic world of Trish Keenan & Broadcast, and the bruised lo-fi soul of Tirzah. Over nine tracks, Elaine Howley traces the outline of a small space that can be considered one of the longest journeys to be taken - The Distance Between Heart And Mouth

                                                                                                                                                                          TRACK LISTING

                                                                                                                                                                          Side A
                                                                                                                                                                          1. Silent Talk
                                                                                                                                                                          2. Autumn Speak
                                                                                                                                                                          3. Archeological Longing
                                                                                                                                                                          4. See Saw Seen
                                                                                                                                                                          5. To The Test

                                                                                                                                                                          Side B

                                                                                                                                                                          6. Buried Way Out
                                                                                                                                                                          7. Person Count
                                                                                                                                                                          8. Song For Mary Black
                                                                                                                                                                          9. SoSo

                                                                                                                                                                          Grave Goods

                                                                                                                                                                          Tuesday. Nothing Exists

                                                                                                                                                                            London and Dublin based women-led independent label Tulle are back with 'Tuesday. Nothing Exists' - the debut album from three-piece Grave Goods.

                                                                                                                                                                            Featuring current and former members of PINS, Girls Names and September Girls, the Sartre-rock trio are based between Manchester, Belfast and Dublin. Taking influence from early post-punk and minimalist rock, Grave Goods music has been described as urgent and demanding, claustrophobic yet spacious - guaranteed to grab your attention. Their influences come from early post-punk and minimalist rock, and their music is visceral and angular, set against a lyrical backdrop of existential ennui.

                                                                                                                                                                            Their first track released 'Juice' was featured on A Litany of Failures Volume III, and in December 2021 they released new single 'Phonetic Fetish'. This highly anticipated debut full-length 'Tuesday. Nothing Exists' was recorded at Invada studios, Bristol.

                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                            Liam says: Just the phrase "Debut album from current and former members of PINS, Girls Names and September Girls" pretty much sells this record itself. At times sparse, at others visceral and snarling, Grave Goods' 'Tuesday, Nothing Exists' is for those hankering for some proper gnarly post-punk.

                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                            Side A
                                                                                                                                                                            Come
                                                                                                                                                                            Source
                                                                                                                                                                            Miles
                                                                                                                                                                            Side B
                                                                                                                                                                            None
                                                                                                                                                                            Story
                                                                                                                                                                            Eneeway
                                                                                                                                                                            Die 

                                                                                                                                                                            Thee Sacred Souls

                                                                                                                                                                            Thee Sacred Souls

                                                                                                                                                                              For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their self-titled debut on Daptone records.

                                                                                                                                                                              “Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.”

                                                                                                                                                                              Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry.

                                                                                                                                                                              Hints of Chicano, Philly, Chicago, Memphis and even Panama soul turn up here, and while it’s tempting to toss around labels like “retro” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place.


                                                                                                                                                                              TRACK LISTING

                                                                                                                                                                              Can I Call You Rose
                                                                                                                                                                              Lady Love
                                                                                                                                                                              Easier Said Than Done
                                                                                                                                                                              Overflowing
                                                                                                                                                                              A Trade Of Hearts
                                                                                                                                                                              Weak For Your Love
                                                                                                                                                                              Future Lover
                                                                                                                                                                              Sorrow For Tomorrow
                                                                                                                                                                              For Now
                                                                                                                                                                              Once You Know (THEN You'll Know)
                                                                                                                                                                              Happy And Well
                                                                                                                                                                              Love Comes Easy

                                                                                                                                                                              TSHA

                                                                                                                                                                              Capricorn Sun

                                                                                                                                                                                TSHA returns to Ninja Tune with her long-awaited debut album ‘Capricorn Sun’. Recorded over the past two years, the record delivers on the promise of her previous EP’s and Singles with 12 tracks that perfectly encapsulate the emotive blend of underground electronic and hook-laden pop sensibilities that have led to her being one of the most talked about new artists of the past few years. From gracing the front cover of high-profile magazines, appearing on numerous billboards, being included in flagship playlists and programmes by multiple streaming services and being placed on countless ‘best of’ & ‘one to watch’ lists, alongside high-praise from across the music press and radio – TSHA shows no sign of slowing down in 2022.

                                                                                                                                                                                ‘Capricorn Sun’ is both a statement of where she is right now as an artist and producer, but also a reflection of time she spent writing and recording the album, and the impact of global events, familial upheaval and personal struggles during that period. 

                                                                                                                                                                                As you move through the album’s remaining tracks there are noticeable shifts across moods and emotions - ranging from the more upbeat and positive “The Light” and “OnlyL” through to moodier cuts like “Anxious Mind” — a personal highlight of TSHA’s — and the brooding “Dancing In The Shadows”, both of which feature vocalist Clementine Douglas. Other tracks hold significance for particular points in TSHA’s life, such as the previously released single “Sister”, written during lockdown after finding out she had an older half sister via her estranged father, and “Water” which picks up on TSHA’s love of the Malian Griot singing traditions (as evidenced on previous single “Demba ft. Trio Da Kali”) and features Grammy-winning vocalist Oumou Sangaré.

                                                                                                                                                                                As a Capricorn herself, TSHA was initially drawn to the tales of ancient Greek mythology that told of a creature with the body of a goat and tail of a fish, hinting at the dual nature of the sign and the idea of having two distinct sides to a personality. “I like to identify with some of the positive characteristics of a Capricorn: the hardiness and the work ethic… but also the sensitivity,” she explains. “Naming the album ‘Capricorn Sun’ was a good way of saying ‘this is me’”. It’s a theme that carries through the album’s creative and artwork, which features several pygmy goats that are “a visual representation of the different parts of me, like the songs on the album represent different parts of me,” says TSHA.

                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                Barry says: Stalwart label Ninja Tune release their latest outing, this time from TSHA, with her breathtaking debut, 'Capricorn Sun'. It's a wonderful melting pot of bright electronica, shimmering dub and UKG, topped with breakbeat vocals and housey key stabs. A wonderfully melodic but undeniably deep journey.

                                                                                                                                                                                TRACK LISTING

                                                                                                                                                                                1. Galdem (Intro)
                                                                                                                                                                                2. The Light
                                                                                                                                                                                3. OnlyL (feat. NIMMO)
                                                                                                                                                                                4. Water (feat. Oumou Sangaré)
                                                                                                                                                                                5. Dancing In The Shadows (feat. Clementine Douglas)
                                                                                                                                                                                6. Giving Up (feat. Mafro) **
                                                                                                                                                                                7. Anxious Mind (feat. Clementine Douglas)
                                                                                                                                                                                8. Time
                                                                                                                                                                                9. Power
                                                                                                                                                                                10. Running
                                                                                                                                                                                11. Sister
                                                                                                                                                                                12. Nala (Outro)

                                                                                                                                                                                Rachael Dadd

                                                                                                                                                                                Kaleidoscope

                                                                                                                                                                                  Wildly creative free-form songwriter Rachael Dadd releases her brand new studio album ‘Kaleidoscope’ via Memphis Industries and follows 2019’s 'Flux', which was released to much acclaim and which she was touring when the pandemic struck.

                                                                                                                                                                                  Like so many people disconnected from their communities and struggling through the lockdowns, Rachael Dadd turned inwards, seeking escape through music and connection through song writing, and her hope is that when people listen to ‘Kaleidoscope' “they will feel held and find space to breathe, grieve and celebrate.”

                                                                                                                                                                                  “This album is a lot more honest and personal than ‘Flux'” she shares, “but I feel the songs are universal as they are largely rooted in truth and love. If I had to pick a favourite album it would be this one because of the magical rekindling of human connection when me and my band got back in a room together again. All that magic went into these songs."

                                                                                                                                                                                  Co-produced "intuitively, boldly, and playfully" by Rachael and Rob Pemberton (The Staves, Emily Barker, Maja Lena), ‘Kaleidoscope’ includes musical collaborators such as Maja Lena (Low Chimes), long-time collaborator Emma Gatrill (Willy Mason), Alex Heane (bass), Charlotte West (synths), Alex Garden (strings) and ‘Flux’ producer Marcus Hamblett (Villagers, James Holden, The Staves), giving the record "just the right colour combination, just the right pattern of shapes, plenty of space where needed and finally landing in a sound world that feels fresh and open and true” reflects Rachael.

                                                                                                                                                                                  Japanese aesthetics absorbed from her time spent living there are subconsciously woven into Rachael’s songs. "I first stepped foot in Tokyo in 2008, sparked by the adventure of such a rich and different culture and later on I lived on a small island and experienced an appealing and balanced way of life: the aesthetics, the art and the traditions,” she recalls. “There was a lot of caring for each other, a lot of gentleness, and a lot of simple living in harmony with nature. Japan left its cultural mark on me and is now part of my inner world and I’m sure this comes out with the words and music I write”.

                                                                                                                                                                                  “But overall” Rachael explains “this is an album of homecoming and reconnecting to my own truth, to my community here, to the earthy land that I love and to the sky that I know.”

                                                                                                                                                                                  TRACK LISTING

                                                                                                                                                                                  Side A
                                                                                                                                                                                  Children Of The Galaxy
                                                                                                                                                                                  Footsteps
                                                                                                                                                                                  Moon Sails
                                                                                                                                                                                  Ox
                                                                                                                                                                                  Ghost
                                                                                                                                                                                  Side B
                                                                                                                                                                                  River Spirit
                                                                                                                                                                                  Heads Down
                                                                                                                                                                                  For Honey And Ray
                                                                                                                                                                                  White Snow
                                                                                                                                                                                  Swift
                                                                                                                                                                                  Join The Dots

                                                                                                                                                                                  Dinked Edition Bonus CD
                                                                                                                                                                                  The Bridge (feat Kate Stables – This Is The Kit)
                                                                                                                                                                                  Fronds
                                                                                                                                                                                  Crystalizing In Time
                                                                                                                                                                                  Fences (feat Rozi Plain)

                                                                                                                                                                                  Jesca Hoop

                                                                                                                                                                                  Order Of Romance

                                                                                                                                                                                    Jesca Hoop returns with her sixth album, Order of Romance, a record that fortifies her position as one of the most striking and original voices in contemporary music. Order of Romance is Hoop's most intricate and finely balanced album to date, one that draws on classic song writing, recalling anything from Gershwin to Paul Simon, but creating something that is unmistakably, indelibly Jesca Hoop. It is a deep dive into craft. As Jesca says “I set out to mature as a writer, to further clarity my voice and stance, through melodies and phrases only I can construct. Order of Romance feels like every person, character, or artist, I ever was over the many seasons of my life was handed an instrument to play across the songs.”

                                                                                                                                                                                    In the summer of 2021, Hoop once again ventured south from her adopted home of Manchester to Bristol to team up with producer John Parish (PJ Harvey, Aldous Harding), her collaborator for 2019’s Stonechild. This time additional assistance came from in Jess Vernon (This is the Kit) to arrange for a four-piece horn and woodwind quintet. Legendary drummer Seb Rochford lent his skills, John Thorne plays the bass and Chloe Foy and Rachel Rimmer were enlisted to deliver Hoop’s signature vocal arrangements. The result is a fruitful marriage of song craft and arrangement, brimming with a cinematic charm and lyrical wit that signify a new chapter full of new life for an artist who knows her mind, her heart and voice well enough to trust them in uncharted territory.

                                                                                                                                                                                    Order of Romance then is a complete work that demands close attention, an active listen, a filagree that’s apparent lightness of touch belies a serious intent. Themes of empathy and friendship, intertwine with a clear eyed and moralistic poetry on subjects such as gun control, religious and political cults, and climate change.

                                                                                                                                                                                    Order of Romance is perhaps ultimately an exploration of the endless balance act of being a ‘Human Being’, an approach and examination of some of the biggest theme and issues of our time through the doorway of the personal, a way finding meaning and some kind of faith in a world where so much is disconnected and discordant. As she states “I seek out reflection and resolve in my songs. I find out who I am in a sense. For a few minutes, I can exist in nature at my full potential, saying just what I mean, in balance, in awe, in wonder and in full force. As a moral agent, a mode I can’t seem to avoid, my writing is time taken to observe and ask questions. I find humour in our predicament. I find danger in the reckoning. I find faith despite our sorry state and I feel connection when I draw it through my voice. I stand my ground and through the music and point inevitably towards compassion”.

                                                                                                                                                                                    TRACK LISTING

                                                                                                                                                                                    Side A
                                                                                                                                                                                    1. Sudden Light
                                                                                                                                                                                    2. I Was Just 14
                                                                                                                                                                                    3. Hatred Has A Mother
                                                                                                                                                                                    4. One Way Mirror
                                                                                                                                                                                    5. Silent Extinction
                                                                                                                                                                                    Side B
                                                                                                                                                                                    6. 7lbs Of Pressure
                                                                                                                                                                                    7. Sioux Falls
                                                                                                                                                                                    8. Like I Am Time
                                                                                                                                                                                    9. Firestorm
                                                                                                                                                                                    10. Lyre Bird

                                                                                                                                                                                    Tim Burgess

                                                                                                                                                                                    Typical Music

                                                                                                                                                                                      Has there been a busier musician over the last two years? A more prolific artist? More creative? More heroic?

                                                                                                                                                                                      Tim Burgess – as self-effacing a band leader, solo star, label runner, repeat memoirist and all-round caffeinated can-do kid as you’ll find – would certainly shrink from the latter accolade. “A hero??” he’d likely mutter with a shake of his boyish mop. “For playing some records?”

                                                                                                                                                                                      Yes, Tim, we would say that. And not just because with the May 2020, mid-lockdown appearance of I Love The New Sky, his fifth solo album, he undauntedly pushed on with releasing an album that brought much-needed sunshine to a world enveloped in gloom.

                                                                                                                                                                                      Over the course of the first year of the pandemic, Tim’s Twitter Listening Parties were a lifeline to many. At a time when the world shut down, we all retreated indoors, alone, and cancelled gigs were the least of our worries, the North Country Boy’s idea of utilising social media to unite us round a digital turntable was inspired.

                                                                                                                                                                                      Meanwhile, Burgess was writing. And writing. And writing. From September 2020 to summer 2021, ideas poured out of Burgess. He’d been encouraged by Simon Raymonde, boss of his record label Bella Union ¬– and, of course, a former Cocteau Twin. He applied a musician’s logic: if you can’t tour your last album, write a new one. Then, when you can tour again, you’ll have two albums’ worth of songs to play.

                                                                                                                                                                                      Well, now, arguably, Burgess has three albums’ worth of songs to perform live. Typical Music is a 22-track double, a blockbuster set of songs that are as expansive and diverse as they are rich. As fun as they are funky. That embrace heartache and love. That run the gamut, from ABBA (in the shape of guest vocalist Pearl Charles, whose own brilliant Magic Mirror album is the sound of the magic Swedes doin' disco) to Zappa (free-form studio experimentation is go!)


                                                                                                                                                                                      TRACK LISTING

                                                                                                                                                                                      Side A
                                                                                                                                                                                      1 Here Comes The Weekend
                                                                                                                                                                                      2 Curiosity
                                                                                                                                                                                      3 Time That We Call Time
                                                                                                                                                                                      4 Flamingo
                                                                                                                                                                                      5 Revenge Through Art
                                                                                                                                                                                      6 Kinectic Connection
                                                                                                                                                                                      Side B
                                                                                                                                                                                      1 Typical Music
                                                                                                                                                                                      2 Take Me With You
                                                                                                                                                                                      3 After This
                                                                                                                                                                                      4 The Centre Of Me (Is A Symphony Of You)
                                                                                                                                                                                      5 When I See You
                                                                                                                                                                                      Side C
                                                                                                                                                                                      1 Magic Rising
                                                                                                                                                                                      2 Tender Hooks
                                                                                                                                                                                      3 L.O.S.T Lost / Will You Take A Look At My Hand Please
                                                                                                                                                                                      4 A Bloody Nose
                                                                                                                                                                                      5 In May
                                                                                                                                                                                      Side D
                                                                                                                                                                                      1 Slacker (Than I've Ever Been)
                                                                                                                                                                                      2 View From Above
                                                                                                                                                                                      3 A Quarter To Eight
                                                                                                                                                                                      4 Sooner Than Yesterday
                                                                                                                                                                                      5 Sure Enough
                                                                                                                                                                                      6 What's Meant For You Won't Pass By You

                                                                                                                                                                                      Laundromat

                                                                                                                                                                                      En Bloc - 3 EP Collection

                                                                                                                                                                                        Laundromat (AKA Toby Hayes) announces En Bloc - 3 EP Collection - a vinyl release encompassing the three Laundromat EPs released to date.

                                                                                                                                                                                        Laundromat has built a reputation over the previous twelve months as an innovative and profoundly skilled songwriter, his languid style and deftly created songs earned him support from the likes Steve Lamacq, Lauren Laverne, Marc Riley, DIY, Dork, Loud & Quiet among others. Red, Blue and Green - the 3 EPs - all released to critical acclaim, were mixed and co-produced by Tom Andrews (alongside Hayes). Recent single Combo was recently added to the playlist at BBC 6Music after extensive support at the station. Laundromat is currently writing his debut album.

                                                                                                                                                                                        On the new collection, Laundromat says "These nine tracks were written (really slowly) over a number of years, and although they’ve been out a while now, it's massively cathartic to release them as this 3 EP collection. Mainly because despite the fact that this isn’t an ‘album’ release, it was certainly written as one. So to finally deliver these tunes in the order that they were meant to be listened to feels real good I have to admit. ‘En Bloc’ - 3 EP Collection also includes a number of segue pieces that link the songs together - the idea being that this slice of work would be released as two continuous chunks of sound, i.e - side 1 and side 2. A nice big feast for the ears." Inspired by a broad range of influences including Kim Deal, Broadcast, Jaki Liebezeit, Jason Albertini, Madlib and Gonjasufi, Hayes also cites film as a huge source of intrigue: "I find a lot of inspiration in film - Repo Man (1984), Deep End (1970), Punch-drunk Love (2002), and Alice in the Cities (1974) in particular."

                                                                                                                                                                                        Lyrically, the project explores the end of the world, binge drinking, social anhedonia, nostalgia, as well as the time Hayes got ‘catfished’ - for nearly 7 years.


                                                                                                                                                                                        TRACK LISTING

                                                                                                                                                                                        1. Flat Planet
                                                                                                                                                                                        2. Off
                                                                                                                                                                                        3. Slow Clap
                                                                                                                                                                                        4. Humans
                                                                                                                                                                                        5. En Bloc
                                                                                                                                                                                        6. Nein
                                                                                                                                                                                        7. Bug Eyed
                                                                                                                                                                                        8. Bureau De Fatigue
                                                                                                                                                                                        9. Milky

                                                                                                                                                                                        Bonus Dinked Edition 7” Tracklisting:
                                                                                                                                                                                        A. Laundromat - Flat Planet (Bothelbows X MIIIKE Remix)
                                                                                                                                                                                        B. Laundromat – Bureau De Fatigue (Marcus Hamblett Remix)

                                                                                                                                                                                        Pye Corner Audio

                                                                                                                                                                                        Let's Emerge!

                                                                                                                                                                                          Pye Corner Audio releases a new album, 'Let’s Emerge!', for Sonic Cathedral. It’s his first studio outing for the label following the acclaimed live recording 'Social Dissonance', which was released earlier this year, and it features Ride guitarist Andy Bell playing on five of its ten tracks.

                                                                                                                                                                                          From the first glimpse of the artwork to the first note of the music it’s a marked deviation from Pye Corner Audio’s more traditional shadowy sounds. Whereas his last outing for Ghost Box (2021’s 'Entangled Routes') was inspired by the underground fungal pathways through which plants communicate, this one is very much above ground, bathed in sunlight and acid-bright psychedelia. “This is a departure to sunnier climes, but a departure nonetheless,” says Pye Corner Audio, aka Martin Jenkins. “It’s something that I’d been thinking about for a while. I try to tailor my work slightly differently for the various labels that I work with, and this seems to fit nicely with Sonic Cathedral’s ethos.”

                                                                                                                                                                                          Designer Marc Jones’ ultra vivid artwork consciously references the likes of LFO, Spacemen 3 and the early output of Stereolab. “I think it mixes together many of my earliest influences,” explains Martin. “I’ve been a long-time fan of Spacemen 3 and Stereolab. Their moments of repetition and drone have always seeped into what I’ve tried to create. “I was living in a small apartment and I’d stripped down my studio set-up when I was recording this album. This enabled me to focus on a few key pieces of equipment and explore them fully.” The recordings were fleshed out by Andy Bell, who Martin first met at the Sonic Cathedral 15th birthday party at The Social in London back in 2019 – the same show that became the live album 'Social Dissonance'. “New alliances were formed and friendships made in that basement in Little Portland Street,” recalls Martin. “When I met Andy, we agreed that we needed to work together in some way. After I’d remixed a few tracks from his album 'The View From Halfway Down', he kindly repaid the favour.”

                                                                                                                                                                                          The end results are incredible, from the first stirrings of opener ‘De-Hibernate’, via the glorious ‘Haze Loops’ and ‘Saturation Point’, the album slowly but surely awakens, blinking and feeling its way into the light. It all culminates in the epic closing track ‘Warmth Of The Sun’ which, with its vocal harmonies and acid breakdown, is seven and a half minutes of pure release. “That one’s about life’s simple pleasures,” concludes Martin. “The Beach Boys, tremolo guitars, infinite drones, Spacemen 3. Let’s emerge from this darkened era and feel the ‘Warmth Of The Sun’. “The last few years have seen huge changes, both personally and in a wider perspective. The album title is a reaction to this, a collective (tentative) sigh of relief. Here’s to new beginnings and a sense of hope.”


                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                          Barry says: I love Pye Corner Audio, always have. We had Andy Bell in the shop a couple months back and he was telling us he'd worked with Martin on some music but I did NOT expect this. Gorgeous, plaintive washes of synth and reverbed guitar, echoes of melody within the expansive, electronic atmospheres. A stunning first one for the great Sonic Cathedral.

                                                                                                                                                                                          TRACK LISTING

                                                                                                                                                                                          Side A
                                                                                                                                                                                          1. De-Hibernate
                                                                                                                                                                                          2. Lyracal
                                                                                                                                                                                          3. Does It Go Dark?
                                                                                                                                                                                          4. Haze Loops
                                                                                                                                                                                          5. Let’s Emerge Part One
                                                                                                                                                                                          Side B
                                                                                                                                                                                          1. Saturation Point
                                                                                                                                                                                          2. Sun Stroke
                                                                                                                                                                                          3. Let’s Emerge Part Two
                                                                                                                                                                                          4. Luminescence
                                                                                                                                                                                          5. Warmth Of The Sun

                                                                                                                                                                                          Companion

                                                                                                                                                                                          Second Day Of Spring

                                                                                                                                                                                            At just 23-years-old, identical twin sisters Sophia and Jo Babb had faced a decade of darkness. Then, as Companion, they built lighthouses. With their debut album Second Day of Spring, the duo arrive at the start of a blooming new season, holding a work that softly glows with a sincerity, vulnerability, and hopefulness that they fought hard to find along their way. “A lot of this album is rooted in healing from grief and familial hurt,” says Sophia. “There are songs about marriage and healing from mistrust. Family ties that have been broken.” Second Day of Spring introduces two brilliant songwriters and mesmerizing singers as they share their stories with gazes at once light and weighted, offering listeners comfort in despairing corners.

                                                                                                                                                                                            The now Fort Collins, CO-based sisters were raised and homeschooled on nine farmland acres just outside of Norman, OK. Their lives changed abruptly at 13 when their father, who suffered from Parkinson’s disease, took his own life. “Mental health is such an undervalued issue that’s not talked about enough – so we talk about it through our music,” says Sophia. The loss pushed the girls to write. Sourcing inspiration from their shared love of artists like Gillian Welch, Alison Krauss, and Samantha Crain, the duo began to form their own style through a freedom of thought, expression, and directness that can only result from such an intimate, symbiotic bond – even if they had their creative differences at times. “Writing came pretty naturally, but as siblings, there was friction,” Jo says. “Our closeness as twins allows for a sometimes brutal honesty that other collaborators might shy away from.” The tension made the songs even better.

                                                                                                                                                                                            On the album, a gradual march toward openness, possibility, and warmth is underway, tracing Sophia and Jo’s real-world path of healing. “It’s been 10 years since our dad died, and it’s taken 10 years for us to get to this point where we feel like trusting,” Sophia says. “We don’t feel drawn toward chaos or constant darkness, whether it was self-manufactured darkness or just bad luck. We both feel better. We’re not unhappy every day anymore. And this album is like that next step toward this new phase of life.” Hope peeks through early songs on Second Day of Spring, like grass growing up through sidewalk cracks, before sprawling out into lush meadows by the album’s end. Produced and recorded in a Colorado barn by a close-knit, all female team, the process of creating Second Day of Spring was as heartfelt as the album itself. Acoustic guitar is a constant companion to the twins’ blood harmonies, joined at turns by standout instrumentation ranging from viola to organelle to trumpet to piano, and even the earthly, tender sounds of the natural beauty that surrounded them.

                                                                                                                                                                                            The sisters’ songwriting prowess is evident across Second Day of Spring, as their exquisite lyricism elevates each story of heartache, growth, relationships and new beginnings to deeply moving and achingly relatable heights. Album opener “How Could I Have Known” meditates on the permanence of impermanence: “I was engaged to my now husband when I wrote this song. He was dealing with some concerning medical issues, and I developed an over-awareness of how quickly I could never see him again,” explains Sophia. “Having lost family members without warning in the past, I became anxiously aware that just as soon as he came into my life, he could leave it, too. Though this thought, at its core, is a very scary one, when I looked beyond the fear of losing something I held so dearly, I could see the incredible gift it is to have something to hold dear in the first place.”

                                                                                                                                                                                            “Arms Length” looks at the pain of longing to love while still feeling the hurt of broken trust (“Maybe I’m not warmed up yet / I’m wearing armor from a different past / Demanding trust, an impossible thing / Akin to being taught to laugh”). Sophia wrote album standout “If I Were a Ghost,” a spellbinding feat of songwriting, after arguing with her mother and retreating to a small chapel on their family’s property that their father built by hand. “My mom and I were having difficult relationship issues, but I knew she was still in grief,” Sophia says. “This was just five years after her husband’s death. So, I was just trying to really put myself where she was standing, just to understand what she was feeling.” The result is gorgeous commiseration, heartbreaking and soul-affirming in its empathy. “I don’t really cry when I write songs,” Sophia says. “But I was sobbing while writing this one.”

                                                                                                                                                                                            “23rd Street,” “Second Day of Spring'' and “Newborn of Springtime” (“You've hurt me so badly / You've healed me so sweet / The trees are rustling / A loving word leaves”) see the band turning a corner. “Some of the songs, like ‘Forfeit,’ ‘If I Were a Ghost,’ and ‘Arms Length,’ feel very much like fall and winter––the winter of my life,” says Sophia. “And then we move into springtime.” Jo adds, “It was very important to me to make sure ‘Second Day of Spring’ sounds like it’s heading towards a new season, and to end the album on a spring note.” Warm relief floods “Waiting for You,” as the record closes with hope that seems to swell like the chorus of instruments supporting Companion’s soaring vocals. “The line’s gettin’ thinner / Between what I want / and what’s in front of me / Like the light that glinted off the river / Like the bloom that lifted the winter / I’ve been waiting for you.”

                                                                                                                                                                                            Poetically written and earnestly expressed, Second Day Of Spring represents a new hope for the band, and arrives as a balm to anyone in need of a similar comfort. “I saw an older man the other day, just walking down the street with headphones over his ears, and he was just smiling so big,” says Jo. “That’s the feeling I want Second Day of Spring listeners to have––that feeling of, wow. There’s beauty even in the simplest things.”


                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            Side A
                                                                                                                                                                                            1. How Could I Have Known
                                                                                                                                                                                            2. Forfeit
                                                                                                                                                                                            3. Arm’s Length
                                                                                                                                                                                            4. If I Were A Ghost
                                                                                                                                                                                            5. Snowbank
                                                                                                                                                                                            Side B
                                                                                                                                                                                            6. 23rd Street
                                                                                                                                                                                            7. Second Day Of Spring
                                                                                                                                                                                            8. Newborn Of Springtime
                                                                                                                                                                                            9. Sunday Morning
                                                                                                                                                                                            10. Waiting For You

                                                                                                                                                                                            Bonus 7”
                                                                                                                                                                                            To Be Still


                                                                                                                                                                                            Why Bonnie

                                                                                                                                                                                            90 In November

                                                                                                                                                                                              New-York-by-way-of-Texas transplants Why Bonnie announce their debut album, 90 in November, on their new label Keeled Scales. “90 in November” is a sunny guitar pop song about lead singer and songwriter Blair Howerton’s hometown of Houston, packed full of sparkling snapshots—”a technicolor sun” and “a cardboard cutout cowboy waving me goodbye.” “I wanted to capture the bittersweet feeling of saying goodbye to the landscape that shaped you while still dealing with the anxieties of what lies ahead,” says Howerton. “Nostalgia always hits with a flash of disjointed memories - like speeding down the highway or sweating in the Texas heat.” 

                                                                                                                                                                                              Following their 2020 “Voice Box” EP, 90 in November crashes into existence with a squeal of feedback and a burst of distorted guitar. Inspired by fellow Texans Townes Van Zandt, Blaze Foley, alt-rock like the Lemonheads and the Replacements, the eccentric pop of Sparklehorse, and Sheryl Crow, the album is a dynamic introduction to an evolutionized Why Bonnie. 90 in November is a meditation on the pains and pleasures of nostalgia and a lesson in learning how to look back at the people, places, and experiences that have shaped us, with room for both unvarnished honesty and rose-tinted melancholy.

                                                                                                                                                                                              The songs for 90 in November were mostly written in Brooklyn, where Howerton moved from Austin in 2019. Already in the midst of a major life change, her feeling of being between worlds was compounded when quarantine hit and she found herself, like so many others, stuck in her apartment—about as far away from the wide-open spaces of Texas as one can possibly get. It was in this environment that she began to write songs parsing out the complicated, mixed emotions associated with building a new home while attempting to make sense of the one she had left behind.

                                                                                                                                                                                              There’s a deep sense of place across 90 in November. The band—Howerton, keyboardist Kendall Powell, guitarist Sam Houdek, bassist Chance Williams, and drummer Josh Malett—considered making the record in New York or California, but ultimately decided that it had to be done in Texas. In early 2020, Why Bonnie headed down to the town of Silsbee (population: 6,634) to spend two weeks recording with Tommy Read (Lomelda, alexalone) at Lazybones Audio. Howerton describes it as an idyllic period of time where days were spent walking around with cows and evenings drinking Lone Star beer and looking at the stars.

                                                                                                                                                                                              90 in November is a trip through Howerton’s inner world, but it’s also a road trip through Texas. Often it is both at once. The songs are full of poetic, cinematic lyrics that flash like colorful scenes glimpsed from the window of a car as it barrels along an interstate highway cutting through the Lone Star State, each one a road stop revealing a different facet of Howerton’s experience. The album is a dynamic introduction to a more raw-edged indie sound from a band who have matured from bedroom dream pop into a sophisticated rock act, their evolving sound a reflection of the journey undertaken by Howerton on this vividly rendered collection of songs.


                                                                                                                                                                                              TRACK LISTING

                                                                                                                                                                                              1. Sailor Mouth
                                                                                                                                                                                              2. Galveston
                                                                                                                                                                                              3. Nowhere LA
                                                                                                                                                                                              4. Hot Car
                                                                                                                                                                                              5. Silsbee
                                                                                                                                                                                              6. 90 In November
                                                                                                                                                                                              7. Healthy
                                                                                                                                                                                              8. Sharp Turn
                                                                                                                                                                                              9. Lot’s Wife
                                                                                                                                                                                              10. Superhero

                                                                                                                                                                                              Szun Waves

                                                                                                                                                                                              Earth Patterns

                                                                                                                                                                                                The members of Szun Waves may not have been collectively in the same country, let alone room, for over two years, but that hasn’t prevented them from realising their third album, Earth Patterns.

                                                                                                                                                                                                The trio – comprised of producer Luke Abbott, saxophonist Jack Wyllie (Portico Quartet) and drummer Laurence Pike (Triosk/PVT/Liars) – recorded the album sessions together at the tail end of their 2019 European tour, locking themselves away in the studio for three days of improvisation. They emerged with hours of music, some inspired by their live shows, most born fresh in the studio itself, ready to be moulded into the group’s third album in five years.

                                                                                                                                                                                                However, with Laurence marooned in Australia, and Luke and Jack grounded in different parts of the UK, it meant an unexpected reassessment of the band’s creative remit, and the enforced long gestation period almost inadvertently ended up creating the most fully-formed Szun Waves record to date.

                                                                                                                                                                                                Where second album, New Hymn To Freedom, had its face tilted up to the heavens, Earth Patterns is a more grounded record, and in places, a more claustrophobic one: Wyllie’s saxophone squalls ripple in the background as Pike’s dense drums clatter, both shaped and guided by the atmospherics of Abbott’s synths. Moments of jazz harmony collide with cinematic soundscapes; long searching passages build into kaleidoscopic frenzies.

                                                                                                                                                                                                “I think the record we've ended up with is an emotional outpouring,” Abbott says. “There's a fluidity to it that feels like we tapped into something quite raw. The last record felt like drifting in space but I see this new record as a journey from the outer reaches of the universe down onto the earth, like a macrocosm to microcosm arc,” he explains.


                                                                                                                                                                                                TRACK LISTING

                                                                                                                                                                                                Side A
                                                                                                                                                                                                A1. Exploding Upwards
                                                                                                                                                                                                A2. New Universe
                                                                                                                                                                                                A3. Garden
                                                                                                                                                                                                A4. In The Moon House
                                                                                                                                                                                                Side B
                                                                                                                                                                                                B1. Be A Pattern For The World
                                                                                                                                                                                                B2. Willow Leaf Pear
                                                                                                                                                                                                B3. Atomkerne

                                                                                                                                                                                                Kathryn Williams

                                                                                                                                                                                                Night Drives

                                                                                                                                                                                                  Singer, songwriter, novelist, and painter Kathryn Williams is proud to announce her new album ‘Night Drives’. The collection explores a more filmic sound, with a larger ensemble of instrumentation, particular emphasis on the strings and production from Ed Harcourt. It’s out on July 15th via One Little Independent Records.

                                                                                                                                                                                                  Journeying from leftfield contemporary pop to soft acoustics, Kathryn Williams uses her latest LP to explore a variety of fresh ideas driven, in part, by a host of collaborators. Kirsty Logan, Oystein Greni, Romeo Stodart, Matt Deighton, Simon Edwards, Yvette Williams, Neill Maccoll, Andy Bruce, Ida Wenoe, Joel Sarakula, Emily Barker and John Alder all have credits on various tracks across ‘Night Drives’. Kathryn explains “I’ve been releasing music for 24 years now. That fact blows me away, and things have changed so much over those years. The biggest change has been my love of co-writing and writing for other artists. This began when I first went on a writing retreat with Chris Difford forming close friendships and working relationships that are represented here”.

                                                                                                                                                                                                  Her first official album since ‘Hypoxia’ in 2015, ‘Night Drives’ opens with some of Kathryn’s most immediately electronic tracks to date, the nihilistic ‘Human’, big ballad ‘Answer In The Dark’ with all it’s bold, layered production, and the dynamic, infectious ‘Radioactive’. Elsewhere on the likes of ‘Moon Karaoke’, ‘Magnets’ and ‘The Brightest’, a more cinematic sound is explored; slowly unravelling stories backed by delicate acoustics and elated, emotive string pieces. ‘Put The Needle On The Record’ and joint closers ‘Starry Heavens’ and ‘I Am Rich In All That I’ve Lost’ are relaxed and fall into the more traditional world of folk inspired melancholia. Kathryn’s inimitable charm colours the whole album with emotion and affection – occasionally brooding, always likable.

                                                                                                                                                                                                  Discussing some of the themes explored she says “Some of it is questioning who we are, realising that being human is about flaws, humility, and the consequences of how we react to others. It can be about the longevity of a long-term relationship, how to keep the fire burning and to celebrate that. So many love songs are about the first moments, but this is about enduring love. The simple things that fill a day and how our dreams and wants are so separate to the daily grind. The final track is a philosophical musing on loss and gain in life. How by living a long life we will lose so much, but that in itself is riches”.

                                                                                                                                                                                                  The classic references that Kathryn draws from, particularly that of fellow Liverpudlians The Beatles, are clear in ‘Night Drives’, which plays like a road-trip through her styles and influences. It recalls visions of a British countryside lightly illuminated by the flicker of passing lampposts and the endless, rolling landscapes beyond them. These are intelligent, self-aware tracks, with Kathryn’s unmistakable writing backed with beautifully arranged, natural compositions.

                                                                                                                                                                                                  “I am really proud of this record. Also really scared of putting it out into the world after such a long time” she continues, “I can say that because it’s not just down to me. It’s because of the musical family I have around me that keeps me safe, makes me better, is there for the times when I think I can’t go on. It’s about realising that by sharing things creatively, they can be better and it’s not about showing people how great you are. It’s about making the songs the best they can be and trusting people with that. I’ve been on OLI records since 2010. In that time, they have put out 8 albums as well as the anthology box set. Their belief in me and ongoing support has been nothing short of a miracle. They’ve happily allowed me to do side projects, collaborations, write novels, teach. They’ve encouraged me to make my art and include it on releases. Having the label, Ed Harcourt and the other artists who I work with believe in me has helped me believe in myself and want to be what they think I am.”

                                                                                                                                                                                                  Kathryn Williams is often described as “a songwriter’s songwriter”, her timeless and searching work has earned her accolades, critical acclaim, and a loyal fan-base. In this new musical world when we talk about an artist’s body of work, we tend to think of a handful of records stretched out across of a handful of years, if we’re lucky. A changing industry and a focus on immediacy has done little to alter such notions, which makes Kathryn Williams something of an anomaly – releasing 12 full-length albums under her own name since her debut LP, ‘Dog Leap Stairs’, released in 1999.

                                                                                                                                                                                                  As impressive a stat as that might be, it does little to capture the true magic of Williams work; the enchanting craft that has grown and expanded as she’s moved from one project to the next, from the breakthrough success of her Mercury Prize nominated ‘Little Black Numbers’ all the way to her Sylvia Plath tribute project 'Hypoxia' and last year’s Christmas album ‘Midnight Chorus’, written with Dame Carol Ann Duffy.

                                                                                                                                                                                                  While her best-known work is characterised by rich and honest songwriting inspired by the greats, Williams has continually been able to evolve as an artist because she’s always looked outside of such boundaries. She continues to listen and learn while, at the same time, writing with a fiery spirit and a sense of adventure that has never once wilted. 


                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                  Barry says: Kathryn Williams clearly takes influence from both folk and country, with wistful melodies and swooning progressions at the forefront, but the result is more akin to a grand orchestral wave, both dramatic and grand. It's thoroughly beautiful and very emotive throughout.

                                                                                                                                                                                                  TRACK LISTING

                                                                                                                                                                                                  Side A
                                                                                                                                                                                                  Human
                                                                                                                                                                                                  Answer In The Dark
                                                                                                                                                                                                  Chime Like A Bell
                                                                                                                                                                                                  Radioactive
                                                                                                                                                                                                  The Me For You
                                                                                                                                                                                                  Moon Karaoke
                                                                                                                                                                                                  Side B
                                                                                                                                                                                                  Night Drive To The Lake
                                                                                                                                                                                                  Put The Needle On The Record
                                                                                                                                                                                                  Magnets
                                                                                                                                                                                                  The Brightest
                                                                                                                                                                                                  Starry Heavens
                                                                                                                                                                                                  I Am Rich In All That I’ve Lost

                                                                                                                                                                                                  Hatis Noit

                                                                                                                                                                                                  Aura

                                                                                                                                                                                                    There isn’t a more unique entry into a musical journey than that of Japanese voice artist Hatis Noit, who today announces her much anticipated debut album Aura will be on Erased Tapes.

                                                                                                                                                                                                    Her musical awakening took place at the tender age of sixteen during a trek to Buddha's birthplace in Nepal. One morning when staying at a women’s temple she came across a female monk singing Buddhist chants whose otherworldly sounds moved her so intensely that she was instantly aware of the visceral power of the human voice; a primal and instinctive instrument that connects us to the very essence of humanity, nature and our universe. From that moment she knew singing was her calling.

                                                                                                                                                                                                    The album title Aura was inspired by the German philosopher Walter Benjamin who used this term to describe the fundamental essence of art, which he believed is strongest in its original form, only happening once. Hatis agrees with this particular aspect as she realised, “during the pandemic, I really struggled. As a singer, I’m not very good at working on the computer. I much prefer doing live performances in physical spaces. Being with people, sharing the same space with them and feeling the atmosphere and energy of that moment, inspires me every time. To me art is that — that shared moment.” The gravitas of the pandemic caused Noit to look inwards and reflect. This resulted in the album becoming a remedy for what was going on in the world and ultimately to remember the joys and richness of life. Hatis adds to this sentiment, “we cannot live forever, do everything or be everywhere. But that makes our lives unique and invaluable. I wanted to be focused on our limitations and show how precious life is.”

                                                                                                                                                                                                    The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root represents the spirit world, therefore Hatis Noit is what connects the two. For Hatis, music represents the same netherworld with its ability to move and transport us to the other side; the past, a memory, our subconscious.

                                                                                                                                                                                                    Through the opening piece ‘Aura’, which shares its title with the album, she evokes a haunting memory of getting lost in a forest in her birthplace Shiretoko, Hokkaido. “I felt as if I was close to my death, I could feel myself dissolving into and becoming a part of nature rather than just being an individual. This sense of awe and peace found there is always the place where I start making music from,” she remembers.

                                                                                                                                                                                                    Years of perfecting her craft via live performances led her to the creation of this debut album which follows on from the introductory 2018 EP, Illogical Dance. An autodidact with an impressive range, Noit is inspired by Gagaku — Japanese classical music — folk music, operatic styles, Bulgarian and Gregorian chanting, as well as avant-garde and pop vocalists to create her inimitable style. Hatis creates wordless music, unique song worlds with transcendent vocal interpretations of epic proportions — most evident on ‘Jomon’ where she channels the fierce, dynamic energy and power of prehistoric culture during Japan’s Jomon period.

                                                                                                                                                                                                    Astonishingly all songs on this record were created using her voice only. The single exception being ‘Inori’ for which she took a field recording of the ocean only one kilometre away from the nuclear power plant in Fukushima. Hatis Noit had been invited there for a memorial ceremony which marked the re-opening of the area for local people to return to their homes. The emotive and compassionate song is dedicated to the lives lost due to 2011’s tsunami, but equally to the many beautiful memories people have of their hometown.

                                                                                                                                                                                                    The album was recorded in Berlin where Noit laid down her vocals in just eight hours, before the pandemic forced her and producer Robert Raths to stay local and mix it in East London, which led to working with a new collaborator: engineer Marta Salogni. Between lockdowns it was decided to take the recordings and reamplify them in a local church to bring them closer to that moment of live performance. “It was almost like a miracle when Robert came up with the idea. That was the moment that changed everything for the album as the physical space with its organic ambience brought everything to life,” Hatis Noit recalls. 


                                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                                    Barry says: Hatis Noit's sound may at first seem quite minimalistic, being that it's crafted for voice alone, but it's the incredible range of sounds that she manages to coax out, rich with syncopation and melody, that really make the album such a gorgeous, unexpected treat. More genius from Hatis Noit and the always excellent Erased Tapes.

                                                                                                                                                                                                    TRACK LISTING

                                                                                                                                                                                                    Side A
                                                                                                                                                                                                    1. Aura
                                                                                                                                                                                                    2. Thor
                                                                                                                                                                                                    3. Himbrimi
                                                                                                                                                                                                    4. A Caso
                                                                                                                                                                                                    Side B
                                                                                                                                                                                                    5. Jomon
                                                                                                                                                                                                    6. Angelus Novus
                                                                                                                                                                                                    7. Inori
                                                                                                                                                                                                    8. Sir Etok

                                                                                                                                                                                                    Momma

                                                                                                                                                                                                    Household Name

                                                                                                                                                                                                      Momma, the band led by singers/guitarists Allegra Weingarten and Etta Friedman, release their new album, 'Household Name'.

                                                                                                                                                                                                      Fresh off a series of dates with Wet Leg, the band’s new full-length 'Household Name' reveals an exciting new chapter marked by both personal and artistic growth. Now based in Brooklyn, New York, after relocating from hometown Los Angeles, the duo upgraded from GarageBand and took their time writing and recording in a proper studio alongside multi-instrumentalist/producer Aron Kobayashi Ritch. The resulting album, mastered by Grammy-winning engineer Emily Lazar, is a tightly stitched collection that is magnetic and dynamic, and also marks their debut for Lucky Number, who signed Momma in the midst of the pandemic before the band members had even finished college. In chasing their idols and embracing personal storytelling, the band has skill-fully carved out their own path. 'Household Name' showcases an unfettered vulnerability elevated by serious alt-rock bombast and is an album that tells the world: This is Momma.

                                                                                                                                                                                                      Across the album’s 12 songs, Weingarten and Friedman, who met and formed Momma in high school, cull lyrical inspiration from their own lives for the first time - a contrast with the conceptual fiction of Two of Me. Bygone heroes also helped inspire a lyrical theme throughout 'Household Name': the rise and fall of the rock star, and the tropes and tribulations that come with that arc. The theme allowed the group to celebrate (and, in some cases, directly reference) icons like Nirvana, Pavement, Smashing Pumpkins, Veruca Salt, and the Breeders’ Kim Deal, while weaving in their own perspective and experiences.

                                                                                                                                                                                                      'Household Name' perfects a balance of heavy riffs, deep emotions, inviting sonic production, and a light-hearted, wry sense of humour, creating a singular lane for Momma in today's world of alt rock.


                                                                                                                                                                                                      TRACK LISTING

                                                                                                                                                                                                      Side A
                                                                                                                                                                                                      1. Rip Off
                                                                                                                                                                                                      2. Speeding 72
                                                                                                                                                                                                      3. Medicine
                                                                                                                                                                                                      4. Rockstar
                                                                                                                                                                                                      5. Motorbike
                                                                                                                                                                                                      6. Tall Home
                                                                                                                                                                                                      Side B
                                                                                                                                                                                                      7. Lucky
                                                                                                                                                                                                      8. Brave
                                                                                                                                                                                                      9. Callin’ Me
                                                                                                                                                                                                      10. Spider
                                                                                                                                                                                                      11. No Stage
                                                                                                                                                                                                      12. No Bite

                                                                                                                                                                                                      TRAAMS

                                                                                                                                                                                                      Personal Best

                                                                                                                                                                                                        ‘Personal Best’, the third album from Chichester’s TRAAMS and their first in seven years, represents a band rebuilt from the ground up. After half a decade apart, all it took was a global pandemic to reaffirm their intense urge to create music together, and the limitations the situation brought with it ended up revolutionising their sound.

                                                                                                                                                                                                        Though the band never officially broke up after the release of nine-minute behemoth ‘A House On Fire’ and the subsequent tour at the end of 2017, a break made sense to all three members. “I couldn’t really write, and I didn’t have the motivation to do anything musical. I’m pretty sure I didn’t pick up a guitar for 2 years,” vocalist and guitarist Stuart Hopkins reflects. “I was waiting for that feeling to come back.” In the intervening years, the band went their separate ways. Padley making a record with his new project Social Haul, and Adam learning new instruments and buying up synthesisers. Eventually in 2019, Stu began tinkering away on two leftover TRAAMS songs, the ten-minute krautrock epic ‘The Greyhound’ and the fidgety ‘Intercontinental Radio Waves’, which were then released in 2020. “They had been left as instrumental demos with no vocal takes, and to be honest they were beginning to drive me a little mad,” Stu recalls. “I needed them finished and out of my head.”

                                                                                                                                                                                                        At the tail end of 2019 the urge to reconnect struck the band, and they headed to Brighton for some initial sessions in a similar way to previous records – guitar, bass, drums, vocals. This continued until the first lockdown happened. After having this initial momentum scuppered, work on ‘personal best’ began again in earnest in summer of 2020, when lockdown restrictions eased. The trio were allowed to meet up in a studio and rehearsal space cobbled together in Stu’s workplace in Chichester. Due to flats in close proximity and only being able to play and record at night, the band were forced to write music at a hushed volume. “We had to re-learn how to play together,” the frontman says. “It was really quiet and considered, whereas before it’s always been obnoxiously loud. All the things we’d usually relied upon – bass and drums locking in, guitar feedback, shouted words – were no longer applicable in this new way of writing. After our initial reservations, it was incredibly inspiring and freeing.”

                                                                                                                                                                                                        As a result, ‘Dry’ and ‘Comedown’ – the two songs that bookend the new album, written in those early Brighton sessions – are the only two to feature live drums, a previous staple of TRAAMS’ sound. “There was an element of me not wanting to play drums as much anyway, but lockdown made it happen as we just couldn’t get to a drum kit,” Adam Stock remembers. For a while, the idea was to write within the restraints they were set initially, before imagining full band sessions to flesh out the sound in a more traditional way later down the line.

                                                                                                                                                                                                        In the end, this new way of working proved revolutionary for the band. With Adam on guitar and drum machines, and Stu experimenting with softer vocal tones, a new sound emerged for the trio, one that defines their third album. “I like the fact that it touches on old ideas and new ideas, created in this weird middle period of our lives when we were locked down and didn’t know when we’d get on stage again,” bassist Leigh Padley says. “We focused more on the writing than we had done before.” Stu adds: “Lockdown heightened how much we realised we needed to do this, after so many years inactive. We realised that TRAAMS was something we all really needed.”

                                                                                                                                                                                                        By stepping away from their usual instruments and working in an untraditional way, TRAAMS have made their most interconnected album yet. Opener ‘Sirens’, a gorgeous and glacial electronic intro, serves as the first pointer of their transformation, while ‘Breathe’ has the scale and scope of some of their biggest songs but in a more controlled manner, building steadily across its nine minutes. ‘Hallie’ and ‘Dry’ provide the most familiar sounds to the TRAAMS of the past, but the idea of progression and forward motion is everywhere on the album. In delegating some of his lyric writing duties to Padley, Stu also reconnected with a previously waning enthusiasm for storytelling. “He gave me loads of stuff and all this inspiration just ran from it,” he says. “I knew what the songs were about but I didn’t have the correct words for them. I don’t know if I was just reading into what Padley was writing and taking what I wanted to get from it, like reading your horoscope, but they all made sense with what I had in my mind.”

                                                                                                                                                                                                        Another defining feature for the album is its musical guests. Liza Violet of Menace Beach appears on ‘Breathe’, her vocals intertwining with Stu’s, and surging closer ‘Comedown’, while lead single ‘Sleeper’ – a gorgeously restrained, catchy track which swaps brute for beauty – features a verse from Soffie Viemose of Danish band Lowly, former tourmates of TRAAMS.

                                                                                                                                                                                                        Joe Casey, the idiosyncratic frontman of past and future TRAAMS tourmates Protomartyr also makes an appearance on the album’s blistering centerpiece, ‘The Light At Night’. “I had this part where I was trying to sound like a preacher, or someone with unequivocal authority, delivering this ranting speech,” Stu says of his idea for the song, “and as much as I tried to get a good version of me doing it, it just wasn’t working. It just sounded like I was trying to be Joe.” What better conclusion, then, than to get the man himself involved? A speculative Instagram message followed, ending up in Casey writing a brilliantly vivid, chaotic verse to send the track towards oblivion. “Kill the body then the head dies,” he spits over and over at the end of the song in a crazed manner only Casey is capable of, adding some blood and guts to the album’s poise and guile.

                                                                                                                                                                                                        The title of ‘personal best’ also serves as emblematic of the overarching development of TRAAMS through the creation of their third album. “A lot of this album is about recognising yourself,” Stu says. “This record is about the little changes we make, and the milestones we achieve in that process,” he adds, reflecting on a seven year period where his band drifted apart before reconnecting and finding an entirely new way of working, a change that has resulted in their most beautiful and fully-formed album yet. “It’s not about big declarations of love or huge outpourings of grief,” he says. “It’s about the little personal realisations and victories that people have throughout their lives. Some of them are massive, some of them can be hard, and some are small and beautiful, but they all matter.”


                                                                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                                                                        Barry says: This shows an entirely different side to TRAAMS, pulling out their first full length since 2015's 'Modern Dancing' and swims in the sort of meditative, thoughtful progressions and lysergic airy bliss we wouldn't necessarily associate with this Chichester trio. It's airy and thoughtful, and beautifully paced throughout.

                                                                                                                                                                                                        TRACK LISTING

                                                                                                                                                                                                        Side A
                                                                                                                                                                                                        1.Sirens
                                                                                                                                                                                                        2.Dry
                                                                                                                                                                                                        3.Breathe Feat Softlizard
                                                                                                                                                                                                        4.Light At Night Feat Joe Casey
                                                                                                                                                                                                        Side B
                                                                                                                                                                                                        1.Sleeper Feat Soffie Viemose
                                                                                                                                                                                                        2.Shields
                                                                                                                                                                                                        3.Hallie
                                                                                                                                                                                                        4.Comedown Feat Softlizard

                                                                                                                                                                                                        Gemma Cullingford

                                                                                                                                                                                                        Tongue Tied

                                                                                                                                                                                                          ‘Tongue Tied’ is the sophomore album from Gemma Cullingford (Sink Ya Teeth). Written and produced from Gemma's humble home studio in Norfolk, ‘Tongue Tied’ blends many styles of electronica from 70's experimental and new wave, early 80's electro, acid house and techno to noughties electro clash, topped with her own vocal style to produce a unique and fresh sound. It explores relationships and the different emotions they can bring, from paranoia, yearning and helplessness to lust, shyness and just downright wanting to dance.

                                                                                                                                                                                                          ‘Tongue Tied’ is a progressive follow up to her debut ‘Let Me Speak’ which garnered support from the likes of Steve Lamacq, Amy Lame, Nemone, Chris Hawkins, Jamz Supernova, John Kennedy and James Endeacott, plus glowing reviews in Mojo, Uncut and Electronic Sound.

                                                                                                                                                                                                          For the cover artwork on ‘Tongue Tied’, Gemma has collaborated with visual artist Kelda Storm who shares Gemma's love for bright, contrasting neon colours and minimal bold designs. She uses the iconography of feminine lips across her work as a symbol of speech and voice.

                                                                                                                                                                                                          RIYL: Sink Ya Teeth, Lonelady, A Certain Ratio.

                                                                                                                                                                                                          TRACK LISTING

                                                                                                                                                                                                          Side A
                                                                                                                                                                                                          1. Accessory
                                                                                                                                                                                                          2. Tongue Tied
                                                                                                                                                                                                          3. Bass Face
                                                                                                                                                                                                          4. Holding Dreams
                                                                                                                                                                                                          5. Mechanical
                                                                                                                                                                                                          Side B
                                                                                                                                                                                                          6. New Day
                                                                                                                                                                                                          7. No Fail
                                                                                                                                                                                                          8. Chronicle Of Sound
                                                                                                                                                                                                          9. Red Room
                                                                                                                                                                                                          10. Daisy

                                                                                                                                                                                                          Portron Portron Lopez

                                                                                                                                                                                                          Ice Cream Soufi

                                                                                                                                                                                                            Coming on like a mutation of all the wild and tempered instrumentation of the Dirty Three in full flow, the ambling and meandering yet intense desert rock of Scenic via a long and delightful trawl around the mountain tops of the Mediterranean coastline… evocative and exhilarating music that pulls you along for the ride!! although an instrumental record, this album is as joyous as some of the most rambunctious and rowdy pop albums you’re ever likely to hear.

                                                                                                                                                                                                            For fans of Mdou Moctar, Dirty Three, Scenic, Captain Beefheart, Music Ehtiopiques etc// good times!

                                                                                                                                                                                                            “One of us once came in with a guitar riff he’d made alone at home and asked the band to play it the way he composed it. The result was a disaster!”

                                                                                                                                                                                                            Portron Portron Lopez don’t do concepts. There are no great discussions about where they should pull their influences from, or pre-planning about how to structure studio work. The Parisian-formed trio exist in spontaneity, a creative co-habitancy that relies on feel and groove – as evidenced on their three studio albums to-date. Exploratory odysseys that bely the potential pitfalls an improvisational-minded group might fall into during the recording process, they’ve moved between shades of psychedelia and Middle Eastern-inflected drones as well as more electronic and club-based touchstones, doing so in a way that feels effortlessly free. That sense of adventure is furthered still on forthcoming album Ice Cream Soufi.

                                                                                                                                                                                                            “We need exploding ideas that allow us to build tracks that we can emotionally convey onstage” they say. “It's not about being a concept band, but about striking ideas that make sense. It’s not ‘our music’ we’re making - it’s transposing who we are into music.”

                                                                                                                                                                                                            Portron Portron Lopez were formed in 2011 in Paris by guitarists and brothers Marceau and Valentin Portron. High school friend and drummer Lucas Lopez joined after a two-day long improvisation session in a Parisian wine bar. He left after two records – 2012’s beguilingly Beefheart-meets-Afrobeat set of tracks on Uh!, and 2015’s similarly acid-fried Moi Aussi J'ai Des Amis Qui Font Du Bruit – but his position was taken by Olivier Kelchtermans. The Belgian artist had contributed to PPL’s previous studio recordings as a saxophonist but switched to behind the kit in time for the 2016 tour dates and then the 2018 release De Colère et d'Envie’s mix of lo-fi hypnagogia and proto-punk recalling mayhem.

                                                                                                                                                                                                            Ice Cream Soufi certainly doesn’t eschew all the chaos of that record, but the seven tracks that make up the group’s fourth LP lean further into their penchant for cross-pollination across globally inspired styles. Opener Comment Vas-Tu Rossignol’s roots are in western Iran and a recording Valentin made there of local musicians playing in the ethnographic museum of Sanadaj. The material served as inspiration for the resulting track, which leans on Kurdish folk style and structure while the trio whip themselves into a sense of frenzy around it.

                                                                                                                                                                                                            Elsewhere, third track A Stranger I May Be came out of several improvisations based around the group’s goal of “getting to a country-techno song” – an on-paper incongruous mix that makes a hell of a lot of sense when listened to. It’s unwavering kick drum drives through the group’s duelling guitars and unburdened vocal shrieks, supplemented by musician and comedian Charly Fournier who adds a touch of knowing absurdity to proceedings.

                                                                                                                                                                                                            Those two tracks bookend Pensée Sans Tête, which was improvised and demoed in April 2019 during a rehearsal, before being taken to an old barn in Normandie the following year to flesh out. The track’s repeato-riffs gradually spin quicker and quicker as the group underpin it vocally and with rolling percussion.

                                                                                                                                                                                                            Arguably the centre piece of the record, though, is Aubes – an 11-minute-long opus of cacophonic drones that gather and bustle for space amidst each other, a line of tension pulled tight through them. It’s a stirring midpoint that encourages the listener’s mind to pick its own sonic adventure within the different shades of sound.

                                                                                                                                                                                                            “At first, the original concept of the album was to put three straight rock songs in and a 23-minute drone” the band comment. “But the result was not satisfying”.

                                                                                                                                                                                                            Instead, they cut half the drone and added a few overdubs. Valentin added some recordings he’d made during a trip to Iranian Kurdistan where he’d seen Farzad Memar - the uncle of ambient composer Porya Hatami - playing duduk. He also mixed in some Târ playing by his beloved Persian friend Mostafa Heydarian.

                                                                                                                                                                                                            “The initial idea of three songs and one drone was boring because it was a rational concept” they say. “All of a sudden, a new album started to take shape in front of us, as a rosebud growing under our very touched eyes. It was a beautiful surprise.”
                                                                                                                                                                                                            Aubes’ peak allows the two following tracks to giddily scramble down the other side of the record, with Fin De Partie perhaps the most garage rock-inspired track on the album, its rawness the result of a direct lift from the outro of a live set that took place in a small basement in Bordeaux. Tayau rounds things out, a short two-minute finale recorded at home on Marceau’s phone in his bedroom.

                                                                                                                                                                                                            Recorded across six different locations over a period of 20 months, sessions saw the trio set up everywhere, from various rehearsal studios to band members respective homes, a large church in Sète and an old barn in Normandie. The three group members are now spread out across Paris, Corrèze in the central west of France and Sète on its south coast. All that meant, though, was that the sessions for the album took on even more of an improvisatory vibe as they sought to make the most of their increasingly limited time together.

                                                                                                                                                                                                            “One of the greatest achievements of these sessions was being able to put up an album that is like a house with lots of different rooms” they say. “You never want to stick in the main hall when you're visiting someone, and that's the feeling you may have when listening to a record fully recorded and mixed in the same place and time. For us, the live nature of the tracks and the different moods they take on make it feel more like a journey through us.”
                                                                                                                                                                                                            And beyond the feeling of it, nothing else matters.


                                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                                            Side A
                                                                                                                                                                                                            01 Comment Vas-Tu Rossignol
                                                                                                                                                                                                            02 Pensées Sans Tête
                                                                                                                                                                                                            03 A Stranger I May Be
                                                                                                                                                                                                            04 Trois-Cent-Dix-Huit Poussettes
                                                                                                                                                                                                            Side B
                                                                                                                                                                                                            01 Aubes
                                                                                                                                                                                                            02 Fin De Partie
                                                                                                                                                                                                            03 Tayau

                                                                                                                                                                                                            Dinked Edition Bonus 7”
                                                                                                                                                                                                            A: Train Bluc
                                                                                                                                                                                                            B: Kula

                                                                                                                                                                                                            Dinked Edition 
                                                                                                                                                                                                            13 TRACK BONUS CD IN SLEEVE

                                                                                                                                                                                                            A Bakers Dozen: PPL Primer.
                                                                                                                                                                                                            1: BICHETTE
                                                                                                                                                                                                            2: SOL MAMMOUTH
                                                                                                                                                                                                            3: JEROME
                                                                                                                                                                                                            4: VELVET TARGUI
                                                                                                                                                                                                            5: UNE BARQUE SUR L'OCEAN
                                                                                                                                                                                                            6: LEELOO
                                                                                                                                                                                                            7: ADIOS JUAN NAVIDAD
                                                                                                                                                                                                            8: BICHETTE II
                                                                                                                                                                                                            9: EVERYBODY'S GOT A NUMBER IN THE NECK (LIVE)
                                                                                                                                                                                                            10 LA CHAUVE SOURIS (LIVE)
                                                                                                                                                                                                            11 CIRCUS
                                                                                                                                                                                                            12 TRAIN BLUC
                                                                                                                                                                                                            13 KULA

                                                                                                                                                                                                            Kelley Stoltz

                                                                                                                                                                                                            The Stylist

                                                                                                                                                                                                              "The Stylist", Kelley Stoltz's 17th album finds him following up the Third Man Records reissue of his 2001 "Antique Glow", with a collection of 10 new songs. The album was recorded early in 2021, and has been languishing in the vinyl pressing log jam ever since - but luckily Stoltz writes timeless songs, the kind that might've appeared on the fringes of the late 60's or mid 80's. Acoustic guitars, synthesizers, drum machines and strong melodies abound. As with his other classic records "Below the Branches", "Double Exposure" and "Ah! (etc)" Stoltz plays most of the instruments himself and records in his home studio in San Francisco. Kelley says, "I chose the title 'the Stylist' because musically I guess that's what I am... because of the way I write, at my leisure over a period of months at home, I kinda flit around between styles. It's all in the pop-rock vein, but there's usually a wide range of sounds and inspiration from song to song. It sort of fits together in a mix tape kind of way, rather than an exploration of one particular mood. That's always been the case with my albums."

                                                                                                                                                                                                              The chorus-y guitar jangle of "Your Name Escapes Me" somehow name checks the New Bomb Turks, while reflecting on familiar if forgotten faces from Stoltz's past. On "My Island" insistent piano and saxophone solos take the listener on a tropical trip to the soft rock radio dial. Stoltz played rhythm guitar in Echo & the Bunnymen for a few years, and "We Grew So Far Apart" clangs like a lost Liverpool 80's classic. Stoltz says, "There's a touch more piano on this record... going back to my Sub Pop days, when I was writing more Beatle-y bits... Harry Nilsson... that kind of thing." Indeed, the piano led "It's a Cold World" plays like a holy union of Todd Rundgren and the Zombies where Stoltz declares, "it's a cold world at times, but I'm not ready to give up the fight."

                                                                                                                                                                                                              Thankfully, after 23 years the beat goes on... and no matter what style Stoltz chooses, "The Stylist" is another platter of tuneful delight in the impressive catalog of one of the great songwriters of our time.


                                                                                                                                                                                                              TRACK LISTING

                                                                                                                                                                                                              Side A
                                                                                                                                                                                                              Change
                                                                                                                                                                                                              We Grew So Far Apart
                                                                                                                                                                                                              You Had To Be There
                                                                                                                                                                                                              My Wildest Dream
                                                                                                                                                                                                              Its A Cold World
                                                                                                                                                                                                              Side B
                                                                                                                                                                                                              Is There Anything That's Better Than This , Babe?
                                                                                                                                                                                                              Your Name Escapes Me
                                                                                                                                                                                                              In The Night
                                                                                                                                                                                                              Wrong Number
                                                                                                                                                                                                              My Island

                                                                                                                                                                                                              Totally Enormous Extinct Dinosaurs

                                                                                                                                                                                                              When The Lights Go

                                                                                                                                                                                                                Recorded predominantly in Orlando’s studio in Los Angeles, ‘When the Lights Go’ is his first album since 2012’s critically acclaimed ‘Trouble’. The new album marks a departure in sound, defined, of course, by the events of the last few years. Encompassing songwriting, ballads and a pop-centered aesthetic, it’s full of depth, feeling, storytelling and woe - presented in a compelling manner, as only he can.

                                                                                                                                                                                                                ‘When the Lights Go’ is a substantial body of work, containing 17 tracks, representative of the duration between albums, “I feel grateful to know that there are people who are interested in more music from me. So I want to give them something significant in length”, he says. When the Lights Go also marks a shift into the pop domain, Orlando’s vocals take centre stage with arrangements that complement the sadness in the songwriting.


                                                                                                                                                                                                                TRACK LISTING

                                                                                                                                                                                                                Side A
                                                                                                                                                                                                                1. Crosswalk
                                                                                                                                                                                                                2. Persuasion (interlude)
                                                                                                                                                                                                                3. Blood In The Snow
                                                                                                                                                                                                                4. Never Seen You Dance
                                                                                                                                                                                                                Side B
                                                                                                                                                                                                                1. Forever
                                                                                                                                                                                                                2. The Sleeper
                                                                                                                                                                                                                3. Story
                                                                                                                                                                                                                4. Sound & Rhythm
                                                                                                                                                                                                                Side C
                                                                                                                                                                                                                1. When The Lights Go
                                                                                                                                                                                                                2. Basement
                                                                                                                                                                                                                3. Friend
                                                                                                                                                                                                                4. Be With You
                                                                                                                                                                                                                Side D
                                                                                                                                                                                                                13. Treason
                                                                                                                                                                                                                14. Through The Floor
                                                                                                                                                                                                                15. Silence
                                                                                                                                                                                                                16. Blue Is The Color
                                                                                                                                                                                                                17. Thugs

                                                                                                                                                                                                                Akusmi

                                                                                                                                                                                                                Fleeting Future

                                                                                                                                                                                                                  Akusmi is the new project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album ‘Fleeting Future.’ With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. ‘Fleeting Future’ stands apart as an inventive and inspirational debut.

                                                                                                                                                                                                                  The creation of the album’s richly colourful and multi-layered sound world was originally inspired by Bideau’s journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on ‘Fleeting Future’ seed from the ‘Slendro’ scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; “the compelling way things dramatically change when you shift from any given scale to another.”

                                                                                                                                                                                                                  The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track ‘Fleeting Future’, on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece ‘Neo Tokyo’ is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo’s Akira, a dizzying work of art set in a sprawling futuristic metropolis.

                                                                                                                                                                                                                  ‘Yurikamome’, meanwhile, is an imaginary soundtrack inspired by Bideau’s yearning to visit Japan which he fuels by watching Youtube videos of drives and rides through Japanese landscapes and cities. “It’s amazing” he adds, “that we have the ability to access almost anywhere in the world and see what it’s like, that people document it and upload it. It’s never going to be any replacement for the real thing, but with places that really touch you, it works.” The track is named after a Japanese monorail train line which rides from Shinbashi to Toyosu, a last journey that feels like a new beginning.

                                                                                                                                                                                                                  ‘Fleeting Future’ was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiralling into the unknown is the future, about which Bideau leaves us with a final thought:
                                                                                                                                                                                                                  “The future is fascinating: It is constantly readjusting to new events. I feel we left a linear approach to the future to enter an arborescent one where all the data and information we have about what could happen is exponentially ever-growing. Following a branch might allow you to glimpse into what it may become, but the evolution of the whole picture might very well render the prediction totally obsolete, and even meaningless. In that sense, there is not one future but innumerable ones all cancelling each other. That’s what makes it fleeting.”

                                                                                                                                                                                                                  ‘Fleeting Future’ will be the first release on the new London/Berlin based Tonal Union Imprint, founded by Art director and curator Adam Heron. Adam was instrumental in the rise of the Erased Tapes label and is now the acting label manager of Gondwana Records. He has designed the album’s overall packaging which also features the artwork of Dutch visual artist Sigrid Calon.


                                                                                                                                                                                                                  TRACK LISTING

                                                                                                                                                                                                                  Side A
                                                                                                                                                                                                                  A1. Fleeting Future
                                                                                                                                                                                                                  A2. Sarinbuana
                                                                                                                                                                                                                  A3. Divine Moments Of Truth
                                                                                                                                                                                                                  A4. Neo Tokyo
                                                                                                                                                                                                                  Side B
                                                                                                                                                                                                                  B1. Longing For Tomorrow
                                                                                                                                                                                                                  B2. Cogito
                                                                                                                                                                                                                  B3. Concrescence
                                                                                                                                                                                                                  B4. Yurikamome

                                                                                                                                                                                                                  Sam Slater

                                                                                                                                                                                                                  I Do Not Wish To Be Known As A Vandal

                                                                                                                                                                                                                    I kept on visualizing a body, suspended just at the point where gravity took over, and the figure was falling from their feet to the floor. Frozen at this midpoint, there wasn’t much to say which way they were going - suspended between collapse and recovery, they could almost be getting back to their feet. Perhaps I was punch drunk from 2019, however I noticed very soon the zero-gravity feeling of being suspended between these two points was all around me; the impression of a caring democracy hamstrung by 2D visions of old empires; the climate in it’s seemingly terminal demise and the ever emboldened ideas for a functioning future looming from the smog; the suspension between the immortality of my 20s and the strange feeling when everyone starts to get sick more; the feeling that everything is suspended between collapse and recovery, and I am unsure which way it’s heading.

                                                                                                                                                                                                                    The record was made just before the pandemic started, working closely with the distinct feed-backing Dorophone sounds of Hildur Guðnadóttir, Yair Glotman’s thunderous double-bass, James Ginzburg’s devotion to precise form and muting my reverb stems, the microtonal brass and woodwinds of Hilary Jeffrey and Sam Dunscombe and the infinite intimacy of Icelandic singer-songwriter JFDR. From Berlin, I would flag sounds I loved; some twitching strings, the stolen alto voice from an abandoned English chorale, some words from a climate scientist fleshed into a poem. These email attachments struck up a sort of sonic pen-pal program, with each person sending a sound, some words, some creative parameters and responding in turn. It became an exercise in receptivity, in which openness itself became a creative voice, hushing my tendency to micromanage every detail. These interactions were pulled together in late 2019 into a single piece written for two sides of a single 12” vinyl; one side describing collapse (Darn!) and the other, recovery (Kintsugi). Influenced by the 70s concept prog records of my childhood, the album loops without ending, so you were never really allowed to rest in safety, or wallow in the mess for too long.

                                                                                                                                                                                                                    Although my 20-year-old self would loathe it, I find myself tired of people believing their own creative voices are the most interesting or that creativity needs another self-aggrandizing voice. I thought of this as a project about restoring balance, the immense power to be found in collaboration, receptivity and the belief that if I am going to contribute to the world in 2022, it should be from a position of openness. It should be kind rather than vulgar. It should be constructive, not destructive. I do not wish to be known as a Vandal.

                                                                                                                                                                                                                    Working with visual artist Theresa Baumgartner and Dancer / Choreographer Lukas Malkowski the simple visual imagery of a body resisting gravity was realized as an Audio-Visual installation, which will be premiered in May 2022. “I do not wish to be known as a Vandal” uses high speed cameras which compensate for gravity’s pull at 3000 frames per second, suspending an unclothed body in space as it moves from feet to floor and back again. The result is a simple, framed figure of a body moving through space, duelling with inevitably and the cycle of collapse and recovery, set to generative interpretation of the record.


                                                                                                                                                                                                                    Deep Tan

                                                                                                                                                                                                                    Diamond Horsetail / Creeping Speedwells

                                                                                                                                                                                                                      London based, subversive post-punk trio deep tan are back with their new single, ‘rudy ya ya ya’ and news of their sophomore EP, ‘diamond horsetail’.

                                                                                                                                                                                                                      Alongside this, the band are also releasing a Dinked Edition which features ‘diamond horsetail’ and previous EP ‘creeping speedwells’ exclusively pressed together on ‘piss kink yellow’ vinyl, limited to 400 copies.

                                                                                                                                                                                                                      ‘rudy ya ya ya’ is pure deep tan: spiky guitars above a driving rhythm section and a sharp, detached vocal. The band explain: “Caught with your pants down, brown ooze slides down a furrowed brow as sacha interrupts — ! (aka the rudy giuliani diss track you never asked for)”

                                                                                                                                                                                                                      Since they released their debut EP ‘creeping speedwells’ last year to widespread critical acclaim, deep tan have been winning over legions of fans with their unique brand of post-punk; never afraid of challenging the establishment, their songs are politically astute and socially conscious but never preachy. It’s a potent blend that has seen the band thrust to the forefront of the chasing pack with a string of fine releases and a subversive punk spirit. The band then went on to release a Dan Carey produced single with legendary label Speedy Wunderground, ‘tamu’s yiffing refuge’, a stripped down, driving track that once again proves less is more.

                                                                                                                                                                                                                      deep tan make music that emerges from the fatalistic side of life with a flash of cynicism and a rumble of venomous intent. Their stripped-back, minimal sound is a vehicle for songs that engage with contemporary themes, from deepfake revenge pornography to surreal meme pages and stories of furry hedonism.

                                                                                                                                                                                                                      TRACK LISTING

                                                                                                                                                                                                                      Dinked Edition:
                                                                                                                                                                                                                      Side A - Diamond Horsetail
                                                                                                                                                                                                                      1. Beginners’ Krav Maga
                                                                                                                                                                                                                      2. Device Devotion
                                                                                                                                                                                                                      3. Gender Expansion Pack
                                                                                                                                                                                                                      4. Rudy Ya Ya Ya
                                                                                                                                                                                                                      5. Diamond Horsetail
                                                                                                                                                                                                                      Side B - Creeping Speedwells
                                                                                                                                                                                                                      1. Do You Ever Ascend?
                                                                                                                                                                                                                      2. Hollow Scene
                                                                                                                                                                                                                      3. Camelot
                                                                                                                                                                                                                      4. Deepfake

                                                                                                                                                                                                                      Vintage Crop

                                                                                                                                                                                                                      Kibitzer

                                                                                                                                                                                                                        Geelong’s favourite sons Vintage Crop return with their much-anticipated fourth album, ‘Kibitzer’. Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

                                                                                                                                                                                                                        ‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

                                                                                                                                                                                                                        ‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

                                                                                                                                                                                                                        Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound. 


                                                                                                                                                                                                                        TRACK LISTING

                                                                                                                                                                                                                        Side A
                                                                                                                                                                                                                        01. Casting Calls
                                                                                                                                                                                                                        02. The Duke
                                                                                                                                                                                                                        03. Double Slants
                                                                                                                                                                                                                        04. Hold The Line
                                                                                                                                                                                                                        05. Impact Of Wisdom
                                                                                                                                                                                                                        Side B
                                                                                                                                                                                                                        06. Drafted
                                                                                                                                                                                                                        07. The Bloody War
                                                                                                                                                                                                                        08. 2K Hip Pocket
                                                                                                                                                                                                                        09. Under Offer
                                                                                                                                                                                                                        10. Switched Off

                                                                                                                                                                                                                        Mush

                                                                                                                                                                                                                        Down Tools

                                                                                                                                                                                                                          Leeds art-rock group Mush (Dan Hyndman - vocals / guitar, Phil Porter - drums, Nick Grant - bass, Myles Kirk– guitar) return with album ‘Down Tools’ via Memphis Industries. The new record marks the prolific band’s third album in as many years, following hypebuilding early singles ‘Alternative Facts’ and ‘Gig Economy’, 2020’s debut LP ‘3D Routine’ and 2021's acclaimed ‘Lines Redacted’, which pushed their sound further and, as Uncut wrote, saw them become “kindred spirits to Wand and King Gizzard & The Lizard Wizard, two other bands prolifically honing their sound and approach, steadily developing their voice.”

                                                                                                                                                                                                                          On ‘Down Tools’, this voice grows again into a more brilliantly singular sound. It sees Mush getting loose, moving away from the defined moods and textures of ‘Lines Redacted’ with a musical openness, straddling genres while avoiding pastiche. Hyndman says of the lyrics on ‘Down Tools’ that “there was a conscious decision to retreat further from an observational approach” with vocals being ad-libbed lending the record a more abstract feel. Hyndman continues: “this album is less dark than the previous one. The Armageddon obsession has eased, or at least the symptoms have become milder due to saturation. Musically there’s a lot more chill on the record – there’s a few more mellow tracks out there and the most astute listener may even be able to decipher some of the words, fingers crossed.”

                                                                                                                                                                                                                          While grief and work balance form themes on the record, Hyndman’s approach is largely made up of abstract, disconnected streams of consciousness and lines liberally taken from books, paintings, films and beyond. On ‘Human Resources’, Hyndman dramatically retells a battle he had with an HR department at a job in a David and Goliath style. The song ‘Group Of Death’, a phrase chillingly familiar to any football fan, is emblematic of the turn towards softer, more considered sounds. Hyndman says: “In my warped imagination it just sounds like a Paul McCartney song, but it won’t to others. I initially had the idea of doing a World Cup song called ‘Group of Death’, but by the time it was written nothing beyond the title had any relevance to football. Anyway, the next World Cup is in Qatar so fuck that shit.” Northern Safari meanwhile is a song about the way the North of England has been portrayed in the media and used as a mirror to reflect some of the nastier elements of what’s going on in society, in particular vox pops around Doncaster, portraying a particular narrative of the collapse of the red wall and the disgruntled ex-miners.

                                                                                                                                                                                                                          ‘Down Tools’ then sees Mush idiosyncratically ping-pong from finger picked looseners to noise-rock bangers to brilliantly entertaining effect, avoiding post punk saturation with an easy style and wit


                                                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                                                          Barry says: Both 2020's '3D Routine' and 'Lines Redacted' from last year were big hits in the shop, singling mush out as a band unafraid of whimsical melody amongst the more furious moments of activity, and 'Down Tools' looks like it will only continue the legacy. Both beautifully tuneful and full of cleverly written, skilfully played hooks. Great stuff.

                                                                                                                                                                                                                          TRACK LISTING

                                                                                                                                                                                                                          Side A
                                                                                                                                                                                                                          Grief Thief
                                                                                                                                                                                                                          Karoshi Karaoke
                                                                                                                                                                                                                          Get On Yer Soapbox
                                                                                                                                                                                                                          Human Resources
                                                                                                                                                                                                                          Northern Safari
                                                                                                                                                                                                                          Dense Traffic
                                                                                                                                                                                                                          Side B
                                                                                                                                                                                                                          Inkblot And The Wedge
                                                                                                                                                                                                                          Group Of Death
                                                                                                                                                                                                                          Groundswell
                                                                                                                                                                                                                          Interlude
                                                                                                                                                                                                                          Burn, Suffering!
                                                                                                                                                                                                                          Down Tools

                                                                                                                                                                                                                          Dinked Edition Flexi Disc:
                                                                                                                                                                                                                          Hit The Bricks (non-album Track)

                                                                                                                                                                                                                          Carrtoons

                                                                                                                                                                                                                          Homegrown

                                                                                                                                                                                                                            Producer and multi-instrumentalist CARRTOONS returns with his new album, Homegrown. Evolving his trademark Modern Motown sound, CARRTOONS continues to expand his already diverse musical repertoire in jazz, soul, hip-hop, and more. 

                                                                                                                                                                                                                            The youngest son of jazz violinist Richard Carr (Bill Laswell, Bootsy Collins), Ben received his college degree in Jazz Performance, made his debut with Mad Satta, and opened for artists like Thundercat, Nick Hakim, Gabriel Garzon Montano, and Mac Ayres. Over the last few years, he has become one of the most sought-after producers in music through his eye-catching Instagram videos, powerful bass lines, and memorable melodies. His unique fills, phrases, and compositions made him an instant favorite, leading to recent collaborations with Robert Glasper, Alex Isley, Kiefer, and Butcher Brown.

                                                                                                                                                                                                                            The success of Saturday Morning was the first sign of evolution in CARRTOONS career, with the album surpassing 2 million streams on Spotify in mid-February. The ad placement of his track "Give It Up" with Green Mountain Coffee gave him exposure to a whole new audience, while his guest feature on the Tiny Desk series rearranging the NPR theme songs for their 50th anniversary was also a hit. Starting 2022 off strong, CARRTOONS' recent work with The KOUNT led to the release of their ultra-viral video "On My Way" and the organic growth of over 100,000 followers in 4 weeks on Instagram.

                                                                                                                                                                                                                            His continued strides in music, along with astonishing growth across several platforms is clear indication of Ben Carr's promise and potential. More than just an album; Homegrown characterizes the hard work, seeds sown, and natural growth of a gifted musician. An artist you will want to watch!

                                                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                                                            1. Homegrown
                                                                                                                                                                                                                            2. Toons
                                                                                                                                                                                                                            3. Groceries (feat Nigel Hall)
                                                                                                                                                                                                                            4. Be There For You
                                                                                                                                                                                                                            5. Lighta (feat Rae Khalil)
                                                                                                                                                                                                                            6. Vamp
                                                                                                                                                                                                                            7. Read My Lips (feat Floyd Fuji)
                                                                                                                                                                                                                            8. Cadillac (feat Richard Carr,Pierce Allen)
                                                                                                                                                                                                                            9. Hollywood
                                                                                                                                                                                                                            10. Flamingos (feat Tennishu)
                                                                                                                                                                                                                            11. Young Buck (feat DJ Harrison)
                                                                                                                                                                                                                            12. Northern Lights (feat Fonville)
                                                                                                                                                                                                                            13. Pressure Over Pleasure (feat Lo Artiz,Julia Zivic)
                                                                                                                                                                                                                            14. White Widow

                                                                                                                                                                                                                            Deliluh

                                                                                                                                                                                                                            Fault Lines

                                                                                                                                                                                                                              Learning about what Deliluh has been through these past two years brought the commands on a cassette player to mind: press rewind, forward, play and eject. The band, now a duo of Kyle Knapp and Julius Pedersen, relocated to Europe from their Toronto base with the ambition to plug into a continent that felt more cohesive in terms of a gig circuit and to map new spaces, both terrestrial and spiritual. This bold move came with a number of adjustments.The first was a new touring line-up, following the decision of Erika Wharton-Shukster and Erik Jude to stay in Canada. The second was dealing with the cosmic headfuck of a deadly global pandemic that put a stop to most things outside of staying alive. Looking back, Kyle Knapp sees the process as “somewhat of a crash course in survival and keeping calm. Overall it's taught us a lot about what we want to accomplish, both in the present and the long term.”

                                                                                                                                                                                                                              The new record, Fault Lines, is the result. Knapp sees the record as reflecting the duo’s “growth away from documenting the spaces in our native Toronto, to going out and experiencing new worlds and communities, something which has allowed us to look further inward.” Transmitting and receiving, then. This duality is expressed through the album’s incredibly spacious and clear sound and a series of what sound like intense sermons, or internal monologues that rail against the injustices of this world. The songs introduce characters who grapple with values that are pitted against the expectations around them. Knapp talks of a guilt-ridden preacher in the song Credence who, in a struggle to keep his church afloat, turns to unethical dealings with dubious people. All the tracks “reveal biases that are challenged by external realities” in different ways, for better and for worse. And yet these characters keep on kicking against the pricks: even if the narrator in Body and Soul shakes his fist at what feels like a relentlessly grim future. “Don’t say the sun still rises to light my way”.

                                                                                                                                                                                                                              Fault Lines is also a European record in its making. It first took shape at a session in Copenhagen in January 2019 where the band, still a four piece, recorded the beds before heading out on tour. The plan was to take a post-tour break and track some ideas that could be worked on remotely until everyone got back together in the early summer. Then everything “kind of went sideways”. Fault Lines stayed in an embryonic state for more than half a year, during which Deliluh reconfigured as a two piece. The lockdowns did, however, provide the time to rework material, or reposition ideas in line with the circumstances the pair found themselves in. Julius Pedersen: “We did a lot of heavy lifting at home together in Berlin and Marseille, taking turns training back and forth, throwing shit at the wall and experimenting.”

                                                                                                                                                                                                                              Fault Lines is tough and powerful sounding: a survivor’s record. At times these sparse tracks sound full of menace, at other moments, as in X-Neighbourhood and the soundtracked poem, Mirror of Hope, a sense of remorse. Repetition plays a key role: the band “initially wanted the record to sound circular. (But) repetition and allowing things to breathe was important to these songs, not only to create tension, but to give significance to moments of change when they do occur.” The single Amulet is a mesmeric example of this; where a revolving pattern of notes sketches out a melody which irrigates the brooding, parched vocal line. The circular nature of the music can also trigger a feeling of otherworldliness, as heard on the hypnotic Syndicate II. The track is driven by a simple metallic riff and a caustic vocal line that maybe channels the ghost of an old singer… Regardless it operates in an interzone of its own making.

                                                                                                                                                                                                                              After all this upheaval, does Deliluh still dream of going to another place? Are places different and do they really have a bearing on the creative path? “There's always another place calling from beyond. Without it we would be stuck and hopeless.

                                                                                                                                                                                                                              TRACK LISTING

                                                                                                                                                                                                                              Side A
                                                                                                                                                                                                                              A1 Memorial
                                                                                                                                                                                                                              A2 Body And Soul
                                                                                                                                                                                                                              A3 Credence (Ash In The Winds Of Reason)
                                                                                                                                                                                                                              A4 Amulet
                                                                                                                                                                                                                              Side B
                                                                                                                                                                                                                              B1 X-Neighbourhood
                                                                                                                                                                                                                              B2 Syndicate II
                                                                                                                                                                                                                              B3 Mirror Of Hope

                                                                                                                                                                                                                              LIFE

                                                                                                                                                                                                                              North East Coastal Town

                                                                                                                                                                                                                                LIFE are anchored by their hometown; the geography, history and community has always been the inspiration behind their creativity and on their third LP, North East Coastal Town, the band pay homage to Hull and its folk. North East Coastal Town is mature; it finds the band at the height of their powers as they carve-up a wide-screen, brooding body of work that is drenched in a sense of belonging and reflection but still impressively maintains their trademark swagger and ear for pop sensibilities and guitar hooks.

                                                                                                                                                                                                                                “Hull and the surrounding area runs through our DNA and has shaped us, weathered us, empowered us, embraced us and made us feel accepted.

                                                                                                                                                                                                                                North East Coastal Town is our love letter to the city. The album is an ode to kinship and relationship with its musical and lyrical spine picking out themes of love, desire, beauty, horror, chaos, pride and most importantly the sense of belonging.

                                                                                                                                                                                                                                Upon writing and recording this album it was important to us that this sense of belonging was also reflected in the album’s craft and therefore we used locally based studios, equipment, gear, and the community around us to establish what it means to belong in a North East Coastal Town.”

                                                                                                                                                                                                                                When the pandemic gripped the world in March 2020, LIFE were in the midst of promoting their acclaimed second album – A Picture Of Good Health (Sept 2019); they had just completed an arena support tour with Kaiser Chiefs in the UK, a triumphant main stage appearance at Rockaway Beach and flown to New York for New Colossus Festival ahead of a packed SXSW and a US tour with IDLES. They scrambled home on the last plane back from New York on 17th March.

                                                                                                                                                                                                                                The album was BBC 6 Music’s Album Of The Day, BBC Radio 1’s Album Of The Weekend and was one of BBC 6Music's Albums of The Year; all four singles from the album were play-listed at 6Music, and the band were nominated for two AIM Awards 2020 - Best Live Act and Best (Difficult) Second Album and they played major UK festivals including Glastonbury, Latitude, Reading Festival and many more.

                                                                                                                                                                                                                                They began rebuilding with ‘Friends Without Names’ – the shapeshifting first glimpse from the album – which was added to the A-List at BBC 6Music, and was recorded in the dead of night and hums with a dark, brooding and passionate atmosphere.

                                                                                                                                                                                                                                “Friends Without Names is the anchor and blueprint for our next record. In a remote part of Eastern England, close to the river Humber, we performed this track as if we were in trance; vibrating in a constant musical crescendo. Our aim was to push ourselves and harness differing time zones whilst giving in to the moments of beauty, horror, love and chaos depicted by the song’s lyrics.” (Mez Green, vocals)

                                                                                                                                                                                                                                TRACK LISTING

                                                                                                                                                                                                                                SIDE A
                                                                                                                                                                                                                                1. Friends Without Names
                                                                                                                                                                                                                                2. Big Moon Lake
                                                                                                                                                                                                                                3. Incomplete
                                                                                                                                                                                                                                4. Almost Home
                                                                                                                                                                                                                                5. Duck Egg Blue
                                                                                                                                                                                                                                SIDE B
                                                                                                                                                                                                                                6. Shipping Forecast
                                                                                                                                                                                                                                7. Poison
                                                                                                                                                                                                                                8. Self Portrait
                                                                                                                                                                                                                                9. The Drug
                                                                                                                                                                                                                                10. Our Love Is Growing
                                                                                                                                                                                                                                11. All You Are

                                                                                                                                                                                                                                Just Mustard

                                                                                                                                                                                                                                Heart Under

                                                                                                                                                                                                                                  ‘Heart Under’, Just Mustard’s second album and first for Partisan Records, is an album that asks you to forget what you know. At every turn, this remarkable record reconfigures and stretches the ideas and ambition of a rock band, and turns a year of lockdown and personal struggles into a breathtaking artistic statement.

                                                                                                                                                                                                                                  The music the five friends from Dundalk, Ireland make is strikingly untraditional. Though to look at them, it appears that the band are a five-piece with uniform make-up of a vocalist, two guitarists, a bassist and a drummer, not a single one of them utilizes their instrument in a confined or regular fashion. Guitarists David Noonan and Mete Kalyoncuoglu make their six-strings shriek and wail, the sounds produced sounding like everything from whirring machinery to horror movie monsters. On the introduction to the dark and dangerous ‘Seed’, it’s half-way to being a techno beat. On a great deal of the album, this harshness is juxtaposed by watery, swelling guitar chords that add a dreamy texture to the record alongside the more aggressive, industrial tones. “This is just a piece of wood with some metal strings attached – you can do whatever you want with it,” Mete says of his approach to his instrument.

                                                                                                                                                                                                                                  Behind them, drummer Shane Maguire uses the rim of his drums almost as much as the skins, providing a clattering, metallic backbeat. “I wanted to reinforce the clangy soundscapes of the songs,” he says of his approach to his instrument, and the record includes Shane whacking a metal staircase with a stick in the studio. Most of the melodies on offer poke through from Rob Clarke’s inventive, nodding basslines, which have nods to The Cure, who Just Mustard supported at a Dublin show in 2019. Rob’s sub bass also plays a pivotal role in the sound, creating a sound that feels like an anchor at the bottom of the sea and adding extra emotional weight to the record. “It leaves open the space that a normal bass guitar would normally occupy,” he explains, “and it’s leaving a lot of room in the mid frequencies for vocals and guitars.”

                                                                                                                                                                                                                                  Then there’s Katie on vocals. On the roaring climax to single ‘I Am You’ and the melodic and rhythmic verses in the sprightly ‘Mirrors’, she becomes the transfixing focal point of the band, where past material has seen her voice drop back to within the rest of the band, become an extra texture in the soundscapes.

                                                                                                                                                                                                                                  Since the release of debut album ‘Wednesday’ in mid-2018, the band have undergone a subtle but firm transition, through propulsive 2019 single ‘Frank’ and the gargantuan ‘Seven’ from later that year. While ‘Wednesday’ and subsequent singles pushed Just Mustard away from fitting snugly into the shoegaze category they once occupied, ‘Heart Under’ makes them stand alone as a band that sound like no other.

                                                                                                                                                                                                                                  Across its 10 tracks, the album presents a coherent style and ethos – those scything guitars, Katie’s magical vocals – but still incorporates a wide and untethered vision. There are brooding, atmospheric rock songs (‘Still’, ‘In Shade’) and others that apply a lighter, dreamier touch (‘Sore’, ‘Mirrors’), all tied together with impeccable instrumentation and a united vision. On ‘Wednesday’, the band played with dreamier soundscapes and production techniques, and ‘Heart Under’ serves as the next stage of this development, with every instrument brilliantly pushed to its limit and every boundary of the band stretched.

                                                                                                                                                                                                                                  “This album felt very blue to us,” Katie says of the overarching vision behind ‘Heart Under’. “There was sadness and sorrow in the album, and it felt like being underwater and under something very heavy. We let that influence the music, but it wasn’t a decision – it just naturally happened that way.” Flowing through every part of the album, which unpacks the grief and sorrow that Katie was experiencing at the time of its creation, the theme of water also stretches to its majestic artwork. Commissioned by the band and painted by British artist Graham Dean, it shows a subject up to their chest in water. “His paintings lined up with the emotions in the songs,” Katie says.

                                                                                                                                                                                                                                  The title, ‘Heart Under’, comes from the lyric “the heart under its foot” from the song ‘Sore’, and throughout the recording, the band discussed the idea of wanting the listener to feel like they’re on a train going through a tunnel. In every facet of the album is a physical and emotional intensity, with each note of dissonant guitar, thwack of a drum or piercing lyric hitting you right in the chest, just as intended.

                                                                                                                                                                                                                                  Primary recording took place in Attica Studios in rural Donegal, with additional recording and post-production then completed at home, and this extra time they gave themselves results in an even richer and more intricately composed record. Katie’s vocals were also recorded at home, with extra time and space that allowed her to give a more emotional and honest performance. “The emotion in the vocals is really important to me, and I could really zoom in and take my time when recording at home,” she reflects.

                                                                                                                                                                                                                                  After the band had finished recording and producing the album, ‘Heart Under’ was pushed even further into singular territory when the band worked with mixer David Wrench, whose previous collaborators include Frank Ocean, Let’s Eat Grandma, Jamie xx, FKA twigs and beyond. “We wanted someone who had done pop and electronic records and didn’t just work within rock music,” Katie says, with David adding: “I learned so much from what he did with the record. He put the spotlight on some things in the mix that we had no idea about, and he created so much extra space.”

                                                                                                                                                                                                                                  Though written in the depths of 2020, ‘Heart Under’ is a personal document of a time that doesn’t comment on realities of the outside world. “I always write about what’s going on inside my head rather than anyone else’s,” Katie says. “We all use music to escape, and it’s good to have a break from life with music.”

                                                                                                                                                                                                                                  An album not categorisable by genre or era, ‘Heart Under’ is a guitar album with guitars that don’t sound like guitars, an album that stretches traditional frameworks to make a thrillingly unique sound, and an album like little else you'll ever hear.


                                                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                                                  Laura says: With brooding basslines, distorted guitar shards and pummelling drums Just Mustard plough their own very unique path through the buoyant Irish guitar scene. Katie Balls vocals go from gentle, almost whispered melody to wailing banshee like howls as their sound veers between propulsive intensity and haunting soundscapes. It's a stunning, inventive album that while sounding completely unique, wouldn't sound out of place among early 4AD releases.

                                                                                                                                                                                                                                  TRACK LISTING

                                                                                                                                                                                                                                  Side A
                                                                                                                                                                                                                                  A1 23
                                                                                                                                                                                                                                  A2 Still
                                                                                                                                                                                                                                  A3 I Am You
                                                                                                                                                                                                                                  A4 Seed
                                                                                                                                                                                                                                  A5 Blue Chalk
                                                                                                                                                                                                                                  Side B
                                                                                                                                                                                                                                  B1 Early
                                                                                                                                                                                                                                  B2 Sore
                                                                                                                                                                                                                                  B3 Mirrors
                                                                                                                                                                                                                                  B4 In Shade
                                                                                                                                                                                                                                  B5 Rivers

                                                                                                                                                                                                                                  Melts

                                                                                                                                                                                                                                  Maelstrom

                                                                                                                                                                                                                                    Dublin five-piece MELTS announce their debut album produced by Daniel Fox of Gilla Band (FKA Girl Band). 

                                                                                                                                                                                                                                    “Repetition is definitely the key to Melts,” says Gaz Earle. “It’s about just keeping it simple and driving and fucking stomping.” Earle (drums) makes up the Dublin five-piece along with Robbie Brady (keys/synth), Colm Giles (bass), Kenny (vocals) and Hugh O'Reilly (guitar). "Outlier is about the distance between, like the imaginable distance between objects in space and how leaving one way of life and moving on to another life falling into space, into the void. The title refers to an object or person existing at a distance from the centre of the system."This idea of keeping it simple has been woven into the fabric of the band since day one. Different line-ups were tried and experimented with and after an immediate connection at a rehearsal, Kenny was quickly in as singer. The inclusion of Kenny who, like all the other members have been in various other bands, unlocked something new and distinct in the group. Then once Brady joined on keys, an even more evolved tone to the band began to take shape.

                                                                                                                                                                                                                                    What became clear was the band quickly outgrew their initial intentions of being a garage rock outfit. The raw, simplistic, primal nature of that approach remained intact but soon they expanded into immersive pulsing grooves. “We wanted to keep the rhythms just really straight and hypnotic,” says Earle. “The aim of the game was to try and get people into a trance when they are watching the gig. With bringing Robbie on board, as he's doing loads of stuff with sequencers and deadly synth bits, there grew a psychedelic hypnotic vibe to Melts.” A friend described the band as like a space rock version of The Doors, which they didn’t balk at.

                                                                                                                                                                                                                                    Lyrically the album weaves between big picture state-of-the-world stuff to the more introspective and personal. The former can be heard on opener ‘Maelstrom’ which is about, according to Kenny, “a storm that sweeps through a town one day and causes an irreversible change to the order of things he song written from the point of view of someone caught in currents, beyond their own making and understanding the frustrations felt by someone who feels powerless against the effects of the upheaval.” ‘Spectral’, on the other hand, one of the album’s most tender moments that unfurls slowly with Kenny’s rich and resonant vocal delivery, is a track dedicated to the loss of a friend to suicide. As a whole, Kenny says, “the theme of the record is kind of based on coming to grips with the world around us.”

                                                                                                                                                                                                                                    The end result is an album that gracefully yet potently merges psych rock with touches of post-rock-esque soundscapes, pulsing krautrock, all of which is driven by demented organ wig outs, engulfing waves of heavily textured guitar and a crisp rhythm section. While they land on a sound that is distinctly their own, their debut occupies something of a middle ground between Spacemen 3 and Primary Colours-era The Horrors. Or, as the band say themselves, something that sounds “driving and fucking stomping.” 


                                                                                                                                                                                                                                    TRACK LISTING

                                                                                                                                                                                                                                    Side A
                                                                                                                                                                                                                                    A1 Maelstrom
                                                                                                                                                                                                                                    A2 Signal
                                                                                                                                                                                                                                    A3 Outlier
                                                                                                                                                                                                                                    A4 Circular
                                                                                                                                                                                                                                    Side B
                                                                                                                                                                                                                                    B1 Spectral
                                                                                                                                                                                                                                    B2 Waltzer
                                                                                                                                                                                                                                    B3 Skyward
                                                                                                                                                                                                                                    B4 Tides

                                                                                                                                                                                                                                    DITZ

                                                                                                                                                                                                                                    The Great Regression

                                                                                                                                                                                                                                      DITZ release their debut album, The Great Regression. The album was recorded by Ben Hampson and mastered by Kate Tavini.

                                                                                                                                                                                                                                      The 10-track album has been a long time coming – the five-piece first came together in Brighton at the end of 2015 and released their debut EP the following year. There have been a few line-up changes along the way, but they have been settled since their breakthrough tracks ‘Gayboy’, ‘Total 90’ and a cover of Peaches’ ‘Fuck The Pain Away’ in 2019, which prompted Joe Talbot from Idles to proclaim “DITZ are the best band in Brighton, if not the world”. Even though the various lockdowns slowed the band’s momentum for a while, they turned the situation to their advantage, using the downtime to fine-tune this incredible debut.

                                                                                                                                                                                                                                      Abrasive but accessible, The Great Regression is set to be one of the most important British guitar debuts of 2022. First single ‘Ded Würst’ – a ferocious mix of Gilla Band, Foals and a lyric bemoaning the moral quandary of minimum-wage employment – unsurprisingly became an instant favourite of Steve Lamacq on BBC Radio 6 Music. Other highlights include ‘The Warden’, a song all about being too intense, ironically set to an intense backing somewhere between Deftones and Mogwai, and ‘I Am Kate Moss’, which, according to singer Cal Francis, is about “the separation between your visual and personal identities, particularly within the context of masculinity and femininity”.

                                                                                                                                                                                                                                      Such themes of insecurity and gender pop up a lot over the course of the album, as well as lots of references to the human body breaking and being harmed in unnatural ways, although there’s no one overarching concept, simply because the songs have come together over such a long period of time. The title is not so much a reference to society going backwards, but more the band’s penchant for childish jokes. “Sitting in a van all day can get silly,” laughs Cal.

                                                                                                                                                                                                                                      That’s not to say The Great Regression is in any way light-hearted. It’s full of anger, rage and despair. ‘Three’ takes some text from Stanislaw Lem’s 1961 sci-fi novel Solaris and applies it to the hollow activism of everyone from big corporations to middle class uni students.

                                                                                                                                                                                                                                      Other literary touchstones include Sylvia Plath, William Burroughs and Hubert Selby Jr, but even more influential is the band’s ever-growing pile of equipment. “We spent a lot of time during the recording process just trying to make unusual sounds out of pedals, or whatever we could find,” says Cal.

                                                                                                                                                                                                                                      The album concludes with a cacophonous new version of ‘No Thanks, I’m Full’, which originally closed their debut EP in 2016. “Over the years the live version has evolved so much that we just had to record it again to do it justice,” explains Cal. “The lyrics are so old that I can’t place whether they are about the hazards of drinking or not drinking.”

                                                                                                                                                                                                                                      It’s proof of just how far DITZ have come on in that time and a reminder that, in order to progress, you need to regress. And we’ll drink to that. Or not.


                                                                                                                                                                                                                                      TRACK LISTING

                                                                                                                                                                                                                                      Side A
                                                                                                                                                                                                                                      1. Clocks
                                                                                                                                                                                                                                      2. Ded Wurst
                                                                                                                                                                                                                                      3. Summer Of The Shark
                                                                                                                                                                                                                                      4. Three
                                                                                                                                                                                                                                      5. The Warden
                                                                                                                                                                                                                                      Side B
                                                                                                                                                                                                                                      1. I Am Kate Moss
                                                                                                                                                                                                                                      2. Instinct
                                                                                                                                                                                                                                      3. Hehe
                                                                                                                                                                                                                                      4. Teeth
                                                                                                                                                                                                                                      5. No Thanks, I’m Full

                                                                                                                                                                                                                                      Dana Gavanski

                                                                                                                                                                                                                                      When It Comes

                                                                                                                                                                                                                                        There’s something mesmerising about the fingertips of Dana Gavanski. Conducting each note with a light gracefulness, they appear to dance whilst aiding their owner in expressing the stories behind each of her lighter-than-air tones. Stories which, on her new album When It Comes, may never have been heard if not for healing ‘lost’ vocal cords and a lesson in taking the rough with the smooth.

                                                                                                                                                                                                                                        “In many ways this record feels like it is my first,” Dana tells. “When I could use my voice, I had to focus so there is an urgency and greater emotional trajectory than before… it’s very connected to vocal presence, which extended into an existential questioning of my connection to music. It felt like a battle at times, which I frequently lost.”

                                                                                                                                                                                                                                        Arriving where introversion and extroversion meet, When It Comes is Dana’s most vulnerable record to date. A Canadian-Serbian artist unafraid of extremes, she seamlessly blends her love of music from the 50s-70s with mythology. Led by instinct in its purest form, Dana’s latest chapter is an ode to the voice as an instrument – its power, and how intricately it can deliver words to tug at, and tie knots in, every heartstring. “Words can be taken quite literally, but to me, a lot of the time, they are pivots. They point in a direction but don’t necessarily stay there,” she says.

                                                                                                                                                                                                                                        Just as Dana’s debut Yesterday Is Gone and her covers EP Wind Songs were lauded for their intimacy captured through an innate sense of melody to convey a mood, they traced a timeline of Dana’s teenage years in Vancouver, a move to Montreal and visiting family homes for kitchen talks with her “Baka” (grandma) in Belgrade / Serbia. Her latest was started in Montreal before ending in Belgrade and whilst expressive with French Yé-yé flourishes – offers something altogether more atmospheric and widescreen.

                                                                                                                                                                                                                                        “Yesterday Is Gone consisted of straightforward pop songs, this album is about searching for something to excite me back into songwriting,” Dana reveals. “It’s about finding the origins of my connection to music, that tenuous but stubborn and strong link - why it draws me and what if anything, I can learn from it. The album title has a heaviness to it but also a lightness, depending on your frame of mind. It’s about being open, and letting it come whatever it is, without judgement.”

                                                                                                                                                                                                                                        Recorded in London, the original ideas for the record were played out on Dana’s toy Casiotone. Returning to Capitol K’s Total Refreshment Centre (TRC) with partner James Howard, the pair co-produced the songs together and felt very much at home. “James has an effortless musicality and we work together so well. The TRC is a special place, like a community centre,” she recalls. “It’s very understated but important to the people who come through it. It’s a rehearsal space, a recording studio, and there are a handful of music studios.”

                                                                                                                                                                                                                                        Opening with music box sweetness, ‘I Kiss The Night’s twinkling piano melody paves the way for the baroque Wurlitzer-like nursery rhyme of ‘Bend & Fall’ and mystical lullaby ‘Under The Sky.’ Alongside humour and caricature (‘The Reaper’), mythological romance and spirituality (‘Knowing to Trust’) and idiosyncratic carnival arpeggio grooves (‘Indigo Highway’), the squelchy staccato and subtle jazzy flecks of ‘The Day Unfolds’ and tension release of ‘Letting Go’ dazzle like bokeh in a Nick Drake haze. The autumnal hymnal of ‘Lisa’ meanwhile, was one of the first, more fictional tracks written for the record, from the viewpoint of the sea, watching the protagonist pass by day after day, offering a metaphorical reflection on the natural world around us. “We don’t realize we are surrounded by all this beauty; we’re shut up inside, rushing to get to work, buying books online without ever leaving home. It’s about focus, recognising what’s in front of you.”

                                                                                                                                                                                                                                        Now planning her headline tour with an expanded 5-piece line-up and taking to the stage for the first time since touring with Porridge Radio, Damian Jurado and Chris Cohen, Dana is currently perfecting her live performance by practising a voice ever more elaborate, and perfecting those subtle hand gestures to match. “I’m so inspired by David Bowie’s performances and discovered he practised mime with Lindsay Kemp early on in his career,” she says of seeking inspiration. “I’ve done some mime classes since and it’s become good practice to go deeper into the body and be less controlled by the humility of the mind.”


                                                                                                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                                                                                                        Barry says: There are echoes here, without a doubt of Cyrk era Cate Le Bon, in Gavanski's swooning vocal style and keen melodic ear. There are moments of brittle, thoughtful vulnerability and unease but the general, overwhelming sense is of a warm and familiar wonder. Evocative and satisfying, 'When It Comes' is a beauty.

                                                                                                                                                                                                                                        TRACK LISTING

                                                                                                                                                                                                                                        1. Kiss The Night
                                                                                                                                                                                                                                        2. Bend Away And Fall
                                                                                                                                                                                                                                        3. Letting Go
                                                                                                                                                                                                                                        4. Under The Sky
                                                                                                                                                                                                                                        5. The Day Unfolds
                                                                                                                                                                                                                                        6. Indigo Highway
                                                                                                                                                                                                                                        7. Lisa
                                                                                                                                                                                                                                        8. The Reaper
                                                                                                                                                                                                                                        9. Knowing To Trust

                                                                                                                                                                                                                                        Tess Parks

                                                                                                                                                                                                                                        And Those Who Were Seen Dancing

                                                                                                                                                                                                                                          Toronto-born, London-based artist Tess Parks returns with her long-awaited new album ‘And Those Who Were Seen Dancing’ via Fuzz Club Records. Following years of international touring and a lengthy list of critically-acclaimed collaborations with Brian Jonestown Massacre’s Anton Newcombe in recent years (most recently the duo’s self-titled 2018 LP), the new album will be Parks’ first full-length solo offering since her much-loved debut album, ‘Blood Hot’, was released back in 2013 on Alan McGee’s 359 Music label.

                                                                                                                                                                                                                                          “In my mind, this album is like hopscotch”, Parks says: “These songs were pieced together over time in London, Toronto and Los Angeles with friends and family between August 2019 and March 2021. So many other versions of these songs exist. The recording and final completion of this album took over two years and wow - the lesson I have learned the most is that words are spells. If I didn’t know it before, I know it now for sure. I only want to put good out into the universe.” A growing disillusionment with the state of the world paired with an injury that stopped Parks from being able to play guitar and piano for months meant the album was nearly shelved.

                                                                                                                                                                                                                                          “I really felt discouraged to complete this album”, she recalls: “I stopped listening to music for honestly about a year altogether and turned to painting instead. I really had to convince myself again that it’s important to just share whatever good we can - having faith in ourselves to know that our lights can shine on and on through other people and for other people. The thought of anyone not sharing their art or being shy of anything they create seems like a real tragedy to me. Even if it’s not perfect, you’re capturing a moment.” Recorded over a two year period but with songs, lyrics and ideas dating back over a decade in some form, ‘And Those Who Were Seen Dancing’ is an album full of such moments, people and places.

                                                                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                                                                          Barry says: The brilliant Tess Parks brings another selection of woozy psychedelic ballads, imbued with a glimmer of 1970's folk and Americana but without a doubt a sound all of her own. Lysergic, heady and hypnotic audio bliss.

                                                                                                                                                                                                                                          TRACK LISTING

                                                                                                                                                                                                                                          1. WOW
                                                                                                                                                                                                                                          2. Suzy & Sally's Eternal Return
                                                                                                                                                                                                                                          3. Happy Birthday Forever
                                                                                                                                                                                                                                          4. We Are The Music Makers And We Are The Dreamers Of Dreams
                                                                                                                                                                                                                                          5. Brexit At Tiffany's
                                                                                                                                                                                                                                          6. Old Life
                                                                                                                                                                                                                                          7. Do You Pray?
                                                                                                                                                                                                                                          8. Good Morning Glory
                                                                                                                                                                                                                                          9. I See Angels
                                                                                                                                                                                                                                          10. Saint Michael

                                                                                                                                                                                                                                          HighSchool

                                                                                                                                                                                                                                          Forever At Last

                                                                                                                                                                                                                                            One of the year’s most exciting new acts HighSchool are joining forces with Dinked to release their acclaimed debut EP (‘Forever at Last’) for the first time on vinyl.

                                                                                                                                                                                                                                            The tipped Melbourne trio, who recently upped sticks to move to London, have been making a name for themselves with a brilliant indie-pop sound full of stylish, gothic excess - DIY nailed it when calling their tracks “deliciously dark dance numbers that’ll be stuck in your head for days.”

                                                                                                                                                                                                                                            ‘Forever at Last’ is an infectious six-track introduction to the band that features the singles ‘Frosting’, ‘New York, Paris and London’ and ‘Sirens’. Surfacing digitally late-last year, the band are delighted to finally being announcing the EP’s first vinyl pressing with Dinked. This first press is being limited to just 300 copies, coming on clear vinyl complete with an exclusive numbered print signed by the band and die cut sticker.


                                                                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                                                                            Side A
                                                                                                                                                                                                                                            1. Frosting
                                                                                                                                                                                                                                            2. New York, Paris And London
                                                                                                                                                                                                                                            3. De Facto
                                                                                                                                                                                                                                            Side B
                                                                                                                                                                                                                                            1. Sirens
                                                                                                                                                                                                                                            2. Jerry
                                                                                                                                                                                                                                            3. Forever At Last

                                                                                                                                                                                                                                            Yama Warashi

                                                                                                                                                                                                                                            Crispy Moon

                                                                                                                                                                                                                                              Yoshino Shigihara came into 2019 needing a change. The Japanese artist had been based in Bristol ever since co-founding the now defunct Maloya-infuenced raucous psychedelia collective Zun Zun Egui. She then blossomed on her own across an EP and two albums of more meditative but no less territorially transcendent records as Yama Warashi. As in her music, though, Yoshino has always had a sense of wanderlust and it was perhaps no surprise that she’d eventually want to move again – this time to London.

                                                                                                                                                                                                                                              “Moving to London gave me the chance to work with more diverse musicians” Yoshino says. “And I wanted to be here too because of the high creative energy, the diversity of the music and art here and the people who live here.”

                                                                                                                                                                                                                                              The first material to come out of her relocation is a bold advancement of her sound, her third album Crispy Moon. Recorded at the Total Refreshment Centre in London with Kristian Claig Robinson, with most of the mixing coming from Hannes Plattmeire and mastering by Zun Zun Egui guitarist Stephen Kerrison, there are new contributing members, including Cathy Lucas of Vanishing Twin (with whom Yama toured with in 2021), Aletta Verwoerd on drums and Mermaid Chunky’s Moina Walker on sax. Compared to the more lo-fi, homespun feel of early releases such as Moon Zero and Moon Egg, there’s larger brush strokes at play, a bigger sound and an understated but self-assured grandeur.

                                                                                                                                                                                                                                              Much of the move to London and Yoshino’s experiences of being in the capital have made their way into the themes of the record. For Yoshino, though, while the lyrics are important, they’re also largely personal. The drive for her is to get across the universality of her music, to keep an open ear and absorb everything that she can before returning it back out into the world. Moving to London has only strengthened that for her, with new collaborators, fresh experiences and altered perspectives. Crispy Moon is the colourfully brilliant end result.


                                                                                                                                                                                                                                              TRACK LISTING

                                                                                                                                                                                                                                              Side A
                                                                                                                                                                                                                                              1. Makkuroi Mizu
                                                                                                                                                                                                                                              2. Dividual Individual
                                                                                                                                                                                                                                              3. Saku Saku
                                                                                                                                                                                                                                              4. Umi No Mon
                                                                                                                                                                                                                                              Side B
                                                                                                                                                                                                                                              1. Ha Ha No Uta
                                                                                                                                                                                                                                              2. Makai No Keyaku
                                                                                                                                                                                                                                              3. Dou Dou Meguri
                                                                                                                                                                                                                                              4. Yuru Yuru

                                                                                                                                                                                                                                              Hatchie

                                                                                                                                                                                                                                              Giving The World Away

                                                                                                                                                                                                                                                The second album from Hatchie, ‘Giving The World Away’ is the truest introduction to the songwriter at the helm of the project, Harriette Pilbeam. Although her sound arrived fully-formed, a dazzling dream-pop and shoegaze tangle, it’s here that she distills the core of herself into a record.

                                                                                                                                                                                                                                                “There's more to me than just writing songs about being in love or being heartbroken -- there's a bigger picture than that,” Pilbeam explains. “This album really just feels like the beginning to me, and scratching the surface – and even though it’s my third release as Hatchie, I feel like I’m rebooting from scratch.”

                                                                                                                                                                                                                                                For Pilbeam, that bigger picture explored here includes confronting her anxieties after decades of compartmentalisation; realising her own self-confidence and self-esteem; taking control of her own narrative, and her place in both her professional and personal life. On ‘Giving the World Away,’ she held herself to higher standards, especially with personal lyrical precision. At the time she started working on it, she was caught in a strange headspace. When 2018 EP Sugar & Spice and subsequent debut LP Keepsake both arrived to critical acclaim and catapulted Hatchie into an international spotlight, she felt both unsure of herself and an intense, self-imposed pressure to keep going forward. Trapped in constant motion, Pilbeam was unable to be present or appreciative of herself, both professionally and personally.

                                                                                                                                                                                                                                                She tackles that struggle directly in the moody single “Quicksand,” written with GRAMMY-nominated Olivia Rodrigo collaborator Dan Nigro. “I used to think that this was something I could die for / I hate admitting to myself that I was never sure,” she sings, inverting the thesis of one of her early break-out singles “Sure.” And then, a few lines later, she regains her footing -- in her musicality, and in herself: “It’s all I know, and I’m taking it back.”

                                                                                                                                                                                                                                                “Quicksand is about dealing with the realisation that you'll never be satisfied” Pilbeam comments. “I started writing it when I was home between tours in 2019 before finishing it with Joe Agius and Dan Nigro the next year. I was feeling guilty and ungrateful for not being happy about a few different things in my life that were technically going well. I had to work through some tough learned thought processes and emotions that had been working away for years to try to understand how to be happy with my present, and stop fixating on my past and future. The video digs deeper into showing this juxtaposition of such sadness and anger despite being surrounded by glamour and grandeur."

                                                                                                                                                                                                                                                Director Nathan Castiel adds: “For ‘Quicksand', I created a video that plays off of some tropes of Hollywood glamour in a melancholy and surreal way while giving Harriette room to perform and express the song's raw emotions. We leaned into a neon-tinged after hours aesthetic and shot on 16mm which added a griminess to the opulent locations and set pieces.”

                                                                                                                                                                                                                                                “Quicksand” sets up the rest of the record; an album about self-confidence, about reclamation, about the strange time in young adulthood where you begin to finally be able to see yourself clearly.

                                                                                                                                                                                                                                                Produced by Jorge Elbrecht, also recently GRAMMY-nominated and known for his work with Sky Ferreira, Japanese Breakfast, and Wild Nothing, ‘Giving the World Away’ is Hatchie’s most thunderous, sprawling work yet. Featuring extensive input from longtime Hatchie collaborator Joe Agius, it takes the celestial, shimmering shoegaze and pop sensibilities of her earlier releases, but with the volume knob cranked up tenfold. Built out with percussion from Beach House drummer James Barone, it’s synthed-out, sonic opulence, a more structured and ornate musicality with traces of ‘90s trip-hop and acid house influences.

                                                                                                                                                                                                                                                Pilbeam initially intended for these songs to go in a higher-energy direction -- she had the distinct vision of a Hatchie show turned dance party, inviting more movement and vibrancy into her live shows. But then, between Covid and the lockdowns in Australia, Pilbeam retreated more into herself, and that introspection and self-discovery served as the true inspiration for the record. Again and again across ‘Giving the World Away,’ she returns to that same theme – dismantling internalized shame and finding gratitude and steadiness, and finally being able to trust herself. Pilbeam grew up the youngest in her family, a self-described “big baby,” but says the last year and a half gave her the space to understand herself better. After years of emotional avoidance, here she excavates her fears fully.

                                                                                                                                                                                                                                                ‘Giving the World Away’ is an album about self-confidence, about reclamation, about the strange time in young adulthood where you begin to finally be able to see yourself clearly. Incisive and probing, ‘Giving the World Away’ is the clearest look at Pilbeam yet, and a relic of the power and bravery that spring forth from embracing vulnerability and putting your heart on the line.


                                                                                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                                                                                Barry says: Crystalline synths and rolling bass licks permeate the retro-tinged percussion and dreamy echoic vocals, bringing to mind the perfect pop of Tegan & Sara mixed with walls of shoegaze fuzz.

                                                                                                                                                                                                                                                TRACK LISTING

                                                                                                                                                                                                                                                Side A
                                                                                                                                                                                                                                                1) Lights On
                                                                                                                                                                                                                                                2) This Enchanted
                                                                                                                                                                                                                                                3) Twin
                                                                                                                                                                                                                                                4) Take My Hand
                                                                                                                                                                                                                                                5) The Rhythm
                                                                                                                                                                                                                                                6) Quicksand
                                                                                                                                                                                                                                                Side B
                                                                                                                                                                                                                                                7) Thinking Of
                                                                                                                                                                                                                                                8) Giving The World Away
                                                                                                                                                                                                                                                9) The Key
                                                                                                                                                                                                                                                10) Don't Leave Me In The Rain
                                                                                                                                                                                                                                                11) Sunday Song
                                                                                                                                                                                                                                                12) Til We Run Out Of Air

                                                                                                                                                                                                                                                BONUS TRACKS On Download Card:
                                                                                                                                                                                                                                                Back Into Your Arms (Hatchie's Version)
                                                                                                                                                                                                                                                Don't Leave Me In The Rain (Demo)
                                                                                                                                                                                                                                                Quicksand (Demo)
                                                                                                                                                                                                                                                The Rhythm (Demo)

                                                                                                                                                                                                                                                Blue Hours sees the much-loved folk-rock duo – made up of Andrew Davie and Kevin Jones – once again team up with producer Ian Grimble on what is one of their most personal records to date.

                                                                                                                                                                                                                                                Speaking about the new album, Davie says: “Blue Hours is a kind of imaginary space you get into at night, a place where you process difficult things or where you try to figure everything out.”

                                                                                                                                                                                                                                                Themes on the album include both self-reflection and mental health after both struggled with the latter in recent years. “It’s the main over-arching theme with this record,” Davie explains. The group, who have worked with mental health charity CALM (Campaign Against Living Miserably) previously added: “It probably speaks to our struggles and hopefully many other people’s too. Men are not very good at talking. We’re not really taught how to – men have no idea how to talk about this stuff, certainly to each other.”

                                                                                                                                                                                                                                                The pair describe the conceptual blue hours headspace that gives the new album its title as being “somewhere between a hotel, a mental health hospital, a bar that stays open later than anywhere else, a paradise, a dream, a nightmare and an endless sea of corridors and staircases leading you to rooms that represent memories – good, bad, happy or difficult.”

                                                                                                                                                                                                                                                Despite the album’s challenging themes, it’s an album drenched in hope too. “We wanted this to be a celebration of music,” Jones continues. “I think that informed some of the bolder decision making on this record. At a time when music was so distant, it felt important to make an album that sounded hopeful, celebratory, ambitious and beautiful in spite of the heavy subject matter in some of the songs.” Jones adds: “It was almost like we needed to shout louder than before because we felt that there were more barriers between the audience and us. We needed something to transcend that.”


                                                                                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                                                                                Barry says: This is another beautiful outing from Bear's Den, both orchestral and tender in equal measure. These are grand, bold pieces with a brittle and fragile core, both cathartic and touching.

                                                                                                                                                                                                                                                TRACK LISTING

                                                                                                                                                                                                                                                Side A
                                                                                                                                                                                                                                                New Ways
                                                                                                                                                                                                                                                Blue Hours
                                                                                                                                                                                                                                                Frightened Whispers
                                                                                                                                                                                                                                                Gratitude
                                                                                                                                                                                                                                                Shadows
                                                                                                                                                                                                                                                Side B
                                                                                                                                                                                                                                                All That You Are
                                                                                                                                                                                                                                                Spiders
                                                                                                                                                                                                                                                Selective Memories
                                                                                                                                                                                                                                                On Your Side
                                                                                                                                                                                                                                                All The Wrong Places

                                                                                                                                                                                                                                                Quinquis

                                                                                                                                                                                                                                                Seim