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

The Oscillation

Untold Futures

    The Oscillation’s continuing journey into the centre of the mind and beyond shows absolutely no signs of slowing down. Indeed, new album Untold Futures is less a consolidation of all that we’ve come to love and expect from the cosmic explorers and more a leap forward into an upcoming reality. Redefining the possibilities of altered states through audio stimulation, Untold Futures finds The Oscillation at their most daring and breathtaking.

    A multi-layered assault on the senses, this is an unexpurgated experience for the seasoned connoisseur and unspoiled novice alike. Its power is felt in the multi-layered dissonance and undying throb of Dilated Mind, the metaphysical possibilities that beat at the heart of metronomic pulses of Forever Knowing and the face-melting attack of The Inner Void. Heart Of Nowhere is a mantra for the profane, while the dissonant beauty of Obscured realises re-birth and resurrection.

    Revelatory in its brilliance and an intersection between the individual self and the collective unconscious, this is music to fuel the inner technology of the mind. So load up to the brim and give yourself up to Untold Futures. Veering between krautrock edginess, droning medicated tones and noise driven no wave fuzz, The Oscillation recalls the music of Neu! and Tangerine Dream and Loop interpreted with an eye on Pil’s dubbed out punk funk, Miles Davis’ experimentalism and Spacemen 3’s strung out blues rock.

    Beginning in 2007, when DC Recordings released the debut “Out Of Phase”, The Oscillation have released many albums and e.ps, both self released and with labels (Fuzz Club and Hands In The Dark and Cardinal Fuzz). Recent releases include the mutant kosmiche techno of “U.E.F”, the pounding and otherworldly “Wasted Space” from 2018 and the epic exploration of the inner landscapes with “Droneweapon”. Now The Oscillation return with a new face-biting album questioning our strange relationship with reality as “Untold Futures”.


    TRACK LISTING

    Untold Futures
    1 Dilated Mind
    2 Forever Knowing
    3 The Inner Void
    4 Heart Of Nowhere
    5 Obscured

    Ambient Version LP (DInked Edition)
    Obscured (ambient)
    The Inner Void (ambient)
    Dilated Mind (ambient)
    Heart Of Nowhere (ambient)




    Pip Blom

    Welcome Break

      There are approximately a great deal and very many ‘Welcome Breaks’ scattered throughout the sprawling motorways of the UK.

      Now, regardless of whether that statement’s true or not… when life’s become a series of long-stretches and welcomed breaks, it’s to no avail that sometimes all it takes to alleviate spirits is the simplest, of experiential indulgences.

      Be it the buzz of an overly exhausted tour van, or the green light and smell of sausage rolls in the near Beaconsfield distance... inspiration can be found in the funniest corners of this place we call home; and it’s in the heart of day-to-day simplicities and sprawling services, that we gladly receive Amsterdam’s beamy-grinned, indie-pop powerhouse Pip Blom, back into lives.

      Following an extensive touring schedule which saw the Dutch 4-piece roam over field, oceans, and Glastonbury’s John Peel stage following the release of their debut record ‘Boat’, any such cool-cat would be forgiven for wanting to kick back, and indulge in some very appreciated, time off.
      As is often the way, such timely-abandon cannot be said for Pip Blom however, who immediately began to gather up all her soaked-up inspirations taken from the road, and manifest a re-energised sense of self, and ritualistic songwriting.

      Cosying down in a room of her parents’ house (which she shares with her brother and fellow bandmate Tender Blom), Pip, a self-confessed “fan of deadlines”, set aside three months to write twenty songs- sixteen of which
      were to become demos for the band to structure and flesh out, once in the studio together.

      It’s at this stage in our indie-fairy-tale that things start to get ever so 2020. Whilst the world was suddenly put on hold as a result of Covid-19, Pip Blom, who’d made plans to return to their favourite ‘Big Jelly Studios’ in Ramsgate, England, were suddenly faced with a very sticky, kind of dilemma. “We’d scheduled to go into the studio in September but summer started moving and there were a couple of countries not allowed to go to the UK anymore... a week before we had to go, the Netherlands was one of those countries”- notes Pip.

      Sentimentalities, and pre-established friendships (by way of Grammy award-winning engineer Caesar Edmunds) took president, and the decision was made to pack up their gear and a variety of board games and exercise equipment, all in preparation of a fourteen-day quarantine faced upon arrival in the UK.

      In total, three weeks were spent recording what would become the groups sophomore release; a Al Harle engineered love-affair which was self produced entirely by the band and culminated in a legally intimate, fully seated album play-back, to six, of Ramsgate’s most chorus-savvy and ‘in the-know’ residents.

      Getting out of their hometown and into an environment which removed all notions of “normality” or personal space, was an atmospheric godsend in terms of motivation; an act which encouraged Pip Blom to re-adjust and buckle down as a unit again, after spending so long in mandatory isolation.
      Much like the danceable-realism of Pip’s beloved Parquet Courts, the key to an album well done, is the balancing act of fine-production, and capturing that core live-essence we all miss. “We always play one live track three times and after we then build that track in the studio” says Pip, assembling together amalgamated “live-energies” in order to produce a capsule of environmental-satisfaction, that can be appreciated during any time of day, or life’s little moments.

      Actively seeking out moments of creative-authenticity, be it via a slightly out-of-tune guitar or proudly-fuzzed vocals, Pip Blom take us back full circle and introduce us to their ‘Welcome Break’- an eleven-track release which resonates with about as much decisive allure as it’s ‘Boat’ precursor, but this time with a bit more contemporary chaos to boot.

      Where ‘Boat’ reckoned as a fresh-faced, yet gloriously fearless game changer, ‘Welcome Break’ is the self-assured older sibling who, with an additional year or two behind themselves, isn’t afraid to speak out, take lead, and instigate a liberated revolution-come-bliss-out.

      Lead single’s ‘Keep It Together’ and ‘You Don’t Want This’ are glistening masterclasses in feel-good chorus- the very kind of coming-of-age relatability where a soul would want to let down their hair, stick their arm out the window of their best friends car and roll with the motions in a rapture of soundtracked euphoria, and jangled adventure.

      Unhinging genre in our instant-access era of musical snoot, no-one does an enthused-chorus quite like Pip Blom yet much can be said for this gang being far from one-trick-ponies.

      Anthemic drifters ‘Different Tune’ and ‘It Should Have Been Fun’ are slow building, amplified highlights. Carrying all the weight of convicted fearlessness on their shoulders, Pip Blom unhinge pre-disposed expectations of crafted alternative like graduates straight outta Kim Deal’s school of rock, whilst closing number ‘Trouble In Paradise’, sets the tone for what will only be the ultimate, set-list once gigs resume again.

      With Pip Blom, no mood is untouched nor sense of renewal left behind. The trick to it all? As Pip reveals: “I just really like catchy songs and I feel like that’s something we try to do. I’d classify it as being sentimental – it’s not sugar-happy Pop.... more like ‘Titanic’ pop songs...”

      For those of us missing the buzzed adrenaline of communal music exploration, the idea of escapism in cramped and sweaty crevices can seem quite lifeless. If it's a sense of community you’re after then look no further than ‘Pip Blom Backstage’.

      Streaming goodness 24/7 as a fan-centric loyalty app, ‘Pip Blom Backstage’ gives access to exclusive news, premium content, and, a chat box for the Pip Blom Backstage community; further cementing Pip Blom as undeniable pals for life as fan-clips, spotify playlists and even a cooking lesson from bassist Darek Mercks, are all made available from the VIP lounge of your own back-pocket.

      In conclusion, there're actually thirty-five ‘Welcome Break’ pit stops a weary traveller can make in a lifetime spent on the M1, and it’s associates. Whilst the road’s presently a little less travelled, Pip Blom’s ‘Welcome Break’ is adamantly nothing to do with the present state of affairs. In fact, it doesn’t have anything to do with much at all and that’s the way they like it.
      ‘Welcome Break’ is but two nouns of which when placed together in context, ring confidently with prowess, intent, and a radiant true-spirit - much like Pip Blom herself. 


      TRACK LISTING

      1 You Don't Want This
      2 12
      3 It Should Have Been Fun
      4 Keep It Together
      5 Different Tune
      6 I Know I’m Not Easy To Like
      7 Faces
      8 I Love The City
      9 Easy
      10 Holiday
      11 Trouble In Paradise

      W.H. Lung

      Vanities

        “We were raring to go,” says W. H. Lung’s Tom Sharkett of the band’s desire to keep the momentum going after the huge success of their debut album.

        2019’s Incidental Music - a vivacious concoction of krautrock, synth pop and infectious grooves - topped end of year lists, with the likes of Piccadilly Records and Resident both naming it album of the year. However, it quickly became apparent that a repeat performance was of no interest to the band. “At the beginning it felt like every new idea could’ve just been on Incidental Music,” remembers Tom. “They weren’t bad ideas, but they didn’t feel new. I don’t think we knew where we wanted to go but we were 100% sure on it not being Incidental Music part 2.”

        Things soon burst to life however and a period of profound creativity, musical intuition, bold innovation and near total musical rebirth came forth. “I was in the best place of my life,” says Joe Evans. “I was like a slot machine putting in wellbeing currency and jackpotting this album. Words and melodies were coming so quick and easy. Tom was sending tunes across and I was having a lot of fun playing around with a new way of singing which was freer, more expressive, more instant and more melodic.”

        The result is a record that is direct, punchy and potent. Merging silky vocals, strutting grooves, enveloping textures, and a sparkling blend of electronic and pop music. “We thought: okay we’ve done the long sprawling introductions and instrumentals,” says Tom. “So let’s see if we can get the same intensity, energy and layers whilst getting straight to the point.” Joe echoes this. “We wanted to move away from easing people in and grab them by the heart straight away. I reflected on how we played live shows and romanticised about launching onto the stage in a bundle of energy and starting the party, no messing. The directness comes from making music more intuitively, and more from a place of fun. We were writing music that affirmed how much we missed dancing in sweaty rooms, enjoying the company of a collection of beautiful friendly strangers.”

        The album documents a period of change for the group. They lost a member in Tom Derbyshire, moved from Manchester to Todmorden and fell in love more with dance music and the shifting sense of community and inclusivity that came with these changes. “We have moved forward from the change with a new energy,” says Joe of Tom Derbyshire’s amicable exit to focus on filmmaking. “It was a challenge shifting the dynamic but we truly found our stride and Tom Sharkett and I have an absolutely beautiful working relationship.”

        Tom also feels this forced sense of change has brought about something fresh. “We didn’t have many spare ideas let alone spare tunes for the first album,” he recalls. “Whereas for Vanities we had loads that we binned. That needed to happen for us to get somewhere new and I think before the change in line-up we were in limbo a bit.” The album was written with a process of passing ideas back and forth, in a spirit of playfulness and exploration. The songs were then further refined in the studio of band member Chris Mulligan (guitar, bass, keys), a producer in his own right, who helped to further refine the arrangement and directness of the songs. ‘We are blessed to have brilliant musicians in W. H. Lung. It is very comforting, creatively, to know that initial ideas will always be further developed and expanded when played by Alex (drums), Chris and Hannah (keys, vocals.)’ says Joe. ‘And we got loads of magic out of (producer) Matt (Peel) for this record. He infuses all the tracks with such an infectious, wonky energy.’

        This positivity, and incandescent dance floor giddiness that the pair espouses can be felt all over the record too. Despite being written in isolation and remoteness the album is rooted in very real physical spaces. “Manchester is a very important part of this record,” says Tom Sharkett, “The White Hotel, nights like Wet Play, seeing Gerd Janson DJ at the End of Year Riot (Electric Chair) and then discovering all the amazing stuff on his label Running Back. Then when we moved to Todmorden it was the same. Seeing Andrew Weatherall down the road from our flat at The Golden Lion - it just felt like an exciting time for us and I wanted to consume as much new music as possible.” Joe shares his bandmates’ enthusiasm for their dance floor experiences that have fed into this record. “Vanities is a musical representation of what Tom and I crave the most now that it’s been taken away from us,” he says. “In simple terms, we love to dance and have both fallen deeper in love with the music that facilitates that. Because of this voracious appetite for new music and the experiences that come with that hunger, influences on the album are vast: the aforementioned Weatherall, Robyn, Todd Terje, Grauzone, Kelly Lee Owens, Helena Hauff and countless others. But the end result is something distinctly the band’s own.”

        ‘Pearl in the Palm’ was the track that kicked it all off. “A transition from the old W. H. Lung to new,” says Tom. It marries pulsing synths, galloping drums and a vocal take that is both caramel smooth but also fervently intense. ‘Show Stopper’ allows the drums and bass to carry a subtle funk strut and is one of the album’s moments that highlight the band’s deft touch for layering and texture. ‘Somebody Like’ is an absolute stomper, marrying filthy electronics with a pop hook that is as irresistible as it is anthemic. ‘Gd Tym’ nicely captures the transition from a more archetypal band sound to dance floor fodder, as spiralling guitar lines intersperse with heavy lashings of electronics and deep hooks.

        Despite the album’s exploration of the dizziness of dance floors and their maximalist appeal, it’s also one that plunges deep lyrically and comes from a place of profound introspection. Taking influence from the searching at the heart of the plays of Anton Chekov, as well as the novels of Shusaku Endo and Iris Murdoch, Joe also went deep into self-observation books like Red Hawk and The Fourth Way by Pyotr Ouspenskii. “It talks about stepping back from your mind and waking up to the patterns and conditionings of your thoughts,” he says. “This is like a constant meditation and so when I sat down to write lyrics, the different behaviours that I recognised in myself were really clear and poured out.” This meditative state also extended to another physical connection, this time out in the open rather than under the strobes. “A source of inspiration was getting out into nature,” he says. “We would often go out onto the tops of Todmorden and walk and swim. Sitting with and walking in the abundance of the natural world has fed into some of the playfulness and light spirit of the album.”

        Perhaps most remarkable thing about the album - aside from the unflinching new sonic leaps it takes - is that the band have taken a dormant year void of live experiences, sweaty clubs, or anything resembling fun times, and have made an album that makes that world feel palpable – that you can crawl inside it. “Lockdown gave me the time to pour work into myself and out came this wonderful album,” reflects Joe. “It was strange at first and I missed seeing my mates and having a laugh and dancing but this album is a direct reflection of creative flow brought on by the space given by lockdown.”

        Vanities is a very rare beast of a record: a lockdown album that feels bursting with vitality and the love, promise and transcendence of shared dance floor experiences. Just in time for when we crave those the most.

        Joe Evans – Vocals / Tom Sharkett – Guitar / Alex Mercer Main – Drums / Hannah Peace - Synths + Vocals / Chris Mulligan - Bass / Synths.

        TRACK LISTING

        1. Calm Down
        2. Gd Tym
        3. Pearl In The Palm
        4. Ways Of Seeing
        5. ARPi
        6. Showstopper
        7. Figure With Flowers
        8. Somebody Like
        9. Kaya

        Anna Phoebe

        Sea Souls

          In March 2020, I was asked to produce a ten-minute package for a BBC Radio arts show. Living in Deal on the Kent coast, I went down onto the beach to sit and think about what I wanted to write about. The sea is such a source of comfort, the sound of the waves and the line of the horizon a daily form of meditation and reflection. I filmed and recorded the sea then went back to my studio. I found it was easier to express my emotions through music rather than words, and so the opening track, ’By the Sea’ was born.

          Mary Anne Hobbs heard the piece and played it on her BBC Radio 6 Music show. She suggested that I release it, and that’s how Sea Souls started.

          This album takes you on a journey through the soul, each piece on this album inspired by how the sea and the weather reflected my emotions that day. 2020 was such a turbulent year and each track on this album represents a different snapshot of that time.

          Many of the pieces were recorded in a series of single improvised takes, and some were worked on over a period of time. Like the commitment to the improvised takes on violin, viola, piano, recorder, bass and guitar which pervade the music, this album is an acceptance of flaws and imperfection, letting go of the idea of perfection.

          On June 7th the music from Sea Souls will be used in collaboration with female poets across the globe opening up York Festival of Ideas, in partnership with Dhaka Lit Fest and Jaipur Literary Festival. Anna will be joined by Klara Schumann (cello) and Richard Bundy (piano) for a streamed performance from the beautiful York Minster, interweaving her music with poetry including Salena Godden, Sadaaf Saaz, Jasmin Kaur and Melizarani T.Selva.


          TRACK LISTING

          1. By The Sea
          2. Light On Waves
          3. Horizons
          4. Sirens
          5. Moon
          6. Breathe
          7. Undercurrent
          8. Sea Drift I
          9. Sea Drift II
          10. Sea Drift III
          11. Sea Souls
          12. Beyond Horizons

          Hamish Hawk

          Heavy Elevator

            Hamish Hawk is an Edinburgh-based songwriter. Performing solo and as frontman of the New Outfit, Hawk's ability to surprise, enchant and bewilder has secured his status as one of the more endearing figures on the Scottish contemporary music scene.

            His songwriting offers a blend of wit, charm and sensitivity that is unique and unmistakable.

            Hawk has provided support for King Creosote, This is the Kit, Idlewild, James Yorkston and Out Lines.


            TRACK LISTING

            Side A
            Vivian Comma
            This, Whatever It Is, Needs Improvements
            The Mauritian Badminton Doubles Champion, 1973
            Bakerloo, Unbecoming
            Your Ceremony

            Side B
            Caterpillar
            Daggers
            Heavy Elevator
            Calls To Tiree
            New Rhododendrons



            JW Francis

            Wanderkid

              JW Francis burst onto the scene with his critically acclaimed debut ‘We Share a Similar Joy’, with features from DIY and Line of Best Fit to being named Album of The Day on BBC 6 Music. His warm, affable melodies and comforting lyrics earned him fans on both sides of the Atlantic, and now he returns with his sophomore album Wanderkid, a concept album about a wandering anti-hero.

              Wanderkid hones in on JW’s dreamy soundscapes and explores themes of escapism, whilst still maintaining that sense of comfort and intimacy so beautifully demonstrated in his debut. To celebrate the release, JW is going on a 2,000 mile walking journey across the Eastern United States along the Appalachian Trail.

              With Wanderkid, JW Francis is further cementing his place as a future stalwart in the alternative New York scene.

              TRACK LISTING

              SIDE A
              1. John, Take Me With You
              2. I Love You
              3. Maybe
              4. Make Another Record
              5. Only With You
              6. Holy Mountain

              SIDE B
              1. WANDERKID
              2. Don't Fall Apart
              3. Fake It Till You Make It
              4. I'm Probably A Ghost
              5. Cars

              Low Hummer

              Modern Tricks For Living

                Low Hummer are a fast-rising six piece from Hull that write about their life in deepest darkest East Yorkshire and their place in a world of consumerism and bad news stories sold as gospel. Daniel, Aimee, Steph, Jack, John and Joe came together from the far corners of the city’s tight knit DIY community, established a regular rehearsal home in iconic DIY venue The New Adelphi Club and set about honing their righteous, danceable garage rock before announcing themselves in late 2019 and introducing the world to Low Hummer - this band of misfits from a town left behind.

                Low Hummer released their first fuzzed-up garage anthem ‘Don’t You Ever Sleep’ in September 2019 on independent Leeds label Dance To The Radio, followed by second indie-punk single ‘I Choose Live News’ in October. Both singles earned the band support from the likes of Clash, Dork, Gigwise and BBC 6 Music as 6 Music Recommends Track of the Week and a feature on the Roundtable scoring the band a wining 9/10. Following single releases, ‘The Real Thing’, ‘Picture Bliss’ and ‘Sometimes I Wish (I Was A Different Person)’ were championed by Jack Saunders (Radio 1), Huw Stephens (Radio 1), Steve Lamacq (6 Music), Marc Riley (6 Music), Tom Robinson (6 Music), the Amazing Radio A list, NME, Gigwise and Under The Radar Magazine.

                Low Hummer have just released their first album single of 2021, ‘Never Enough’, supported by BBC Radio 1’s Jack Saunders and Gemma Bradley, added to Radio 1’s playlist as BBC Introducing’s Track Of The Week and playlisted on Spotify’s New Music Friday UK, Dreampop, melomania, Alt.Rocked and Hot New Bands (Cover Photo). The band look forward to announcing the release of their debut album Modern Tricks For Living, set for release on Dance To The Radio in September 2021.

                “Scuzzed out indie with lashings of synths, their post-punk leaning songwriting has a surreal pop instinct running through it” – Clash.

                “Brilliant new garage rock… classic garage rock sounds that join with post-punk fury.” – Gigwise.

                “Its really charming. Great.” Laura Snapes (The Guardian / Pitchfork - For 6 Music Roundtable).

                TRACK LISTING

                Side A
                Take Arms
                Don’t You Ever Sleep
                I Choose Live News
                Never Enough
                Sometimes I Wish (I Was A Different Person)

                Side B
                The Real Thing
                Human Behaviour
                I Tell You What
                Commercials
                The People, This Place

                LoneLady

                Former Things

                  Former Things is the follow up to acclaimed 2015 album Hinterland which garnered praise from The Guardian, The Quietus, The Financial Times and more. The soundworld of Former Things was entirely crafted by LoneLady during her time spent in Somerset House Studios Rifle Range, an 18th century shooting range that has now been adapted into an experimental performance space.

                  The album was inspired by a seismic move for LoneLady who left her native Manchester, decamping to London’s Somerset House Studios in search of a new cityscape to inspire her poised machine funk. First single “There Is No Logic” went onto the A list at BBC 6 Music. Alongside this, LoneLady is set to tour the UK in September 2021 as well as at the beginning of 2022.

                  TRACK LISTING

                  Vinyl Tracklisting:
                  Side A
                  A1. The Catcher / (There Is) No Logic
                  A2. Former Things / Time Time Time
                  Side B
                  B1. Threats / Fear Colours
                  B2. Treasure / Terminal Ground

                  CD Tracklisting:
                  1. The Catcher
                  2. (There Is) No Logic
                  3. Former Things
                  4. Time Time Time
                  5. Threats
                  6. Fear Colours
                  7. Treasure
                  8. Terminal Ground

                  Shire T

                  Tomorrow's People

                    Shire T (AKA Chris Davids, one half of celebrated electronic duo Maribou State, who released their latest album ‘Kingdoms In Colour’ to widespread acclaim in 2018) is set to release his debut solo album ‘Tomorrow’s People’ on 20th August, arriving as the inaugural long-player on Maribou’s own Dama Dama imprint. As Shire T, Davids draws on darker, more club-ready sounds, citing a broad range of influences which manifest in a record he describes as “a celebration of British dance music culture, pulled from all the experiences and memories I’ve had in that world over the years.”

                    Having originally set out in early 2020 to work on new Maribou State music, the unfolding pandemic and abrupt change in circumstances led Davids to a renewed focus on his solo work. “I started feeling really nostalgic” he explains, “Sometimes you need a purpose to make music, something to work towards, but with this it was very much the opposite. It felt like the future had been erased and I ended up delving back into the past, into all the dance music that inspired me when I was growing up. It became a way to escape the madness that was going on at the time”

                    Tracks like lead single “Blue Kiss”—built around a TB-303 bassline and some classic drum machines—and album opener “Full Attention” wear their influences on their sleeves, building the pace early on with driving synth-lead rhythms in a nod back to 90’s rave. Elsewhere, tracks like “London. Paris. Berlin.” and “Serve No Tea” show off a gentler side to the record, the main piano refrains the result of a day spent tinkering on his old childhood piano. Regardless of the direction each track takes, Davids’ deft uses of melody and vocal samples keep everything tied together in a way that will feel both new and familiar to fans of his existing work.

                    Beginning life in 2017 as a way to create more club-ready tools for Maribou State’s DJ sets, Shire T soon became an important creative outlet for Davids, often seeing him carve out extra hours in the studio following Maribou recording sessions to work on the music. The project took on more significance as the pair began preparations for their ‘fabric presents’ release, resulting in two tracks—”Hackney Birdwatch” and “Gentlemens Whistle Club’—used to tie together the dancier-end of the various styles and tempos exhibited on the mix, which included new music from fellow Dama Dama label-mate North Downs, as well as new track “Mother” from Maribou State themselves.

                    Despite the period in which it was created, the album title ‘Tomorrow’s People’ serves as a more hopeful look towards the future, a time when dance music will once again ring out from club and festival sound-systems to be met by feet on the dance floor.

                    Shire T will release ‘Tomorrow’s People’ on 20th August on Dama Dama. Artwork is by Alexander Brown.

                    TRACK LISTING

                    Full Attention
                    Under The Sun
                    Blue Kiss
                    L.D.R.A
                    Over You
                    Burnin’ Jungle
                    London. Paris. Berlin.
                    Mind Games
                    Serve No Tea

                    Richard Norris

                    Hypnotic Response

                      After a host of well received ambient releases, Richard Norris is back with the motorik, trance inducing electronic groove of 'Hypnotic Response'.

                      Influenced by German 70's music, psychedelia, hypnotic repetition and an old Korg 55 drum machine, these tracks veer from the expansive eleven minute workout 'Arca' to the mesmeric sequences of 'In Flight', from the propulsive Kosmishe rhythm of 'Free Ride' to the electronic lullaby 'La Lune'.

                      A widescreen and mesmerising set, with accompanying retina altering artwork and vinyl. Dive in deep.

                      TRACK LISTING

                      Side A
                      1. In Flight
                      2. Arca
                      3. Free Ride

                      Side B
                      4. Gamma & Delta
                      5. Reflections Of Kyoto
                      6. La Lune

                      Molly Burch

                      Romantic Images

                        Romantic Images, Molly Burch’s third album, marks a distinct evolution for Burch, both emotionally and sonically. Recorded in Denver with Tennis’ Alaina Moore and Pat Riley producing, the collection celebrates the timeless delights of a well-crafted pop song, flirting with Blondie, Madonna, and even Mariah Carey as it forges a joyful soundtrack to liberation and self-discovery.

                        Burch deliberately worked with more women collaborators than ever before on the album, and the results are transcendent, reveling in the passion and the power of the divine feminine. The collection prioritizes ecstasy and escape, and Burch’s commitment to collective catharsis in her lifted, airy delivery manages to exude both thoughtful introspection and carefree abandon all at once. The shadow still lurks on the album, to be sure, but the light ultimately wins, and the result is an intoxicating collection all about coming into our truest selves.

                        When it came to mixing and mastering the material, Burch put her faith in Gloria Kaba (Lauryn Hill, A Tribe Called Quest), Mikaelin “Blue” Bluespruce (Solange Knowles), and Heba Kadry (Bjork, Beach House) to truly understand where she was coming from with the music.

                        Burch designed the record to mirror the emotional journey that went into creating it, sequencing the music to work its way from jittery indecision to poised certainty over the course of ten mesmerizing tracks. Exhilarating opener “Control” takes a leap of faith as it learns to make peace with letting go, while the infectious “Heart Of Gold” grapples with wanting what you can’t have. By the time the silky “New Beginning” rolls around, Burch begins settling into a newfound sureness that dominates the collection’s second half, with the addictive “Emotion” (a collaboration between Burch and her Captured Tracks labelmate Wild Nothing) celebrating a spectrum of emotions as fuel for creativity.

                        “I’ve written quite a bit about anxiety and heartbreak in the past,” Burch reflects, “but this record is more inspired by confidence and self-love. This is the most me I’ve ever sounded on an album.”

                        TRACK LISTING

                        1. Control
                        2. Games
                        3. Heart Of Gold
                        4. Romantic Images
                        5. New Beginning
                        6. Took A Minute
                        7. Emotion
                        8. Honeymoon Phase
                        9. Easy
                        10. Back In Time

                        Villagers

                        Fever Dreams

                          Conor O'Brien is pleased to announce Villagers' fifth studio album Fever Dreams which will be released on August 20th via Domino. Escapism is a very necessary pursuit right now, and Fever Dreams follows it to mesmerising effect. It works like all the best records - it becomes a mode of transport; it picks you up from where you are and sets you down elsewhere.

                          O’Brien says on the gestation of Fever Dreams: “I had an urge to write something that was as generous to the listener as it was to myself. Sometimes the most delirious states can produce the most ecstatic, euphoric and escapist dreams.”

                          These are songs with the strange, melted shapes and the magical ambivalence of dreams. The intent of the songs is both mysterious and as clear as a bell. With Fever Dreams, there is a sense of a deepening mastery and an expanding reach by O’Brien. Inspiration for the album was found in many places and came in from all angles, from night swimming on a Dutch island to Flann O’Brien, Audre Lorde, David Lynch, L. S. Lowry via the library music of Piero Umiliani and Alessandro Alessandroni and jazz from Duke Ellington and Alice Coltrane.

                          Written over the course of two years, the main bodies of the songs were recorded in a series of full-band studio sessions in late 2019 and early 2020. During the long, slow pandemic days, O’Brien refined them in his tiny home studio in Dublin, and the album was then mixed by David Wrench (Frank Ocean, The xx, FKA Twigs).


                          TRACK LISTING

                          Side A
                          01 Something Bigger
                          02 The First Day
                          03 Song In Seven
                          04 So Simpatico
                          05 Momentarily

                          Side B
                          01 Circles In The Firing Line
                          02 Restless Endeavour
                          03 Full Faith In Providence
                          04 Fever Dreams
                          05 Deep In My Heart

                          Ishmael Ensemble

                          Visions Of Light

                            Bristol experimental jazz collective Ishmael Ensemble reveal their expansive new album Visions of Light. The follow-up to their critically acclaimed 2019 debut A State of Flow, praised by the likes of The Guardian, Mojo, The Wire and tastemakers across BBC 6Music, this sophomore record sees the group reimagine what an ‘ensemble’ can do; expanding into a shifting collective, where human relationships between artists underpin far-ranging, stunningly ambitious and emotionally heavyweight compositions.

                            Helmed by producer and saxophonist Pete Cunningham, Ishmael Ensemble’s richly inventive 2019 debut A State Of Flow marked them out as an explosive new force in UK jazz, imbuing lush cinematic compositions with left-field dub and electronic sensibilities redolent of Bristol’s vital musical landscape. NamedThe Guardian’s ‘Contemporary Album Of The Month’ and Mojo’s ‘Jazz Album of The Month’, it saw the group perform Maida Valesessions for both Gilles Peterson and Tom Ravenscroft, as well as feature on compilations for Brownswood Recordings and Soul Jazz Records. Cunningham’s rise as an in-demand producer led to remixes for the likes of techno royalty Carl Craig,as well as legendary jazz label Blue Note Records alongside a plethora of the UK’s finest musical talent on Blue Note Re:Imagined.

                            Ishmael Ensemble has since become a platform for Cunningham to subvert the conventional notions of producer/artist relationships, unsettling genre tags, and transcending the familiar landscape of UK jazz itself. Across the album’s 10 tracks, Cunningham practices a holistic approach with a long list of collaborators. Together, they explore vast new sonic terrain with an honesty, intimacy and emotional heft impossible for a conventional band.

                            Visions Of Light tells the story of Ishmael Ensemble’s development across its two sides. The first draws from the energy Cunningham and his bandmates discovered whilst extensively touring A State Of Flow.

                            The album opens with a cascade of harp glissandos and the gorgeous ‘Feather’ – Holysseus Fly’s lush vocal lulling the listener into a false sense of security, before her voice is warped beyond recognition in the high-octane, cacophonous ‘Wax Werk’. The tracks that follow take a darker, heavier turn. The driving, uninhibited performances of Stephen Mullins (guitar) and Rory O’Gorman (drums), along with Jake Spurgeon’s agile synth work, lay the foundation for Cunningham to deliver his most confident and direct saxophone performances to date.

                            Side B sees Cunningham settle into his role as producer and collaborator, resetting the scene with the vivid and playful ‘Looking Glass’, inviting vocalist, harpist and strings arranger STANLAEY to take centre stage. The landscape shifts again for the movingly nostalgic ‘Morning Chorus’, whilst ‘The Gift’ sees the angelic vocals of Tiny Chapter (Waldo’s Gift) initiate a dizzying crescendo of swirling synthesisers and string arrangements. When Visions Of Light resolves with the gorgeous slow-burner ‘January’, it is with an unmistakable hopefulness – something that, in these times of disquietude, is urgently felt.


                            TRACK LISTING

                            Side A
                            1. Intro
                            2. Feather
                            3. Wax Werk
                            4. Soma Centre
                            5. Empty Hands

                            Side B
                            1. Looking Glass
                            2. Morning Chorus
                            3. Visions Of Light
                            4. The Gift
                            5. January

                            Maple Glider

                            To Enjoy Is The Only Thing

                              Maple Glider is Naarm/Melbourne-based singer-songwriter Tori Zietsch. On debut album To Enjoy is the Only Thing, Zietsch's vocals melt into layers of plucked acoustic guitar and lulling piano, drawing on the sombre styles of folk contemporaries with a stark tenderness and introspection that assumes the listener is inside her bedroom as she plays for herself. Striking emotionality is at the centre of this performance, leaning into an intimacy that is achieved by way of deeply personal reflections and velvety melodic compositions.

                              In Tori's words: "To me, To Enjoy is the Only Thing feels like walking past tinsel-covered trees in mid-September, swimming along the calanques in the south of France, frost on the hood of a car, darkness at 4pm, lightness until 10pm, Sibylle Baier’s Colour Green, Devendra Banhart’s Ma, Adrianne Lenker’s a-sides, a muted feeling, the perpetual grey fog that swallows the Silver Coast in Portugal, an ugly green dress, the color red, red wine, red blood, red lips, the red of a cardinal’s robe, Switzerland, my mother’s diaries, a coroner’s report, the sun on my face, the end of love."

                              TRACK LISTING

                              Side A
                              1 As Tradition
                              2 Swimming
                              3 View From This Side
                              4 Friend
                              5 Be Mean, It's Kinder Than Crying

                              Side B
                              6 Good Thing
                              7 Baby Tiger
                              8 Performer
                              9 Mama It's Christmas


                              Turin Brakes

                              The Optimist - 20th Anniversary Edition

                                Turin Brakes critically acclaimed debut album ‘The Optimist LP’ gets the re-issue treatment to celebrate its 20th Anniversary

                                The ground breaking long player, originally released in 2001 features classic tracks such as ‘Underdog (Save Me)’, ’The Door' and ‘Feeling Oblivion’.
                                ’The Optimist LP’ will be re-released on Deluxe 2LP & 2CD on Two-Piers, a new Brighton label, now with a Bonus album of ‘Demos’ from the original sessions and New Artwork. The Album has been out of print on Vinyl for many years now.

                                Press for The Optimist LP:

                                Drowned in Sound - 'The Optimist LP' is a quite stunningly beautiful record.

                                NME - It’s one of those albums. Like ‘Parachutes’, for some, we suppose. But then listening to Coldplay instead of Turin Brakes is like the [I]Almost Famous[/I] generation choosing Don McLean over Tim Buckley. One’s comforting, familiar, pretty; the other strikes at your soul. And it’s a special kind of record which can encourage [I]and[/I] soundtrack such introspection, without losing its edge to indulgent miserabilism

                                Pitchfork - Olly Knights' vocals mix Jeff Buckley moan and Marc Bolan hiss. The songs are simple, emotional, and earnest…., and they're laden with Everly Brothers harmonies 


                                TRACK LISTING

                                2LP
                                THE OPTIMIST
                                A1 Feeling Oblivion
                                A2 Underdog (Save Me)
                                A3 Emergency 72
                                A4 Future Boy
                                A5 The Door
                                A6 State Of Things
                                B1 By TV Light
                                B2 Slack
                                B3 Starship
                                B4 The Road
                                B5 Mind Over Money
                                B6 The Optimist
                                DEMOS VERSIONS
                                C1 Feeling Oblivion - Demo
                                C2 Underdog (Save Me) - Demo
                                C3 Emergency 72 - Demo
                                C4 Future Boy -Original Version.
                                C5 The Door - Original Version
                                C6 State Of Things - Demo
                                D1 By TV Light - Original Version
                                D2 Slack - Demo
                                D3 Starship - Demo
                                D4 The Road - Demo
                                D5 Mind Over Money- Demo
                                D6 The Optimist – Demo

                                2CD
                                CD1: THE OPTIMIST
                                1 Feeling Oblivion
                                2 Underdog (Save Me)
                                3 Emergency 72
                                4 Future Boy
                                5 The Door
                                6 State Of Things
                                7 By TV Light
                                8 Slack
                                9 Starship
                                10 The Road
                                11 Mind Over Money
                                12 The Optimist
                                CD2: DEMOS & ALTERNATE VERSIONS
                                1 Feeling Oblivion - Demo
                                2 Underdog (Save Me) - Demo
                                3 Emergency 72 - Demo
                                4 Future Boy -Original Version.
                                5 The Door - Original Version
                                6 State Of Things - Demo
                                7 By TV Light - Original Version
                                8 Slack - Demo
                                9 Starship - Demo
                                10 The Road - Demo
                                11 Mind Over Money- Demo
                                12 The Optimist – Demo

                                Gemma Cullingford (Sink Ya Teeth)

                                Let Me Speak

                                  Following March's debut single ‘Wide Boys’ which gained favour from Steve Lamacq, John Kennedy, Amy Lamé, Jamzsupernova, Get in Her Ears to name a few, Outre are delighted to present this solo long player, Gemma Cullingford's quiet public persona as one half of Norfolk's finest disco maidens Sink Ya Teeth and previously with Blast First's KaitO has masked her nature.

                                  On Let Me Speak Gemma finds her voice and noise as a solo artist and songwriter with a very personal body of work. Storytelling through the medium of raw electronic and industrial sensibilities. During Sink Ya Teeth’s downtime throughout the pandemic Gemma has been working on creations of a more personal nature, and it’s just what your ears need right now.

                                  Raised on a diet of Throbbing Gristle, Depeche Mode, New Order, Fad Gadget and A Certain Ratio, Gemma Cullingford's own trajectory has been equally impressive - from playing bass with Blast First / Mute signings Kaito, and more recently as one half of post-punk electronic dance duo Sink Ya Teeth.

                                  This solo offering further adds to her fine body of work. 2020 saw Sink Ya Teeth having to abandon many live gigs and promotion for their second album, so during the band's downtime Gemma worked purposefully in her home studio on solo works of a more personal nature.

                                  TRACK LISTING

                                  Side A
                                  1 The Lizard
                                  2 Sight For Sore Eyes
                                  3 Wide Boys
                                  4 Racer
                                  5 Let Me Speak

                                  Side B
                                  6 Queen Bee
                                  7 Chase The Beat
                                  8 I Like You
                                  9 Ode To Billy Joe
                                  10 Fatal Embrace

                                  Johnny Flynn & Robert Macfarlane

                                  Lost In The Cedar Wood

                                    ‘Lost In The Cedar Wood’, Johnny Flynn’s much-anticipated fifth album, is co-written with his friend Robert Macfarlane.

                                    Johnny and Robert began work on the album in the first weeks of the pandemic, wanting to make music that sang of those dangerous, disorienting spring days; when birdsong was brighter –– and the sense of bewilderment more powerful –– than any of us had known before.

                                    They drew inspiration in part from The Epic of Gilgamesh, the oldest surviving work of world literature; an epic poem from Ancient Mesopotamia that contains the earliest version of the Flood Myth. To Johnny and Robert, Gilgamesh resonated eerily with the present moment –– and it catalysed their song-writing.

                                    For Gilgamesh is a story of friendship, love, loss, grief, bad governance and good dreaming; of natural disaster and environmental crisis. It also contains the first recorded act of human destruction of the natural world: when Gilgamesh and Enkidu travel to the Sacred Cedar Wood, slay the guardian spirit of the forest, and cut down the trees with their axes, thereby bringing catastrophe upon themselves.

                                    Johnny and Robert wrote the album between March 2020 and February 2021, during a year in which we all wandered unsure of our path, lost in the cedar wood. The songs were composed in large part as a correspondence, through a back-and-forth of notebook pages, voice-recordings and WhatsApp-messages, at a time when lockdowns made meeting in person impossible. The first eight songs were recorded in an off-grid cottage deep in a Hampshire forest, with the sounds of chainsaws felling trees drifting in through the windows along with the birdsong.

                                    The result is an album at once urgent and ancient, which fuses poetry, landscape, myth and music into something unique. These are songs that ring with hope, love and sadness –– and one need not know anything about The Epic of Gilgamesh to be touched by them.


                                    TRACK LISTING

                                    Side A
                                    1. Ten Degrees Of Strange - Johnny Flynn
                                    2. The World To Come - Johnny Flynn
                                    3. Gods And Monsters - Robert Macfarlane
                                    4. Bonedigger - Robert Macfarlane
                                    5. I Can’t Swim There - Robert Macfarlane

                                    Side B
                                    6. Nether - Robert Macfarlane
                                    7. Flood In The Desert - Johnny Flynn
                                    8. Tree Rings - Johnny Flynn
                                    9. Enkidu Walked - Robert Macfarlane
                                    10. Home And Dry - Robert Macfarlane
                                    11. Ferryman - Robert Macfarlane

                                    Lucy Gooch

                                    Rain's Break EP

                                      An exploration of repression, longing and ‘otherness’ amidst illusory landscapes, ‘Rain’s Break’ EP is inspired by the early technicolour films of Powell and Pressburger. Lucy Gooch uses synthesisers and vocal layering to concentrate elements of each film’s score and narrative into songs which move through different moods of yearning and renewal:
                                      “I first experienced their strange cinematic worlds in childhood, and they stayed with me, like waking dreams – their vibrancy seemed to capture the hidden emotional lives of everyday people. The films’ fantastical sets were often met with the complexities of the inner female experience, as portrayed by each heroine. People wrestling with post-war isolation, changing attitudes to women and sexual repression alongside their struggle to establish equality and autonomy of their own lives.”

                                      So, it is amidst 1940’s austerity that these films were an escape, an over-rich backdrop of possibilities. A snatched piece of dialogue, the film’s score, the crackle of uncertainty all succumbs to the layered ambience of Lucy’s music as she traces moods of yearning and renewal on ‘Rain’s Break’ EP.

                                      Originally from Norfolk, Lucy studied Fine Art and later moved to Bristol to join the emerging ambient scene there - gradually developing her writing and finally releasing her debut ‘Rushing’ EP in early 2020. Over the past year, she’s dipped into a wealth of long gone celluloid as the basis for a filmic journey, a five song EP that relives formative movies in her unique take on ecclesiastical pop.

                                      ‘Ash and Orange’ emerged after listening to old recordings of women’s choirs from the 1930’s, their stoic sopranos circling churches and halls. In two parts, it touches on an everyday person’s hidden life that leads to an emotional breaking-down. A change from Lucy’s trademarked looping style it takes its inspiration from choral composition.

                                      ‘Chained To A Woman’ by contrast, is more playful, nodding to ‘80s synth pop, a homage to some degree to Blue Nile, pop music tinged with melancholy.

                                      “I sought to stick to that tradition of talk-singing the verses, and it seemed to fit in with the feeling of the song, which is more ambiguous. I wanted the words to be about being devoted to something, like family, a person or religion and all the things that come with that kind of devotion.”

                                      Inspired by the monsoon scene at the end of Black Narcissus (1947), the title track ‘Rain’s Break’ takes its lead from the weather to reflect an emotional journey.

                                      “That amazing tradition in early film of using weather to reflect the character’s emotional journey - it seems cliched now but at the time it was revolutionary. This is my attempt at trying to recreate the feeling of total surrender to drama, of something totally sensual.”

                                      This is music that takes you places, shifts focus, paints large canvases.

                                      TRACK LISTING

                                      Side A
                                      1 Rain's Break
                                      2 It Brings Me Back To You
                                      3 Chained To A Woman

                                      Side B
                                      4 6AM
                                      5 Ash And Orange

                                      Willy Mason

                                      Already Dead

                                        Magic, miracles, ghosts, world leaders; these days it seems there is little left to believe in. Lies outweigh truth and even truth can be dangerous. Raising everyone’s spirits Already Dead – the fourth album and the first for nine years from Willy Mason - explores honesty and deception, anonymity in the digital age, good intentions with unexpected consequences, freedom, colonialism, love, god, and purpose because, its storyteller says, now is the time to restore some much-needed faith.

                                        “Already Dead is a spiritual state to aspire to; it is freedom from the trappings and inhibitions of one’s ego, culture, and mythology. It is freedom and love and freedom to love in the face of death,” tells Willy of the philosophy behind the writing. “It’s about the necessary destruction of one’s mythology; mythology of species, sex, race, nation, self. It’s about the pain and tragedy that comes with such destruction, but also about the freedom, possibility and opportunity for reconciliation; reconciliation with the natural world and with each other.”

                                        Already Dead arrives at a time when certain words must be said. It is a quest for love in a society which fears and discourages it; for truth and justice in a society which prioritises convenience and profit. “I ended up diving so deeply into this record because it felt at the time, like the only way I could hope to do some good for somebody,” Willy says. “All the concern and care I have for people, fear, frustration and sadness, all came pouring out."

                                        Sparkling opener ‘Youth On A Spit’ is one of Willy’s heaviest tracks to date; “I feel no pain I’ve already bled / You can’t kill me I’m already dead,” he taunts, through double-sided declaration of invincibility before embarking upon a biting, bold, and caring tour through the purgatory of life in 21st century North America; reaching for Heaven “The Truth is Love/The Truth is Life/The Truth is Sowing Paradise'', whilst preparing for Hell, “Things we’d do to each other/I’m worried to discover” (Gilded Lie). All the while pleading and appealing to one’s nation as if to a wayward lover; “oh my country/you were born/as a branch from a tree of thorns/of poison apple poison tree/you’ve fallen far but roots run deep” (Oh My Country). Even those considering themselves above suspicion cannot hide: “Wilfully ignorant/a false equivalence/smitten with shame/a pawn in the game” (One Of The Good Ones).

                                        Voyaging across the cracks of a bleak and crumbling landscape, beauty begins to blossom as Already Dead casts new shades of meaning when applied to a society and culture teetering on the edge between reinvention and dissolution. Hope, without promise, develops into its own suspended resolution with ripping album closer ‘Worth It’ and looks towards reaching a definitive destination after the soldiering on of early LPs Carry On (2012) and If the Ocean Gets Rough (2007); “The seed and the sowing/the need and the growing/the hope and the hatred/the faith and the sacred/the thief and the servant/the fazed and the fervent/I Know It’s Worth It”.

                                        After seeing the world on countless tours and supporting independent music communities, Willy’s next move looks to be even greater. “Already Dead captures the feeling of these times and I’m trying to give people encouragement, whatever that may be or look like,” he says. Here lies unquestionable truth; life might be uncertain, but to be Already Dead is just the beginning.


                                        TRACK LISTING

                                        1. Youth On A Spit
                                        2. You’d Like To Be Free
                                        3. Gilded Lie
                                        4. Reservation
                                        5. Oh My Country
                                        6. Slowslide
                                        7. One Of The Good Ones
                                        8. Outwit The Devil
                                        9. If There’s A Heart
                                        10. Worth It

                                        The Surfing Magazines

                                        Badgers Of Wymeswold

                                          Garage rock supergroup The Surfing Magazines have announced Badgers of Wymeswold, out 29th March via Moshi Moshi Records.

                                          Consisting of one half of Slow Club and two thirds of The Wave Pictures, The Surfing Magazines’ primary influences are Bob Dylan, The Velvet Underground and all the great surf guitar music of the 1960s. They burst onto the scene with their eponymous debut album in 2017, a lauded LP described by Record Collector Mag as “a vintage-yet-modern rock’n’roll classic”.

                                          Mixing the noir surf textures of 1960s garage rock along with westcoast sun beaten harmony pop, the 17-track Badgers of Wymeswold follows the acclaimed debut and is to be released July this year. The London based foursome recorded the album at Ranscomb Studio in Rochester in February last year before the start of the first UK lockdown.

                                          Pushing their sound forward, the band utilise their garage rock ethic and have both Drummer Dominic Brider and Rhythm guitar player Charles Watso lead on vocals across multiple tracks. The album sees a return of free form saxophone parts, eerie violins and piano all appear, notably on tracks ‘Nostaw Boogie’ and ‘I’m Going Out Tonight To Play Some Pool’. The title track is drawn from David Tattersall’s nightmare vision about his home town's population of self governing people, the album artwork was also made by Tattersall and depicts a collage of his referenced dreams. The extensive LP showcases their characteristic sound at their brightest, from softer ballads such as ‘Poppies’ and ‘Silver Breasts’, surf guitar rock anthem ‘Locomotive Cheer’, and to the six bar blues ‘Pink Ice Cream’.


                                          TRACK LISTING

                                          SIDE A
                                          1. Joke
                                          2. Locomotive Cheer
                                          3. Pink Ice Cream
                                          4. I Dreamed When I Was Young
                                          SIDE B
                                          5. Ten Days Of Shiver
                                          6. Running Scared
                                          7. Bonsai Tree
                                          8. Century Breaks
                                          SIDE C
                                          9. Badgers Of Wymeswold
                                          10. Nostaw Boogie
                                          11. Sports Bar
                                          12. Hard Times
                                          SIDE D
                                          13. Silver Breasts
                                          14. Caribbean Ginger Cake
                                          15. I'm Going Out Tonight To Play Some Pool
                                          16. Poppies

                                          Bachelor (Jay Som + Palehound)

                                          Doomin' Sun

                                            Bachelor, the new project from Melina Duterte (Jay Som) and Ellen Kempner (Palehound), is not a band, it’s a friend-ship. After being mutual fans for years, they finally met when sharing the bill at a show in Sacramento in 2017. Keeping in touch over text and Instagram posts, Duterte and Kempner started recording together for fun in 2018, resulting with what would become "Sand Angel", the seductive slow-burner that convinced the pair to write an album together.

                                            Reconvening in January 2020, the duo packed the entirety of Duterte’s recording equipment into two cars and headed to a rental house in Topanga, CA. In this space Kempner and Duterte hybridized their individual song-writing talents, producing a collection that slips between moods with ease and showcases their lyrical prowess. Arriving with almost no songs written and no solid plan, they finished the 10 songs that make up Doomin’ Sun after two short weeks. That much work in so little time may sound exhausting, but it wasn’t, it was blissful and freeing.

                                            There was a lot of pain that went into the record, especially around themes of queerness and climate change inspired by the red skies and wildfires subsuming Australia at the time. However, when the duo did shed tears during the creative process, they weren’t tears of sadness, they were tears of laughter. When Kempner and Duterte look back on those weeks, what they remember first is shortness of breath and the inability to track vocal takes without falling to the floor howling. They couldn’t remember a time they’d ever been so delirious with creativity, so overwhelmed with joy.


                                            STAFF COMMENTS

                                            says: With more than a little nod to seminal grunge bands of the 90's (and beyond), Bachelor sees Jay Som and Palehound team up for a riotous mix of pop-punk, grunge and grooving noisy rock. Tracks like 'Sand Angel' and 'Anything At All' tread a more minimal, psychy groove while 'Stay In The Car' is undoubtably the most riotous, melodic slice of pop on here. Really great stuff.

                                            TRACK LISTING

                                            Side A
                                            1. Back Of My Hand
                                            2. Sand Angel
                                            3. Stay In The Car
                                            4. Went Out Without You
                                            5. Spin Out

                                            Side B
                                            6. Anything At All
                                            7. Moon
                                            8. Sick Of Spiraling
                                            9. Aurora
                                            10. Doomin’ Sun

                                            Andrew Hung

                                            Devastations

                                              Stars collapse and new worlds arise in Devastations, the bold new album from Andrew Hung.

                                              Andrew Hung is an artist known for his breakthrough debut Realisationship, film soundtracks (The Greasy Strangler, An Evening with Beverly Luff Linn) and his collaborations (Fuck Buttons, Beth Orton and Aimée Osbourne)

                                              His work as Fuck Buttons brought about three critically-acclaimed albums, headline slots at festivals such as Glastonbury, Green Man and All Tomorrow’s Parties. Their music sound tracked key moments in the 2012 London Olympics opening ceremony.

                                              Hung went on to work with cult director Jim Hosking and his films “The Greasy Strangler” (winning best comedy at the Empire awards, “An Evening with Beverly Luff Linn” and “Tropical Cop Tales” for Adult Swim.

                                              Hung continued his collaborative streak through writing and producing with artist Beth Orton on her career redefining album Kidsticks (described by The Skinny as “…an exceptional return to form.”) and daughter of a rock god, Aimée Osbourne on her incredible debut album Vacare Adamaré (Released under the name ARO).

                                              Hung now returns his attention to his own expression.

                                              Hung’s second album Devastations is the ecstatic cry of colour found between light and dark. The album documents a transitional period in Hung’s life; a stepping out from the shadows. Hung explores the deepest recesses of his psyche and in doing so finds himself reconciling the light and dark within. Underlying the propulsive bests and prisms of noise is a melodic tenderness that weaves throughout the album; an offering hand emerging from a turbulent sky. The deepening of inner space becomes an exploration of the universal; a new beginning from the Devastations of old worlds.

                                              The artist wrote, performed, produced and mixed the whole album himself. He also painted the self-portrait that adorns the cover of the album. The oil painting further illuminates the artist’s intentions in his work; it depicts the artist stepping out of a shadowy world, partially lit by the bright light of the sun.


                                              STAFF COMMENTS

                                              says: Former Fuck Button Andrew Hung returns for only his second full album under his own name, though has been busy with a number of superb soundtrack outings since then. 'Devastations' is a brilliantly innovative mix of gothic synth pop, avant electronica and slow motion loungy Krautrock grooves, all topped with Hung's distinctive vocal style. Bold and exciting, and filled with moments of pure joy.

                                              TRACK LISTING

                                              Side A
                                              1. Battle
                                              2. Promises
                                              3. Brother
                                              4. Colour

                                              Side B
                                              1. Light
                                              2. Wave
                                              3. Space
                                              4. Goodbye 

                                              The Go! Team

                                              Get Up Sequences Part One

                                                The Go! Team return with their new album “Get Up Sequences Part One” out on 02 July 2021 via Memphis Industries featuring the singles Cookie Scene and World Remember Me Now.

                                                On “Get Up Sequences Part One” Ian, Ninja, Nia, Simone, Sam and Adam have created a musical world distinctly of their own making. A place where routine is outlawed and perfection is the enemy. Where Ennio Morricone meets the Monkees armed with flutes, glockenspiels, steel drums and a badass analogue attitude. We’re talking widescreen, four- track, channel hopping sounds that are instantly recognisable.

                                                In The Go! Team's world, old’s cool, the future's bright and melody is the star. Just check the second cut “Cookie Scene” with a bouncing flute and junk shop percussion it introduces guest rapper Indigo Yaj who delivers an old school vocal that continues this sonic trip. Pow channels Curtis Mayfield and enter stage centre, the inimitable Ninja in full flow and you don’t stop, you wont stop to this flute driven free for all.

                                                By way of demonstrating The Go! Team’s old school manifesto, comes the 'needle-in-the-red' “I Love You Better” a defiant message to an ex love, spelling out exactly how he’s fucked up – and then there’s those steel drums. Following that comes the soda fountain soul courtesy of “A Bee Without Its Sting”, a groovy protest song that makes its point with a tambourine – hey only The Go! Team.

                                                The musical wagon train then takes you into the wide screen, windswept western that is Tame the Great Plains heading off into a polyrhythmic panorama that’s full of hope. Slappin’ you back to reality comes “World Remember Me Now”, a timely reminder that when you’re lost in the routine of life, you can always count on The Go! Team.

                                                TRACK LISTING

                                                1. Let The Seasons Work
                                                2. Cookie Scene
                                                3. A Memo For Maceo
                                                4. We Do It But Never Know Why
                                                5. Freedom Now
                                                6. Pow
                                                7. I Loved You Better
                                                8. A Bee Without Its Sting
                                                9. Tame The Great Plains
                                                10. World Remember Me Now

                                                The Go! Team

                                                Rolling Blackouts - 10th Anniversary Dinked Archive Edition

                                                  “Anyone who is tired of their fantastical amalgam of old-school hip-hop, funk and pop is tired of music.” - The Guardian.

                                                  “The pure pop dream still burns bright in the hearts of The Go! Team. For that, they're as vital as they've ever been.” - The Independent.

                                                  “joyous and life affirming” - Q Magazine.

                                                  Our Review from 2011:
                                                  The Go! Team return with album number three, including guest appearances from Bethany Best Coast and Satomi from Deerhoof. If you bought the previous two Go! Team albums then you're in for another treat here, albeit one that doesn't differ much from its predecessors. Charging headlong into a blistering mash-up of b-boy hip hop breaks, catchy indie guitar hooks, easy-pop melodies and bratty rap (all with nuff treble to make your ears ring), "Rolling Blackouts" is like being mugged by hand-clapping ADD tweenies in an inner city playground. Boisterous, energetic, and with an infectious charm, it's hard not to love The Go! Team's sunny demeanour.

                                                  STAFF COMMENTS

                                                  says: One of my all-time all-time all-time favourite favourite favourite albums. Music for superheroes!

                                                  TRACK LISTING

                                                  Side A
                                                  T.O.R.N.A.D.O
                                                  Secretary Song
                                                  Apollo Throwdown
                                                  Ready To Go Steady
                                                  Bust-Out Brigade
                                                  Buy Nothing Day
                                                  Super Triangle

                                                  Side B
                                                  Voice Yr Choice
                                                  Yosemite Theme
                                                  The Running Range
                                                  Lazy Poltergeist
                                                  Rolling Blackouts
                                                  Back Like 8 Track

                                                  Lambchop

                                                  Showtunes

                                                    Kurt Wagner's signature brittle baritone is back, but that doesn't mean we're going to get a nostalgic Alt Country album. Showtunes is a continuation of Lambchop's explorations of new sound worlds and opens up another chapter. Each track is an exciting journey with an uncertain destination.

                                                    With Showtunes, as he has done so many times throughout his varied and fascinating career, Kurt in late 2019 was experimenting with something new. He took simple guitar tracks and converted them into midi piano tracks. It was a revelation that from those conversions he was able to manipulate each note and add, subtract, arrange the chords and melody into a form that didn't have any of the limitations he had with his previous methods of writing with a guitar.

                                                    Removing these limitations led to a surprising new sound, something akin to showtunes but with edges sanded down and viewed through Kurt's own specific lens. it's a genre he was none too fond of with the exceptions of a few Great American Songbook type of stuff or some of the works of artists like Tom Waits, early Randy Newman or even Gershwin or Carmichael. “I’d always wanted to make songs with a similar feel but my skills were limited until now” says Wagner.

                                                    “Anyone can be in Lambchop (so long as they behave themselves)” - Kurt Wagner.


                                                    STAFF COMMENTS

                                                    says: Another wonderfully mournful, rich outing from lambchop here, leaning heavily on the slow-country roots of their early work but imbued with a heartbreaking tentative unease. Jazzy horns and slow upright bass licks help to lend a levity to proceedings, but still results in a thoroughly beautiful and unsettling whole.

                                                    TRACK LISTING

                                                    A1. A Chef's Kiss
                                                    A2. Drop C
                                                    A3. Papa Was A Rolling Stone Journalist
                                                    A4. Fuku
                                                    B5. Unknown Man
                                                    B6. Blue Leo
                                                    B7. Impossible Meatballs
                                                    B8. The Last Benedict

                                                    Gruff Rhys

                                                    Seeking New Gods

                                                      Gruff Rhys is releasing his new album “Seeking New Gods” through Rough Trade Records on 21st May. This will be Gruff’s seventh solo album. “Seeking New Gods” was recorded following a US tour with his band and mixed in LA with superstar producer Mario C (Beastie Boys).

                                                      The album concept was originally driven to be the biography of a mountain, Mount Paektu (an East Asian active volcano). However, as Gruff’s writing began to reflect on the inhuman timescale of a peak’s existence and the intimate features that bring it to mythological life, both the songs and the mountain became more and more personal.

                                                      “The album is about people and the civilisations, and the spaces people inhabit over periods of time. How people come and go but the geology sticks around and changes more slowly. I think it’s about memory and time,” he suggests of Seeking New Gods’ meaning. “It’s still a biography of a mountain, but now it’s a Mount Paektu of the mind. You won’t learn much about the real mountain from listening to this record but you will feel something, hopefully.” - Gruff Rhys.


                                                      STAFF COMMENTS

                                                      says: Gruff returns for yet another faultless slab of widescreen cinematic pop, full of his warmingly familiar but endlessly inventive chord progressions and swoon-inducing vocal drawl. Optimistic but filled with more introspective moments among the otherwise bombastic stomp. It's as dizzying and perfect as anything he's ever done. Peak Gruff.

                                                      TRACK LISTING

                                                      Side A
                                                      1. Mausoleum Of My Former Self
                                                      2. Can’t Carry On
                                                      3. Loan Your Loneliness
                                                      4. Seeking New Gods
                                                      5. Hiking In Lightning
                                                      Side B
                                                      1. Holiest Of The Holy Of The Holy Men
                                                      2. The Keep
                                                      3. Everlasting Joy
                                                      4. Distant Snowy Peaks

                                                      Dinked Edition Flexi Disc
                                                      Tropical Messiah

                                                      Hattie Cooke

                                                      Bliss Land

                                                        “It's about the in-between moments.” - Hattie Cooke “Bliss Land” is the new LP from Brighton born artist Hattie Cooke. Her third album and debut release for Castles In Space opens up her sound by managing to find a balance between the introspective and the communal. It is an album that looks forward whilst acknowledging the creators past creating a work full of a nostalgia that also feels vitally current. Initially conceived as a soundtrack album, during its creation, “Bliss Land” morphed into a beautiful set of personal songs born out of anticipation, excitement and anxiety.

                                                        Speaking about the themes of the albums, Hattie says: "It wasn’t until the album was finished that I realised what it was about. I had recently graduated from university and people were beginning to take more notice of my music. I was excited about the possibilities of the future, but at the same time the immediate future had been put on hold due to the pandemic, so I was frustrated and anxious. And then whenever I think about the future, I can’t help but think about the past and where I’ve come from and what I’ve been through to get to that point. So in some ways it’s a reflective record and in other ways it’s a record full of anticipation. “One Foot Out The Door” is a track that really resonates with me - it’s about that liminal space between the past and the future when you’re on the threshold of something. I think that’s what the album is about, it’s about the in-between moments. "I grew up on a small council estate on the outskirts of Brighton in a house that was full of music. Both my parents played guitar and my dad also bought and sold records for a living. I taught myself the guitar when I was twelve and made plenty of music throughout my teens. At 17, I won a scholarship to study at the British Institute Of Modern Music and continued writing and playing local shows. I also started to learn how to record and produce my own music on GarageBand as a necessary alternative to going into an expensive recording studio. GarageBand has some fantastic synth and electronic drum sounds and that’s when I became more interested in electronic music and music production. In 2015, Third Kind Records approached me after hearing my songs on a homemade demo CD that a friend had passed on. We released my debut album in 2016 and I’ve been making and releasing music ever since.”

                                                        Hattie writes, records and produces all her own albums, however she is keen to express how others have helped shaped parts of Bliss Land: “The record isn’t a completely solo effort, I had people along the way to help shape this album into what it became, although I had complete artistic freedom to let the album grow into what it wanted to be. I had invaluable help from Dom Keen who helped me mix the album. We spent a good number of nights in his studio drinking gin and trying to get everything just right. He did things to the music that I would never have even considered doing. I had no idea what compression really was until the making of this record, which probably sounds mad considering I’ve produced three records but when you’re self-taught you can miss out learning about so much! Antony Ryan’s mastering added a whole new dimension to the record as well.”

                                                        “Bliss Land” is an album soaked in the outer edges of pop music making it a cohesive and beautiful album full of dense textures held together by Hattie's unique voice. It’s an album that will undoubtedly chime with a cross section of audiences. So where does Hattie see her music in the landscape of the current UK electronic scene? "There’s a lot of instrumental/soundtrack music coming out of the scene, a lot of synthwave music which seems to be a real throwback to the 70s and early 80s. I think that’s because so much of the music coming out of the scene is made by those who grew up during those decades. So I think I’m a bit of an outlier when it comes to the UK electronic scene for two reasons. Firstly, I’m at the lower end of the age range and secondly, I’m a woman in an extremely male dominated scene. “Bliss Land” is intentionally quite poppy, which seems to be less in fashion at the moment whereas my other instrumental stuff is more inspired by classical music than by IDM or ambient music, so I think I’m coming at writing and producing from a slightly different angle. However, I still definitely feel part of the scene. There’s a particularly strong sense of community within the UK electronic scene on Twitter and I’ve been nothing but welcomed and supported by the artists, fans and labels. It’s like being part of a strange and wonderful family.”

                                                        You’ve made a video for the track “Youth” with Chris Standley from Rogue Robot which is both funny and shot through with real melancholy. “Youth" is about reflecting on the past. I turned thirty this year and sometimes (more than I'd like to admit) I worry that I've gotten more boring as I've gotten older. I was pretty wild and unhinged when I was younger and sometimes I miss those mad nights out where it felt like absolutely anything could happen - although saying that I just don't have the energy to stay up for three days or the stomach to cope with the hangovers anymore. Still, there are days when I miss the way that everything feels new and exciting when you're in your late teens/early twenties - everything is more intense when you're younger and the world around you seems bright and buzzing with life. I've been thinking about it a lot this past year. I've not had much to do for the last twelve months besides walk around on my own and reflect on the past, since the future has basically been put on indefinite hold, so that has almost certainly fed into some of the lyrics and maybe even the feel of the music.”

                                                        The album is already garnering a lot of attention and praise. What’s next for Hattie after the album is released? "Who knows what’s next! I have plans to tour the album when the world opens up again. I’d also love to have the chance to score a film or to work with some other artists doing guest vocals or some remixes. And I’d like to get back to doing some music-related charity work again as my family were supported by a number of charities when I was growing up and think it’s important to give back when you can."

                                                        TRACK LISTING

                                                        Side A
                                                        1. I Get By
                                                        2. Mistaken
                                                        3. Cars
                                                        4. One Foot Out The Door
                                                        5. Youth

                                                        Side B
                                                        6. Don’t Wanna Talk
                                                        7. Invisible Lines
                                                        8. Fantasies
                                                        9. Lovers Game
                                                        10. Summer Time

                                                        Dinked Edition Bonus 7”
                                                        1. One Foot Out The Door (Acoustic Version)
                                                        2. Above My Bed

                                                        Hiss Golden Messenger

                                                        Quietly Blowing It

                                                          “I went looking for peace,” says songwriter M.C. Taylor of Hiss Golden Messenger about his new album Quietly Blowing It, out March 26, 2021, on Merge Records. “It’s not exactly a record about the state of the world—or my world—in 2020, but more a retrospective of the past five years of my life, painted in sort of impressionistic hues. Maybe I had the presence of mind when I was writing Quietly Blowing It to know that this was the time to go as deep as I needed to in order to make a record like this. And I got the time required in order to do that.” He pauses and laughs ruefully. “I got way more time than I needed, actually.”

                                                          Quietly Blowing It was written and arranged by Taylor in his home studio—his 8’ × 10’ sanctuary packed floor to ceiling with books, records, and old guitars—as he watched the chaotic world spin outside his window. “Writing became a daily routine,” he explains, “and that was a ballast for me. Having spent so much time on the road over the past ten years, where writing consistently with any kind of flow can be tricky, it felt refreshing. And being in my studio, which is both isolated from and totally connected to the life of my family, felt appropriate for these songs.” Between March and June, Taylor wrote and recorded upwards of two dozen songs—in most cases playing all of the instruments himself—before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians, with Taylor in the production seat, went into Overdub Lane in Durham, NC, for a week, where they recorded Quietly Blowing It as an organic unit honed to a fine edge from their years together on the road. “We all needed to be making that music together,” he recalls. “We’ve all spent so many years traveling all over the world, but in that moment, it felt cathartic to be recording those particular songs with each other in our own small hometown.”

                                                          Throughout Quietly Blowing It, Taylor brings his keen eye to our “broken American moment”—as he first sang on Hiss Golden Messenger’s critically acclaimed, GRAMMY®-nominated Terms of Surrender—in ways that feel devastatingly intimate and human. Beginning with the wanderer’s lament of “Way Back in the Way Back,” with its rallying cry of “Up with the mountains, down with the system,” Taylor carries the listener on a musical journey that continually returns to themes of growing up, loss, obligation, and labor with piercing clarity, and his musical influences—including classic Southern soul and gospel, renegade country, and spiritual jazz—have never felt more genuine. Indeed, Quietly Blowing It is a distillation of the rolling Hiss Golden Messenger groove, from the rollicking, Allman-esque “The Great Mystifier” to the chiming falsetto soul of “It Will If We Let It,” to the smoky, shuffling title track with its bittersweet guitar assist from Nashville legend Buddy Miller. The album ends with soulful lead single “Sanctuary,” a song about trying to reconcile tragedy and joy, with references to John Prine (“Handsome Johnny had to go, child…”), economic disparity, and the redemptive quality of hope. Indeed, when he sings, “Feeling bad, feeling blue, can’t get out of my own mind; but I know how to sing about it,” it feels like the album’s spiritual thesis. Throughout Quietly Blowing It, Taylor reckons with the tumultuous present in wholly personal terms, encouraging listeners to do the same. “These songs always circle back to the things that I feel like I have a handle on and the things that I’m not proud of about myself. When I think of the phrase ‘quietly blowing it,’ I think of all the ways that I’ve misstepped, misused my gifts, miscommunicated. ‘Born on the level, quietly blowing it.’ That’s what’s on my mind there. Always fuckin’ up in little ways.”

                                                          Surrounding himself with a trusted cast of collaborators that includes Miller, songwriter Gregory Alan Isakov, songwriter and Tony Award–winning playwright Anaïs Mitchell, multi-instrumentalist Josh Kaufman, Dawes’ brothers Taylor and Griffin Goldsmith, and his oldest musical confidant Scott Hirsch, Taylor has made his most audacious and hopeful work yet with Quietly Blowing It; it’s an album that speaks personal truth to this moment in which the old models of being feel broken and everything feels at stake. “I don’t know that the peace that I crave when I’m far from home exists, actually,” says Taylor. “It’s more complicated. I still don’t know what peace means for me, because I can be sitting on the couch watching a movie with my family and be completely tangled up in my head. But if I keep on doing my own personal work on myself—writing records like Quietly Blowing It—I have to think that I’m getting closer.”

                                                          TRACK LISTING

                                                          Side A
                                                          1 Way Back In The Way Back
                                                          2 The Great Mystifier
                                                          3 Mighty Dollar
                                                          4 Quietly Blowing It
                                                          5 It Will If We Let It
                                                          Side B
                                                          6 Hardlytown
                                                          7 If It Comes In The Morning
                                                          8 Glory Strums (Loneliness Of The Long-Distance Runner)
                                                          9 Painting Houses
                                                          10 Angels In The Headlights
                                                          11 Sanctuary

                                                          Live At Leeds CD (Dinked Exclusive)
                                                          There’s A New Day Coming
                                                          Jaw
                                                          Call Him Daylight
                                                          Red Rose Nantahala
                                                          My Wing
                                                          Terms Of Surrender
                                                          Blue Country Mystic
                                                          Highland Grace
                                                          Beat The Retreat
                                                          Harder Rain

                                                          Fears

                                                          Oíche

                                                            Pieced together over five years, Oíche chronicles growth through challenges, instability, and relationship changes, both with one's self and others. The album reveals itself much like a coming of age novel about the breaking apart of girlhood and rebuilding of a young woman.

                                                            An intimate depiction of discovery, Oíche unearths internal dialogue, and makes peace with uncertainty. Oíche, meaning 'night' in Irish, was recorded in three bedrooms, hospital, and the Domino Recordings studio in Brixton.

                                                            Fears is London-based Irish artist Constance Keane. Combining reflective electronics, acoustic samples, and haunting vocals with organic visuals, Fears invites the listener on an ethereal journey, blurring the boundaries between music and visual art. Her minimalist approach centres on emotive subjects, which are all-at-once deeply personal yet remarkably universal.

                                                            Oíche is the first release on TULLE, run by and for exceptional women.


                                                            STAFF COMMENTS

                                                            says: In parts brittle, raw and minimalistic before breaking into deep, rich electronics and beautifully produced meandering instrumentation, 'Oiche' is a rich and dynamic juxtaposition of genre biases and electronic-adjacent songwriting. Immediately alluring, but unendingly expressive, this is a wonderfully produced and cleverly written gem.

                                                            TRACK LISTING

                                                            A1. H_always
                                                            A2. Bones
                                                            A3. Daze
                                                            A4. Fabric
                                                            A5. Vines
                                                            B1. Dents
                                                            B2. Brighid
                                                            B3. Tonnta
                                                            B4. Blood
                                                            B5. Two_

                                                            Francis Lung

                                                            Miracle

                                                              “For me, [Miracle] is about the struggle between my selfdestructive side and my problem-solving, constructive side,” says Francis. “I suppose through a lot of these songs I’m dealing with these emotional problems, acknowledging the negative aspects of my behaviour instead of burying them, and providing an alternative point of view for myself”. Despite its serious subject matter, Miracle is far from austere in sound, marrying the cinematic, dreamlike quality of Francis’s earlier music with the pared-back charm of great singer-songwriters like Judee Sill, Jeff Tweedy and Elliott Smith.

                                                              The album opens with ‘Bad Hair Day’, a relentlessly catchy—and deceptively upbeat—ode to hangovers and missed connections. “I’ve been calling on you all night /But I never get through, I just get in the way” Francis laments; “I am a cloud in the sun’s light/Whatever I do, whatever I say.” Elsewhere, the title track finds him pondering the fickle nature of the music industry: “I think of [Miracle] as acknowledging and even encouraging the feelings we’re not supposed to succumb to - giving up, giving in - just because it can be comforting to hear it from someone else. ‘Why am I climbing these social ladders and jumping through the hoops of this creative industry? Does this make me happy?’”

                                                              These themes of longing, and lacking, missing and being missed, reoccur throughout Miracle. “When I die/Will I be missed/Or am I missing the point?” asks ‘Say So’; while ‘Lonesome No More’, inspired by the Kurt Vonnegut book of the same name, begs the question: if loneliness was eradicated, would we miss it? By confronting these feelings, Francis is able to move forward, as triumphant album closer ‘The Let Down’ proves. Its lyrics serve as a call to action, as Francis wills himself (and the listener) to ‘Get up/Get something going/Do something, do it/Do it now’

                                                              Miracle was produced by Francis in collaboration with Brendan Williams (Dutch Uncles, Matthew Halsall, Kiran Leonard) and Robin Koob (who co-arranged and performed strings). The opportunity to take creative control was one Francis relished. “I’m quite bad at delegating” he admits, noting that he played every instrument except strings on Miracle. The result is a cohesive, deeply personal record, which is as vital as it is vulnerable. “I don’t want to be defined by my anxiety, my depression or any history of substance abuse,” Francis says, “but I do want to reach out to other people who have had similar experiences, especially if it’s in a way that helps them feel a little better. To me, this music is celebrating healing as much as it focuses on the darker sides of the human psyche.”

                                                              STAFF COMMENTS

                                                              says: What an enchanting LP this is. Taking in facets of classic rock, psychedelia and folk rock of the late 60's, while remaining true to the sunshine indie-pop roots. Wry observations and even a Vonnegut reference! this is clever songwriting that's easily accessible and endlessly reveals elements the more you listen. Absolutely essential stuff.

                                                              TRACK LISTING

                                                              1. Intro
                                                              2. Bad Hair Day
                                                              3. Blondes Have More Fun
                                                              4. Miracle
                                                              5. Empty Playgrounds, Broken Swings (Demo)
                                                              6. Don't Call Me Baby
                                                              7. Say So
                                                              8. Southern Skies
                                                              9. Want 2 Want U
                                                              10. Comedown (Again)
                                                              11. Uncommon
                                                              12. Lonesome No More
                                                              13. The Let Down

                                                              Johanna Samuels

                                                              Excelsior!

                                                                With a special knack for balancing bright pop melodies with a drifting sense of melancholy, LA based Johanna Samuels new album Excelsior! is a tender, honest document of the importance of companionship above all else. Named after Dylan’s “Visions of Johanna”, Samuels grew up on the classic songwriters of yesteryear (George Harrison, Tom Petty, Neil Young) and after a healthy dose of Elliott Smith and Jon Brion, has spent the best part of the last decade honing her craft.

                                                                'Excelsior! was recorded in a small cabin in West Shokan in NY State, in the middle of the winter with her band and producer Sam Evian but it's songs are full of West Coast sunshine. It's Evian's first full album production at his own Flying Cloud Studios. Recorded mostly to tape, the album is as a gorgeous combination of vintage instrumentation, strong melodic hooks, killer harmonies and Samuels’ elegant voice.

                                                                Samuels seeks those answers through companionship, exploring the depths of her relationships and then calling upon a handful of womxn to provide the album’s backing vocals - a task she’d always performed herself until now. As such, Excelsior! makes a space for the voices of Courtney Marie Andrews, Hannah Cohen, Lomelda’s Hannah Read, A.O. Gerber, Louise Florence and Olivia Kaplan.

                                                                The album takes its name from the signature that Samuels’ grandpa would use before he sadly passed away last December. “He was a very important person to me and he helped raise me,” Johanna explains. “He signed all of his letters and emails ‘Excelsior!’, including the exclamation point. It means ‘ever upward’ and that’s what I wish for everyone: to grow from listening with more empathy and from hearing each other out. I hope this record makes people want to be gentler with each other and themselves.”


                                                                TRACK LISTING

                                                                1. Sonny
                                                                2. Nature’s Way
                                                                3. High Tide For One
                                                                4. All Is Fine
                                                                5. The Middle
                                                                6. Close To The Vest
                                                                7. Song For Sid
                                                                8. Julie
                                                                9. Less Of You
                                                                10. Cathy

                                                                Field Music

                                                                Flat White Moon

                                                                  "We want to make people feel good about things that we feel terrible about." says David Brewis, who has co-led the band Field Music with his brother Peter since 2004. It's a statement which seems particularly fitting to their latest album, Flat White Moon released via Memphis Industries.

                                                                  Sporadic sessions for the album began in late 2019 at the pair's studio in Sunderland, slotted between rehearsals and touring. The initial recordings pushed a looser performance aspect to the fore, inspired by some of their very first musical loves; Free, Fleetwood Mac, Led Zeppelin and The Beatles; old tapes and LPs pilfered from their parents' shelves. But a balance between performance and construction has always been an essential part of Field Music.

                                                                  By March 2020, recording had already begun for most of the album's tracks and, with touring for Making A New World winding down, Peter and David were ready to plough on and finish the record.

                                                                  The playfulness that’s evident in much of Flat White Moon's music became a way to offset the darkness and the sadness of many of the lyrics. Much of the album is plainly about loss and grief, and also about the guilt and isolation which comes with that.

                                                                  Those personal upheavals are apparent on songs like Out of the Frame, where the loss of a loved one is felt more deeply because they can't be found in photographs and compounded by the suspicion that you caused their absence, or on When You Last Heard From a Linda, which details the confusion of being unable to penetrate a best friend's loneliness in the darkest of circumstances.

                                                                  Some songs are more impressionistic. Orion From The Streets combines Studio Ghibli, a documentary about Cary Grant and an excess of wine to become a hallucinogenic treatise on memory and guilt.. Others, such as Not When You're In Love, are more descriptive. Here, the narrator guides us through slide- projected scenes, questioning the ideas and semantics of 'love' as well the reliability of his own memory. For the most part, the album has fewer explicitly political themes than previous records, though there is No Pressure, about a political class who feel no obligation to take responsibility if they can finagle a narrative instead. And there's I'm The One Who Wants To Be With You which skirts its way around toxic masculinity through teenage renditions of soft-rock balladry.

                                                                  On Flat White Moon Field Music take on the challenge of representing negative emotions in a way that doesn't dilute or obscure them but which can still uplift. The result is a generous record of bounteous musical ideas, in many ways Field Music's most immediately gratifying to date.

                                                                  STAFF COMMENTS

                                                                  says: I'm a bit late to the Field Music party, I have to admit. Always quite liked them when I heard them, but never really got into them properly, despite people telling me I should (yes Marc Riley, you were right!)
                                                                  But I thought the last album 'Making A New World' was amazing and this one is equally as good.
                                                                  Flat White Moon is full of intricate, multi-layered songs. They're arty and clever (but not in an annoying smart-arse way) and they know how to write a pop song too!

                                                                  TRACK LISTING

                                                                  1. Orion From The Street
                                                                  2. Do Me A Favour
                                                                  3. Not When You're In Love
                                                                  4. Out Of The Frame
                                                                  5. When You Last Heard From Linda
                                                                  6. No Pressure
                                                                  7. In This City
                                                                  8. I'm The One Who Wants To Be With You
                                                                  9. Meant To Be
                                                                  10. Invisible Days
                                                                  11. The Curtained Room
                                                                  12. You Get Better

                                                                  Iceage

                                                                  Seek Shelter

                                                                    With each new release, Elias Bender Rønnenfelt, Jakob Tvilling Pless, Johan Surrballe Wieth and Dan Kjær Nielsen refigure the contours of a typical Iceage song. This is especially true of Seek Shelter, their fifth LP and first for Mexican Summer. Enrolling Sonic Boom (Pete Kember of Spacemen 3) to produce the record and an additional guitarist in the form of Casper Morilla Fernandez, Seek Shelter sees Iceage’s propulsive momentum pushing them in new, expansive, ecstatic directions. A decade on from their first record, Iceage continue to harness their lives together through music. This journey, in music and life, has never progressed in a linear fashion.

                                                                    Seek Shelter is the sound of a tight emotional core unwound. Rain dripped through cracks in the ceiling of Namouche, the dilapidated wood-panelled Lisbon radio studio of a 1960s vintage where the band set up for 12 days. The band had to arrange their equipment around puddles. Pieces of cloth covered slowly filling buckets so that the sound of raindrops wouldn’t reach the microphones. Kember arranged garden lamps from a nearby party store for mood lighting in the high-ceiling space. It was the longest time Iceage have ever spent making an album. When the rain had stopped, Seek Shelter revealed itself as a collection of songs radiating warmth and a profound desire for salvation in a world that’s spinning further and further out of control.

                                                                    Iceage started making music together in 2008 as young teens in their hometown of Copenhagen. The band’s 2011 debut New Brigade, crystallized the raucous energy and unbreakable brotherhood of Danish teenagers weaned on post-punk, hardcore and no wave, and it found ears and kin around the world. 2012’s You’re Nothing was hard, fast and raw, a bold doubling-down on the aggression of youth in the first record as well as the weight of expectation. Plowing Into the Field of Love (2014) and Beyondless (2018) saw a softening of the band’s hardest edges and the arrival of a certain world-weary vaudeville in the Iceage sound. In an extraordinary and unexpected run, the band had gone from the fertile hyperlocal Copenhagen scene to stages all over the world. Iceage’s past two records — all filtered twangy guitar riffs, sparse piano arrangements, and slinky, slow-moving rhythms — ventured into an intoxicated but knowing swirl, surveying the party at the end of the night. They’d seen it all, at least once, and their music rode the crest of that chaos.

                                                                    Seek Shelter, the band’s first record made with an outside producer brought in alongside longtime collaborator Nis Bysted, is the place they have been called to next. Elias Bender Rønnenfelt casts the influence of producer Sonic Boom as that of a sparring partner, another wayward mind to bounce ideas off of and another pair of hands (along with Shawn Everett, who mixed the record) to help shape the sound. Kember had said in an interview that he’d like to produce for the band, and the feeling was mutual. Rønnenfelt recalls being 12 or 13, listening to Spacemen 3, the band Kember co-founded in 1982 at the age of 16. “It was one of those things that just reverberated with my being,” he explains. For Seek Shelter, “we wanted a partner that had some noise that we didn’t have, more a wizard than a producer. We thought he’d be that kind of wizard for us, and we were right — he came in with a truckload of strange equipment that we’d never seen before.” Kember, reflecting on the session and reaching for his highest praise, describes Iceage as “fucking show offs, like everyone who was ever great and emotional and honest.”

                                                                    For Seek Shelter’s story of scorched-earth salvation, the band’s songwriting embraces conventional structures more conspicuously than it has in the past. The dirge-like drone that opens the record gives way to a wall of reverb that sounds fuller and brighter than anything they've committed to tape, signalling a clarity of clouds breaking. American gospel and blues signatures break to the front of the slow-grooving “Vendetta” and harmonica-flecked “Gold City,” a record which sounds like the road, a desert mission under a blazing sun. The Lisboa Gospel Collective, who joined the band for two tracks on the final day in the studio, provide a new scale to Rønnenfelt’s incantations. There are moments of unvarnished romanticism, as on the brisk Jacques Brel-like “Drink Rain,” and an overcast tenderness that gently glides over “Love Kills Slowly.” The massive “High & Hurt” interpolates “Will the Circle Be Unbroken,” a warhorse of the American religious vernacular that has become an increasingly urgent plea over the past century. It’s not the only anthem that calls out to the heavens: later on, Rønnenfelt invokes the patron saint of music and poetry on “Dear Saint Cecilia,” a song for seekers everywhere. “Writing a song is like trying to find a space where you can make something that’s been riled up and down through the years feel like it belongs to your present moment,” says Rønnenfelt. “It’s all just scaffolding that you can project something onto.”

                                                                    Rønnenfelt’s lyricism reaches grand heights despite its classic opacity — he sings of taking shelter, of tranquil affections that threaten to combust, and of a limp-wristed god with a cavalcade of devotees in search of relief. His expressionist imagery consistently hinges on the divine, a natural result of his desire to take a kernel of ordinary emotion and, as he explains, “blow it up like a balloon.” For Seek Shelter, as with all Iceage’s previous albums, Rønnenfelt stowed away for a set period of weeks and wrote the lyrics in one shot. “I set a time just to make sure that all the lyrics are written from the same mindset,” he explains of these weeks alone. The lyrics stem from journals that he’s kept over the past few years: “it becomes an amalgamation of ideas and impressions of things that you’ve been provoked by or had to live through. You end up with something that is a rough, blurry perspective of what that period of time was like, a mishmash of personal struggle that is shaded throughout by a world that seems more transparent in its inherently cruel ways.” Romance and desire, as described in “Love Kills Slowly” and the album closer “The Holding Hand,” are feelings that stretch torturously — a race without a finish line.

                                                                    What precisely makes an Iceage song is still a mysterious thing, and the band wishes to maintain this protean quality. “If there’s ever a point in our history when something in the songs starts to seem easy but doesn’t really excite us that much, we just discard that shit right away,” he says. “You’ve always got to find a new vantage point to attack the assignment of writing a song. If we had a formula, it would be just a continuous watering down of what we do until we hated ourselves and quit.” With Seek Shelter, they’ve managed to hold onto this core of presence and risk while writing their most ambitious songs. Even Rønnenfelt was surprised with what they were able to create together. “I think when we started we were just lashing out completely blindfolded with no idea as to why we were doing anything.” He’s speaking of the new record and also of their entire existence as a band, a travelogue that has catapulted these four friends far past the horizons of punk. “Some of that we wanted to remain intact. We try to keep the mystery. If there's no sense of mystery in it for us, then it's not fun.” Seek Shelter is a record that now exists at a moment of a collective unknown, when every beating heart wonders what will happens next.


                                                                    STAFF COMMENTS

                                                                    says: There's an indescribable flow to Iceage's music, pulling in influence from classic rock, a sort of country swing and distorted melodicism you don't hear that much nowadays. In a way, it harks back to the heyday of 90's indie, full of energy and power-chord groove, but with a much more nuanced lilt. It's clever and confounding and endlessly replayable.

                                                                    TRACK LISTING

                                                                    Side A
                                                                    1. Shelter Song
                                                                    2. High & Hurt
                                                                    3. Love Kills Slowly
                                                                    4. Vendetta
                                                                    5. Drink Rain

                                                                    Side B
                                                                    6. Gold City
                                                                    7. Dear Saint Cecilia
                                                                    8. The Wider Powder Blue
                                                                    9. The Holding Hand

                                                                    White Flowers

                                                                    Day By Day

                                                                      RIYL: Beach House, Cocteau Twins, Cigarettes After Sex, Slowdive.

                                                                      For songwriting duo Joey Cobb and Katie Drew of White Flowers, one of the most exciting young bands in the UK right now, it was only on leaving London to return to their native Preston that the dark-hued dreampop of their debut album, Day By Day, began to crystalize.

                                                                      "There’s something uniquely bleak about the North,” says Joey, speaking from the abandoned textile mill that White Flowers call home, “but in that bleakness there’s a certain beauty.”

                                                                      The pair had left Preston for London to study at art college, and it was there that they first began to explore the nascent psych scene bubbling under in the few remaining arts-orientated spaces in the east of the city. It soon inspired them to begin work on music of their own.

                                                                      “We didn’t want to be a psych band,” explains Katie, "but discovering that music gave us both energy and focus. We’ve spent so many years developing these songs, because I think it was important we waited until White Flowers became its own defined thing."

                                                                      The pair found that by using equipment they barely understood, they produced their most innovative work. Beginning on GarageBand, they crafted loops that turned into songs, and by the time they’d worked out how to use it, they’d graduated to a drum machine.

                                                                      Now very much in control, and with a clear and determined focus, the pair began producing music that, whilst leaning into the North’s post-punk past, possessed a vision and depth informed by their own post-industrial Preston experiences. Creating all of their artwork, visuals and overall aesthetic, they began building a world that stretched beyond the music alone – in an unusual circular fashion, this auteurist-like approach became a way of translating their environment and experiences into a form of escapism from the very place that inspired them.

                                                                      “We’ve always taken care to control every aspect of the White Flowers ‘world’, and because we’ve developed this over time, it feels to us like there’s a separate realm for White Flowers music to exist in,” observes Joey. “More than anything, the isolation that a place like Preston provides means that what we do is very much its own, separate thing”.

                                                                      That ‘thing’ is the sound of the North at night; the unglamorous North, caught in the hinterlands that divide the main cities, a monochrome psychedelia formed in Preston and the imposing Lancashire hills that envelop them. As if always waiting there for them, in returning to their roots, White Flowers found themselves.

                                                                      Nonetheless, it was shortly before leaving London that another creative breakthrough occurred. While performing a small show as a support act, a fan in the audience, impressed by the wall of noise that would frequently extend for minutes at the end of tracks, suggested they work with a like-minded friend. Within weeks, the pair were recording at the Manchester studio of Jez Williams, erstwhile member of Doves.

                                                                      Williams and Manchester immediately made sense, and it’s that industrial gothic that White Flowers were able to tap into as they built the album during on-off sessions across two years – sometimes leaving the studio for a couple of months to work on ideas, other times crafting the minutiae of details across all-night studio sessions.

                                                                      The access to flexible studio time was telling, and the band were able to develop an aesthetic that, whilst indebted to the various sounds that defined their youth, also leaned heavily into Kevin Shields’ droning wall of noise guitars, the palimpsestic hauntology of early Burial, and the ghost box sampleadelia of Boards of Canada.

                                                                      “We like the more alien sounds” explains Joey, “where the focus is on creating atmosphere.” This is perhaps most obvious on the album title track, one of the more sonically enticing tracks on the record with its pulsing drone and Portishead-esque rhythm, or even ‘Night Drive’, a live favourite that the pair take pride in building into a monstrous wall of sound.

                                                                      ‘Daylight’ pushes forward with a prettiness matched by Katie’s oblique, near-glossolalia vocal. “We don’t like it when things are clean or overproduced” explains Katie, “and there’s something interesting in the instinctive nature of the first thing you sing, because you don’t really know what you’re singing until it comes out and it makes sense.” That psychographic-style process to writing informs a collection of songs that are at once both intuitive and fully-formed.

                                                                      The oldest song on the record, ‘Help Me Help Myself’, bears witness to this approach. Perhaps their most direct and perfect ‘pop’ song to date, it suggests these songs were always there within, just waiting to be divined. "We’d just started using drum machines and there’s something of a naïve quality to it,” explains Katie, though its naivety has now been augmented by Jez Williams’ impossibly diaphanous production.

                                                                      The constant upheaval of, well, everything has fed directly into Day By Day. “The songs on the album were written from when we were teenagers up to our early 20s, so it’s come of age in this weird apocalyptic time,” says Katie.

                                                                      “Everything’s surrounded by uncertainty” notes Joey, "but it isn’t all doom and gloom, there are positives, rules are out the window and you can do what you want. There’s some hope in there.”

                                                                      STAFF COMMENTS

                                                                      says: 'Day By Day' presents a gorgeously plaintive mix of post-rock quiet/loud instrumentation, shimmering walls of sound and tender, delicate vocal accompaniment. A rich and sumptuous swell of talented songwriting and emotional delivery.

                                                                      TRACK LISTING

                                                                      1. Intro - (02:25)
                                                                      2. Night Drive - (04:57)
                                                                      3. Daylight - (03:45)
                                                                      4. Stars - (03:35)
                                                                      5. Tried To Call - (04:26)
                                                                      6. Help Me Help Myself - (04:43)
                                                                      7. Day By Day - (06:07)
                                                                      8. Different Time, Different Place - (04:16)
                                                                      9. Portra - (04:03)
                                                                      10. Nightfall - (03:23)

                                                                      Sarah Neufeld

                                                                      Detritus

                                                                        Composer and violinist Sarah Neufeld is a career-long touring and recording member of Arcade Fire. Her third solo LP ‘Detritus’, confronts anguish with beauty, turmoil with grace, gliding through the present like a dancer mid-motion, reaching through space 'til she's caught.

                                                                        The album is wistful and emotive, and carries the listener on a journey of euphoric and complex looped violin dusted with mesmeric melody recall. Openers ‘Stories’ and ‘Unreflected’ lead with atmospheric ease, sombre soundscapes and distant, otherworldly vocals. ‘With Love And Blindness’ ups the tempo with remote, dreamlike rhythms that hypnotise and enthrall. ‘The Top’ is elated, but it highlights the isolated strings and poetic loneliness Neufeld is able to convey with them. ‘Tumble Down The Undecided’ and ‘Shed Your Heart’ are climatic in their delivery, full of cascading notes and delays before closer ‘Detritus’ exits with a state of calm, easing back into the shadows and taking with it the vivid textures and images crafted with infinite grace over the course of the album.

                                                                        NOTES ABOUT DETRITUS
                                                                        I composed this album within a larger body of work that was commissioned as a live soundtrack for Peggy Baker Dance Project’s Who We Are In The Dark.

                                                                        Who We Are In The Dark is a collaboration originating in 2015 when Peggy Baker (legendary Canadian dancer and choreographer) and I were asked to perform a duet together at Fall For Dance North. Peggy chose to choreograph to my piece From Our Animal from my (then) upcoming second album, The Ridge.
                                                                        Wanting to create something personal for her for this performance, I composed a prelude which began with the words “who we are in the dark”.

                                                                        There was something utterly compelling about working and performing together.
                                                                        Coming from different generations (Baker is now 68), we share a sense of intensity, curiosity, and ferocity.
                                                                        Shortly after our debut performance together, Peggy commissioned me to collaborate with her on a full scale piece for her company. I began composing for this project in 2017, with the solo violin piece, The Top.
                                                                        Peggy and I were exploring themes of darkness- her take often lived in the macro, universal elements, space, death, while my own exploration at the time was more close up- intimacy and the ego self. I think there was an invisible thread between us from our own experiences of loss and grief.
                                                                        To say the least, this collaboration and the work we produced has held tremendous meaning for both of us.

                                                                        Drummer and composer Jeremy Gara (Arcade Fire) joined the collaboration in 2018, adding percussive and harmonic depth to my solo compositions, as well as inputting his own signature style of ambient noise composition and heavy, gripping drumming into the live score.
                                                                        The work premiered in February 2019 and toured internationally throughout the year, with our most recent performance in Den Hague at Holland Dance Festival in February 2020.

                                                                        I began distilling the solo compositions into a smaller, album length body of work in the Summer of 2019, experimenting live with solo versions, adding more vocals, and incorporating foot pedal bass synth to my solo live capabilities. This body of work stood out for me, as a further push and refinement of the composition style I’ve been developing for the past 8 years, and as a marker of an intense and difficult passage in my own life.



                                                                        TRACK LISTING

                                                                        1. Stories
                                                                        2. Unreflected
                                                                        3. With Love And Blindness
                                                                        4. The Top
                                                                        5. Tumble Down The Undecided
                                                                        6. Shed Your Dear Heart
                                                                        7. Detritus

                                                                        The Coral

                                                                        Coral Island

                                                                          The wheels rattle into the thrilling unknown on The Coral’s first new music since 2018, finding the unsurpassed, metamorphic gonzo-pop five-piece in the company of crooks, sell-by-date candyfloss and plastic skeletons as they release Faceless Angel. Of misplaced memories from a place and time that might never have been, the track precedes a new and vividly evocative body of work from the legendary Merseyside band in the form of their TENTH and first, ever double-album: Coral Island.

                                                                          Squinting into the neon-lit penny arcades and draining an after hours glass with the displaced and dispossessed once the power is pulled, The Coral’s latest caper concerns listeners with the light, shade, thrills and profound melancholy of coastal palaces packed with fun and fright. Both now and then, or perhaps never as fiction encroaches on reality, the feverous anticipation of a night amongst the screams, fights and romance of the fair become part of life on the newly-built Coral Island.

                                                                          Welcoming travellers one trepidous step at a time, Faceless Angel sits amongst a series of promised audio visual portraits of and inspired by the Island’s inhabitants. Conceived and created by artist, Edwin Burdis, the single’s video was filmed ‘on’ Coral Island itself, a sprawling diorama purpose-built inside a deserted Chinese restaurant in Cardiff. It’s the band and fans’ first venture onto the surreal land mass, populated by surreal sculptural forms, charity shop-finds, looming mountains and gathering storm clouds. Filmed in debt to the traditional model-based filmmaking methods of greats like George Lucas or Ray Harryhausen, Burdis navigated Coral Island at waist-height and via camera-friendly pathways to gather 360 degree footage from inside and outside his and The Coral’s fascinating, fabricated world. The expansive and ambitious installation also provides the album artwork for Coral Island as well as designs for Faceless Angel and future singles.

                                                                          Indebted in part to the classic pre-Beatles rock and roll era of Duane Eddy and Chuck Berry alongside the clattering of a weary ghost train’s rusted wheels on worn steel, Faceless Angel’s title evokes DC Comics ominous occult detective series, Hellblazer and the broken character of the strip’s protagonist, John Constantine.

                                                                          Almost 19 years after the release of their celebrated, self-titled, Mercury Music Prize-nominated, platinum-certified debut in 2002, kick-starting a decade of classic singles, including Dreaming Of You (now on over 100 million streams globally and gaining UK Platinum status), Pass It On, Don’t Think You’re The First and In The Morning, The Coral move into 2021 as in thrall to the self-endowed gift of creative freedom as they were on day one. The band has sold over a million albums to date.

                                                                          Of their nine albums to date, the last of which, Move Through The Dawn, was released in 2018, five have reached the Top 10 including 2003’s chart-topping Gold-selling Magic and Medicine which saw the band nominated for Best Group at the Brit Awards. Never anything other than wilfully idosyncratic and critically-praised, the follow-up, The Invisible Invasion reached No.3 in the UK Albums Chart and joins it’s predecessor in being certified Gold.

                                                                          Recorded in a sense of barely-controlled, copy and paste chaos at Parr Street Studios in Liverpool, Coral Island was written and performed by the multi-instrumentalist and multi-talented line-up of James Skelly, Ian Skelly, Nick Power, Paul Duffy and Paul Molloy plus a special guest.


                                                                          STAFF COMMENTS

                                                                          says: There's no doubt from the first notes that this is The Coral. From the perfectly manicured harmonies and wonderfully resplendent guitar tones, this shimmers with everything that made us love them in the first place. Without a doubt one of my favourite things to have come out of the Wirral since Andy McQ.

                                                                          TRACK LISTING

                                                                          Side A
                                                                          1 Welcome To Coral Island
                                                                          2 Lover Undiscovered
                                                                          3 Change Your Mind
                                                                          4 Mist On The River
                                                                          5 Pavillions Of The Mind
                                                                          6 Vacancy

                                                                          Side B
                                                                          7 My Best Friend
                                                                          8 Arcade Hallucinations
                                                                          9 The Game She Play
                                                                          10 Autumn Has Come
                                                                          11 The End Of The Pier

                                                                          Side C
                                                                          12 The Ghost Of Coral Island
                                                                          13 Golden Age
                                                                          14 Faceless Angel
                                                                          15 The Great Lafayette
                                                                          16 Strange Illusions
                                                                          17 Summertime

                                                                          Side D
                                                                          18 Telepathic Waltz
                                                                          19 Old Photographs
                                                                          20 Watch You Disappear
                                                                          21 Late Nights At The Borders
                                                                          22 Land Of The Lost
                                                                          23 The Calico Girl
                                                                          24 The Last Entertainer

                                                                          Natalie Bergman

                                                                          Mercy

                                                                            While many know Bergman as one half of brother-sister duo Wild Belle, her forthcoming record is a cathartic collection rooted in the hopeful values and traditions of gospel that have helped her through the recent, tragic loss of her father.

                                                                            On the signing of Natalie Bergman, Third Man Records co-founder Ben Swank adds, “Natalie has a unique vision and has approached this album with a reverence for the sacred and healing nature of the history of this music, but has managed to update it in a way that is distinctly her own. We're very excited to welcome her to the Third Man label and family.”

                                                                            Alongside her brother Elliot, the island-influenced music Natalie Bergman made in Wild Belle has led to collaborations ranging from Major Lazer to Tom Tom Club, performances at Coachella and Lollapalooza, tours with Beck, Cage The Elephant, Toro y Moi and more.

                                                                            Helmed by her heavenly voice, Bergman’s solo album is steeped in mystic melodies and time-bending tones of psychedelic rock and soul. Showcasing her multi-instrumental and creative versatility, songs will be accompanied by visuals that blend her own abstract artwork, self-designed wardrobe and beyond. Stay tuned.

                                                                            RIYL: Wild Belle, Haley Heynderickx, Phoebe Bridgers, Mitski, Meiko, El Perro Del Mar, Sylvan Esso, Overcoats, Weyes Blood, Sharon Van Etten, Maggie Rogers, Angel Olsen.

                                                                            STAFF COMMENTS

                                                                            says: Bergman's music clearly leans heavily on the vocal-dominant acoustic guitar ballads of the 60's and 70's, joined with gorgeous harmonised girl-group soul aesthetic. It's a wonderfully new take on the tried and tested mellow folk vibe, and Bergman's haunting vocals fit it perfectly.

                                                                            TRACK LISTING

                                                                            SIDE 1
                                                                            1. Talk To The Lord
                                                                            2. Shine Your Light On Me
                                                                            3. I Will Praise You
                                                                            4. I'm Going Home
                                                                            5. Home At Last
                                                                            6. You Make My World Go Round

                                                                            SIDE 2
                                                                            1. Paint The Rain
                                                                            2. The Gallows
                                                                            3. Your Love Is My Shelter
                                                                            4. He Will Lift You Up Higher
                                                                            5. Sweet Mary
                                                                            6. Last Farewell

                                                                            Dinked Edition Exclusive 7"
                                                                            Side A
                                                                            A. Paint The Rain (Pachy Remix)
                                                                            Side B
                                                                            B. Paint The Rain (Dub Instrumental)

                                                                            Esther Rose

                                                                            How Many Times

                                                                              Esther Rose was in perpetual motion when she wrote How Many Times. In the span of two years, she moved three times, navigated the end of a relationship, and began touring more than ever. The New Orleans-based singer-songwriter used that momentum while she penned her third studio album. That’s why, as the album title’s nod to the cyclical nature of life implies, there’s a rush that accompanies How Many Times as if you’re experiencing an awakening, too.

                                                                              “That’s how I untangle what’s on my mind, by going off for a walk into wild places. That’s what makes this album a country album,” says Rose. “It’s not really just about feeling better, it’s about feeling it, whatever it is.”
                                                                              If Rose used time to frame the stories on her 2019 sophomore album You Made It This Far, then she’s swapped that clock for a heart monitor on How Many Times. While some may look outward and lament over hard times and bad luck, Rose turns inward. Instead of blaming an ex for failing to juggle her reactions on “My Bad Mood,” she examines her own blind spots where she hopes to improve as a partner. When her car’s engine blew up during an impulsive “pitstop” in Nashville, she wrote “Good Time” not to rue misfortune, but to toast her own recklessness. After losing her nerve and fleeing a New Year’s Eve date by bicycle half an hour before midnight, she immediately penned “Are You Out There,” confronting her fear of letting go and moving on.

                                                                              With the integrity of Dean Johnson, Faustina Masigat, and Kiki Cavazos serving as primary influences, Rose expands her alt-country sound into a blossoming world of folk pop, rustic americana, and tender harmonies. “They’re the holy trinity of songwriter magic,” she says, “and when I listen to them I feel like I can explore my own heartache.” Creative touches add detail throughout the album. She uses a 1962 Gibson ES-120T, her first semi-hollow body electric guitar, to play unplugged for a distinct tone. On “Mountaintop,” she includes a blustery voice memo recorded at the summit of Mount Philo, an homage to the field recording in a Bright Eyes song she holds dear.

                                                                              From “Coyote Creek” to “Without You,” Rose’s compelling voice is ferried masterfully by the musicians that join her: Matt Bell on lap steel, Max Bien-Kahn on electric guitar, Dan Cutler on upright bass, Cameron Snyder on drums, and Lyle Werner on fiddle. A collection of complete takes recorded live to tape with rich instrumentation, soul-tugging hooks, and resonating vocal melodies, How Many Times carries you into the room in which it was made. There to help realize this was co-producer Ross Farbe of synthpop band Video Age, who Rose also credits for bringing a stereo pop glow to these new songs.

                                                                              The album opens with Rose reflecting on the mundane as she drifts around her house in How Many Times. She wrote it in a night of intentional sobriety, choosing to address directly emotions she had been avoiding until then, a theme that’s apparent throughout the record. “‘How Many Times’ shows that ‘face it’ moment: opening the fridge, staring down the bottles, opening a laptop, just bouncing around the house before you finally make room to face the pain and be with it,” she says. “I remember walking trancelike to my writing table thinking, No numbing tonight. I’m going to sit here and look at it.” From opening for Nick Lowe on tour to being asked to sing on Jack White’s new album, Rose’s journey through the past few years has been one of saying yes to new opportunities, all while nurturing and playing in bands in the New Orleans country music scene. The arrival of How Many Times is evidence of the sweeping growth Rose has undergone, both personally and artistically. 

                                                                              STAFF COMMENTS

                                                                              says: There's a lot to be said for a gently strummed acoustic guitar and a well sung tune isn't there? I mean, I know i'm a big fan of both bells and whistles (maybe not *actual* whistles), but Rose presents the stripped-back country aesthetic that is perfectly accentuated by a single lap-steel or a snappy percussive wander and executes it so perfectly, it's impossible not to be drawn in.

                                                                              TRACK LISTING

                                                                              Side A
                                                                              How Many Times
                                                                              Keeps Me Running
                                                                              My Bad Mood
                                                                              Coyote Creek
                                                                              Good Time

                                                                              Side B
                                                                              When You Go
                                                                              Songs Remain
                                                                              Mountaintop
                                                                              Are You Out There
                                                                              Without You

                                                                              Bonus Dinked Edition 7”
                                                                              A1. Bitter Heart
                                                                              B1. My Jealous Mind

                                                                              Hannah Peel

                                                                              Fir Wave

                                                                                The new album, a sonic shimmer of textures and pulses that switches between raw atmospheric edges and environments, arrives with a fascinating history. As Peel explains, “The specialist library label KPM, gave me permission to reinterpret the original music of the celebrated 1972 KPM 1000 series: Electrosonic, the music of Delia Derbyshire and the Radiophonic Workshop.” This process of re-generation and finding fresh inspiration in pioneering, experimental electronics from the early 1970s is at the core of the album. Peel has made connections and new patterns that mirror the Earth’s ecological cycles through music.

                                                                                Peel explains, “I’m drawn to the patterns around us and the cycles in life that will keep on evolving and transforming forever. Fir Wave is defined by its continuous environmental changes and there are so many connections to those patterns echoed in electronic music - it’s always an organic dis-covery of old and new.” As Delia Derbyshire revealed in 2000 to BBC sound engineer, journalist and academic Jo Hutton: “I like new things that don’t seem new . . . as though they’ve always been there.”

                                                                                Known more recently for curating and presenting on BBC Radio 3’s Night Tracks, the Northern Irish Emmy-nominated composer and producer’s work is ambitious and forward-looking, adapting and re-inventing new genres and hybrid musical forms. Recent albums include the solo electronic and pop work of Awake But Always Dreaming, which became an ode to her grandmother’s mind as she lived with dementia; the electronic ruralism of Chalk Hill Blue, an album recorded with the poet Will Burns; and the space and the unparalleled vastness of Mary Casio: Journey to Cassiopeia, scored for synthesisers and a 30 piece colliery brass band. In 2019 she composed and recorded the soundtrack for Game of Thrones: The Last Watch which earned her an Emmy nomination for ‘Outstanding Music Composition For A Documentary Series Or Special (Original Dramatic Score)’. 


                                                                                STAFF COMMENTS

                                                                                says: While i'm a big fan of archival synth business, it's often hard to really listen to it in any other situation other than chin-scratching synth-nerdery. I know, i'm a fan of that and while the more esoteric synth explorations are great fun, they have nowhere near the amount of sheer depth and replayability that you get with 'Fir Wave'. A dynamic and cohesive set of rhythmic electronic pieces, moulded with the legendary influence from KPM. Stunning.

                                                                                TRACK LISTING

                                                                                Side A
                                                                                1 Wind Shadow
                                                                                2 Emergence In Nature
                                                                                3 Patterned Formation
                                                                                4 Carbon Cycle

                                                                                Side B
                                                                                1 Ecovocative
                                                                                2 Fir Wave
                                                                                3 Reaction Diffusion 

                                                                                William Doyle

                                                                                Great Spans Of Muddy Time

                                                                                  It’s nearly a decade since William Doyle handed a CD-R demo to the Quietus co-founder John Doran at a gig, who loved it so much he set up a label to release Doyle’s debut EP (as East India Youth). Doyle’s debut album, Total Strife Forever, followed in 2014, as did a nomination for the Mercury Music Prize. A year later, he was signed to XL, touring the world and about to release his second album – all by the age of 25.

                                                                                  After self-releasing four ambient and instrumental albums, Doyle’s third full-length record – and the first under his own name – Your Wilderness Revisited arrived to ecstatic reviews in 2019: Line of Best Fit described it as “a dazzlingly beautiful triumph of intention” and Metro declared it an album not only of the year, but “of the century”. Just over a year later, as he turns 30, Doyle is back with Great Spans of Muddy Time.

                                                                                  Born from accident but driven forward by instinct, Great Spans’ was built from the remnants of a catastrophic hard-drive failure. With his work saved only to cassette tape, Doyle was forced to accept the recordings as they were – a sharp departure from his process on Your Wilderness Revisited, which took four long years to craft toward perfection. “Instead of feeling a loss that I could no longer craft these pieces into flawless ‘Works of Art’, I felt intensely liberated that they had been set free from my ceaseless tinkering,” Doyle says.

                                                                                  “The album this turned out to be – and that I’ve wanted to make for ages – is a kind of Englishman-gone-mad, scrambling around the verdancy of the country’s pastures looking for some sense,” says Doyle. “It has its seeds in Robert Wyatt, early Eno, Robyn Hitchcock, and Syd Barrett.” Doyle credits Bowie’s ever-influential Berlin trilogy, but also highlights a much less expected muse: Monty Don, presenter of the BBC programme Gardeners’ World, Doyle’s lockdown addiction.

                                                                                  “I became obsessed with Monty Don. I like his manner and there's something about him I relate to. He once described periods of depression in his life as consisting of ‘nothing but great spans of muddy time’. When I read that quote I knew it would be the title of this record,” Doyle says. “Something about the sludgy mulch of the album’s darker moments, and its feel of perpetual autumnal evening, seemed to fit so well with those words. I would also be lying if I said it didn’t chime with my mental health experiences as well.”

                                                                                  Great Spans of Muddy Time is a beautiful ode to the power of accident, instinct and intuition. The result, however, is far from an anomaly: this celebration of the imperfect album is one that required years of honed craft and dedicated focus to achieve. “For the first time in my career, the distance between what I hear and what the listener hears is paper-thin,” Doyle says. “Perhaps therein reveals a deeper truth that the perfectionist brain can often dissolve.”


                                                                                  STAFF COMMENTS

                                                                                  says: There has been a significant stylistic change in Doyle's output since his early material as East India Youth, and every single note oozes with the intellectual construction and well placed melodic sensibilities that will ensure his place in the musical landscape for years to come. 'Great Spans...' is a wonderfully rich and fascinating journey, and one that rewards with each further listen.

                                                                                  TRACK LISTING

                                                                                  Side A
                                                                                  I Need To Keep You In My Life
                                                                                  And Everything Changed (But I Feel Alright) 
                                                                                  Somewhere Totally Else
                                                                                  Shadowtackling
                                                                                  Who Cares
                                                                                  Nothing At All

                                                                                  Side B
                                                                                  Rainfalls
                                                                                  New Uncertainties
                                                                                  St. Giles’ Hill
                                                                                  Semi-bionic
                                                                                  A Forgotten Film
                                                                                  Theme From Muddy Time
                                                                                  [a Sea Of Thoughts Behind It]

                                                                                  Cassandra Jenkins

                                                                                  An Overview On Phenomenal Nature

                                                                                    “Nothing ever really disappears,” Cassandra Jenkins says. “It just changes shape.” Over the past few years, she’s seen relationships altered, travelled three continents, wandered through museums and parks, and recorded free-associative guided tours of her New York haunts. Her observations capture the humanity and nature around her, as well as thought patterns, memories, and attempts to be present while dealing with pain and loss. With a singular voice, Jenkins siphons these ideas into the ambient folk of her new album.
                                                                                    An Overview on Phenomenal Nature honors flux, detail, and moments of intimacy. Jenkins arrived at engineer Josh Kaufman’s studio with ideas rather than full songs — nevertheless, they finished the album in a week. Jenkins’ voice floats amid sensuous chamber pop arrangements and raw-edged drums, ferrying us through impressionistic portraits of friends and strangers. Her lyrics unfold magical worlds, introducing you to a cast of characters like a local fisherman, a psychic at a birthday party, and driving instructor of a spiritual bent.

                                                                                    Jenkins’ last record, 2017’s Play Till You Win, confirmed the veteran artist’s talent. Evident of Jenkins’ experience growing up in a family band in New York City, the album showcased her meticulous songwriting and musicianship, earning her comparisons to George Harrison and Emmylou Harris. Jenkins has since played in the bands of Eleanor Friedberger, Craig Finn, and Lola Kirke, and rehearsed to tour with Purple Mountains last August before the tour’s cancellation. Her new record departs from her previous work in its openness and flexibility, following her peripatetic lifestyle. “The goal is to be more fluid, to be more like the clouds shifting constantly,” she says. The approach allowed Jenkins to express herself like she never has.

                                                                                    On album opener “Michaelangelo,” before the heavy drum beat and fuzz guitars enter, Jenkins sings quietly “I’m a three-legged dog, working with what I’ve got / and part of me will always be looking for what I lost // there’s a fly around my head, waiting for the day I drop dead.” Phenomenal Nature thrives in this dichotomy between ornate sonics and verbal frankness, a calming guided tour to the edge. Later, on “Crosshairs,” amid lush strings, she sings conversationally: “Empty space is my escape / it runs through me like a river / while time spits in my face.”

                                                                                    “Hard Drive,” the third track and album centerpiece, opens with a voice memo Jenkins recorded at The Met Breuer: a guard muses about Mrinalini Mukherjee’s hybrid textile and sculpture works, which were then on display in a retrospective titled Phenomenal Nature. “When we lose our connection to nature, we lose our spirit, our humanity,” she explains. Stuart Bogie's saxophone & Josh Kaufman's glittering guitar make way for Jenkins' spoken word which constellates scenes from her life, gradually building and blossoming as she recreates a meditation guided by a friend who incants, “One, two, three.”

                                                                                    Sounds of footsteps and bird calls run through the album’s glittering conclusion, “The Ramble.” Meditative and bright, it recalls how Jenkins felt while writing and recording her new material: “Everything else is falling apart, so let’s just enjoy this time,” she said. If Phenomenal Nature has a unifying theme, it’s the power of presence, the joy of walking in a world in constant flux and opening oneself to change.


                                                                                    TRACK LISTING

                                                                                    1. Michaelangelo
                                                                                    2. New Bikini
                                                                                    3. Hard Drive
                                                                                    4. Crosshairs
                                                                                    5. Amibiguous Norway
                                                                                    6. Hailey
                                                                                    7. The Ramble

                                                                                    Camera

                                                                                    Prosthuman

                                                                                      With the band’s tenth anniversary in their viewfinder, CAMERA release “Prosthuman”, their fifth studio album. As befits an age in which realities can change in the blink of an eye, from one day to the next, the Berlin band never tire of changing themselves, their music or personnel.

                                                                                      As Karlheinz Stockhausen noted: “New methods change the experience. New experiences change man.”

                                                                                      Taking this as their lead, Michael Drummer (the drummer) and CAMERA surprise us once more on “Prosthuman” as they reinvent and reformulate their sound without sacrificing the project’s identity which has matured over the past decade. Less surprising is the fact that some record stores give CAMERA their own section, alongside Krautrock pioneers like NEU!, Can and La Düsseldorf. “Emotional Detox”, the predecessor to this album, was distinguished by the presence of two keyboard virtuosos (Steffen Kahles and CAMERA founder member Timm Brockmann). Finding replacements for “Prosthuman” was, as Michael Drummer stresses, “a difficult process.” The two keyboardists had – in different creative periods – formed the backbone of a band structure otherwise prone to fluctuations. Decisive input came from an unlikely source: Tim Schroeder, who first teamed up with CAMERA as a performance and video artist on their six-week tour of the USA in 2017.

                                                                                      Over the course of various jams and recording sessions, he was able to offer ample proof of his synthesizers skills. Alex Kozmidi, a musician and composer with a flair for experimentation, completed the triumvirate on guitar, with Michael Drummer adding his own guitar riffs here and there. Change and friction can be useful allies in pursuit of creativity, something to which Drummer has grown accustomed as the only ever-present member of CAMERA. The pleasures and pain of isolation – suddenly a mass phenomenon in pandemic times – are well known to the quasi frontman of the group. Over the years, he has spent many hours alone or with a shifting cast of co-musicians in the band’s basement studio, beneath a former factory site in a less than hip southern district of Berlin. Virus-induced social distancing and quarantine measures that came into force during the recording process (June 2019 to June 2020) thus posed no great challenge.

                                                                                      STAFF COMMENTS

                                                                                      says: It's always a delight when something hits the shelves from Bureau B. This time sees Camera revisiting their familiar heady kosmische groove, albeit with different staff. Drummer and Schroeder here perfect the warmingly organic duality of synthesiser and live percussion, resulting in a fluid but cohesive build and release narrative and a hypnotic, rhythmic nod.

                                                                                      TRACK LISTING

                                                                                      Side A
                                                                                      1.Kartoffelstampf
                                                                                      2.Alar Alar
                                                                                      3.Prosthuman / Apptime
                                                                                      4.Überall Teilchen / Teilchen Überall
                                                                                      5.Freundschaft

                                                                                      Side B
                                                                                      1.El Ley
                                                                                      2.Schmwarf
                                                                                      3.A2
                                                                                      4.Chords4 / Kurz Vor
                                                                                      5.Harmonite

                                                                                      Exclusive Dinked Bonus 12”:
                                                                                      A2 – Lloyd Cole Remix
                                                                                      Schmwarf – The Telescopes Threw A Way Through Experimental Health Version
                                                                                      Alar Alar – Love-Songs Remix
                                                                                      Prosthuman – Extnddntwrk Remix (Andrew Robert Lindsay Fearn Of Sleaford Mods)
                                                                                      Freundschaft – Dead Skeletons Planet Book Remix (Ryan Van Kriedt, Henrik Björnsson)

                                                                                      Claud

                                                                                      Super Monster

                                                                                        When Claud Mintz’s mother finally heard the 13 songs on her kid’s magnetic first album, Super Monster, she asked a concerned question: Just how many people had her 21-year-old dated? From beginning to end, these sparkling pop tunes capture the assorted stages of a relationship’s delight and dejection—the giddy sensation of a first kiss during the beaming “Overnight,” the heartsick longing of a pending rejection during the yearning “Jordan,” the reluctant call for a requisite breakup during the smoldering “Ana.” Claud, though, replied that these songs detailed the phases of only two or three relationships, simply written during them or at various points after they were over.

                                                                                        The debut release on Phoebe Bridgers’ Saddest Factory Records, Super Monster is a vertiginous but joyous coming-of-age reckoning with such young love. Claud sees relationships as games of endless wonder, intrigue, and second-guesses, a roller-coaster thrilling you even when it’s terrifying. If “Gold” turns the tension and indecision of a bad match into an undeniable bit of lithe disco, “That’s Mr. Bitch To You” uses a spurt of righteous indignation to fuse a little soul and emo into one breathless hook. Super Monster is like a compulsive compilation that Claud culled from a lifetime of musical enthusiasms—the arcing alt-rock of ’90s airwaves, the rapturous pop of ’00s chart-toppers, the diligent genre-hopping of modern online life. Claud emerges as the chameleonic mastermind of this mélange, channeling all of love’s emotions into songs so sharp they make even the hardest times feel fun.

                                                                                        Perhaps you are in the throes of one of these romantic moments yourself right now, resentful of a frustrating paramour like Claud during “Pepsi” or indulging in lust like “In or In Between.” Or maybe these songs recall those wild days and tough situations. Incisive, instant, and addictive Super Monster works on either level—to remind us of love’s wild ups and downs or to help us deal with them in real time. In that way, Mom, these songs are about dating, well, everyone.

                                                                                        STAFF COMMENTS

                                                                                        says: Beautifully melodic bedroom pop, thumping percussion and shimmering hooks bring the stories of Claud to life. It's no surprise that the first signing on Phoebe Bridgers' Saddest Factory is brilliant, but this is a clever and nuanced indie pop LP, brought with the vitality of youth. Top stuff.

                                                                                        TRACK LISTING

                                                                                        Side A
                                                                                        1. Overnight
                                                                                        2. Gold
                                                                                        3. Soft Spot
                                                                                        4. In Or In-Between
                                                                                        5. Cuff Your Jeans
                                                                                        6. Ana (ft. Nick Hakim)

                                                                                        Side B
                                                                                        1. Guard Down
                                                                                        2. This Town
                                                                                        3. Jordan
                                                                                        4. That’s Mr Bitch To You (ft. Melanie Faye)
                                                                                        5. Pepsi
                                                                                        6. Rocks At Your Window
                                                                                        7. Falling With The Rain (ft. Shelly)

                                                                                        The Telescopes

                                                                                        Songs Of Love And Revolution

                                                                                          The Telescopes have been described by the British music press as 'more a revolution of the psyche than a revolution of the sidewalk'; a thread consistent throughout a body of work spanning over 30 years. The Telescopes have constantly pushed at their own boundaries to unravel new pathways of existence, colouring outside the lines of all expectation to reach beyond the realm of natural vision.

                                                                                          With a legacy full of eureka moments, intravenously fed through a crack in the cosmic egg, The Telescopes invoke the kind of altered perceptions that time has shown not only withstand repeated listening, but reveal something new whenever one ventures into the depths of their highly influential artistry.

                                                                                          At the core of their being, The Telescopes are an all embracing concern, in every sense, a constant revolution of the psyche exploding endless spores of sound, carriers of warm transmissions seeped in aural innovation that spiral around ones inner receptors to induce a series of auditory illusions that completely immerse the listener in the grip of their own imagination.

                                                                                          The most revolutionary act we can all perform is to stand by our calling, to keep doing what we do, for the reasons we are conceived to do so, no matter what. Some call it 'The New Weird' but call it what you will, it is born of love. The Telescopes are one of the very few artists that are living proof that this revolutionary act is possible to evolve and sustain free from artistic corruption.

                                                                                          Songs Of Love And Revolution is a solar burst of trance inducing rhythms gripped at the helm by a wall of throbbing bass held in place by a swarm of encircling guitars. Lashed to the mast of this whirling dervish, incantations abound to dispel what is bound. This is the 12th album by The Telescopes, music for a four-piece ensemble that will never sound the same twice in any given environment or to any set of ears.


                                                                                          STAFF COMMENTS

                                                                                          says: Hypnotic stoned groove and psychedelic echo abound on this stunning new LP from English space-drone stalwarts, The Telescopes. Melodies slowly weave their way around the bass-heavy churn and jangling 70's guitars.

                                                                                          TRACK LISTING

                                                                                          1) This Is Not A Dream
                                                                                          2) Strange Waves
                                                                                          3) Mesmerised
                                                                                          4) Come Bring Your Love
                                                                                          5) This Train
                                                                                          6) Songs Of Love And Revolution
                                                                                          7) You're Never Alone With Despair
                                                                                          8) We See Magic And We Are Neutral, Unnecessary

                                                                                          Dinked Edition Bonus 12":
                                                                                          (Come Bring Your Love) Come Drown In Love (Anton Newcombe Remix)
                                                                                          Strange Waves (Lloyd Cole Remix)
                                                                                          This Train (Love-Songs Remix)
                                                                                          Come Bring Your Love (Camera Remix)
                                                                                          (Come Bring Your Love) Come Bring Your Magic Waves (Third Eye Foundation Version)

                                                                                          A Winged Victory for the Sullen, the composer collaboration between Stars of the Lid founder Adam Wiltzie and L.A. composer Dustin O'Halloran, release new album ‘Invisible Cities’, the stunning score to the critically acclaimed theatre production directed by London Olympics ceremony video designer Leo Warner. Released on their own Artificial Pinearch Manufacturing label, the album comes as part of an agreement with A Winged Victory for the Sullen’s current label, Ninja Tune.

                                                                                          Premiering in July 2019 at the Manchester International Festival, the duo was commissioned by Warner’s 59 Productions to score the music for the 90-minute multimedia theatrical stage show, adapted from Italo Calvino’s 1972 novel, ‘Invisible Cities’. Described by The Sunday Times as “a beautiful frenzy of movement”, it fuses theatre, music, dance, architectural design and visuals and brings to life a series of fantastical places and disparate worlds, centred on the tense relationship between Kublai Khan, the volatile head of a vast empire, and explorer Marco Polo. Originally conceived as a touring project, it’s last performance was in Brisbane, Australia before COVID-19 changed the world as we know it.

                                                                                          “Four months is not a lot of time to create 90 minutes of music for a production using classical theatre, dance, & high res video mapping on a stage the size of 2 football pitches. It was a pleasure to work with 59 Productions, unlike other producers, they left the micro-managing at home, and let us get on with it. Early on in discussions with director Leo Warner it was realised that the human voice would take a central role in the score as it was essentially the only instrument we could see evolving over 600 years with a storyline that would not have the listener screaming “its Zimmertime”…,” says Wiltzie.

                                                                                          Transformed into 45 minutes of breathtaking beauty, ‘Invisible Cities’ opens with the numinous ‘So That the City Can Begin to Exist’, as Wiltzie and O'Halloran draw breath from distinctively enthralling and vastly expansive worlds. The ominous soundscapes of ‘The Dead Outnumber the Living’ contrast with the new beginnings that are presented in ‘Every Solstice & Equinox’, while the jagged and uneasy ‘Thirteenth Century Travelogue’ is one of tension and dread.

                                                                                          Elsewhere, ‘The Divided City’ captivates and intrigues while ‘Only Strings and Their Supports Remain’ and ‘There Is One of Which You Never Speak’ are bold roars for survival before the choral ambience of ‘Desires Are Already Memories’ and piercing drones of ‘Total Perspective Vortex’ bring down the curtain on a spectacular and incredibly emotive body of work.

                                                                                          Releasing their self-titled debut album in 2011 (Erased Tapes), A Winged Victory for the Sullen has developed something of a cult status over the past decade and alongside artists such as Max Richter, Hauschka, Hildur Guðnadóttir and Tim Hecker, are the vanguard of the neoclassical and ambient world and can count the likes of Jon Hopkins as fans.

                                                                                          The duo has gone on to release two further studio albums; ‘Atomos’ (Erased Tapes, 2014) and most recently ‘The Undivided Five’ (Ninja Tune, 2019) and were asked to perform at the BBC proms in 2015 by 6 Music presenter Mary Anne Hobbs. A Winged Victory for the Sullen also scored the music for the independent film ‘Iris’ (2016), directed by Jalil Lespert.

                                                                                          Wiltzie is best known as founding member of drone legends Stars of the Lid, The Dead Texan and Aix Em Klemm and has scored multiple film projects including ‘American Woman’ (2019) starring Sienna Miller, ‘Salero’ (2016) and The Yellow Birds (2017). In 2018, he also scored ‘Whitney’ (2018), the estate-approved documentary about the life of the late Whitney Houston, directed by Kevin Macdonald. Elsewhere, his original music has featured in Hollywood films including ‘Transformers: Dark of The Moon’ (2011), ‘Godzilla’ (2014), ‘Like Crazy’ (2011) and acclaimed TV shows including ‘House M.D’, ‘Nip/Tuck’ and ‘Top Boy’. He also collaborated with the late Jóhann Jóhannsson on his scores for ‘The Theory of Everything’ (2014) and ‘Arrival’ (2016).

                                                                                          O'Halloran, a self-taught pianist from the age of 7, began his musical life as a guitarist and formed the much-loved indie rock outfit Dévics with Sara Lov, releasing four albums on Bella Union. As a solo artist, he has composed music for numerous film and television projects including Sofia Coppola’s ‘Marie Antoinette’ (2006) and Drake Doremus’ ‘Like Crazy' (2011) starring Felicity Jones. Demand for his film scores is high and in 2015, he won an Emmy for theme music for the Golden Globe-winning Amazon series ‘Transparent’, starring Jeffrey Tambor. He has also collaborated with film composer Hauschka on numerous films, including ‘Lion’ (2016), with the score nominated for an Oscar, BAFTA and Golden Globe. Most recently, he co-composed the music for the film ‘Ammonite’ (2020) with Volker Bertelmann, directed by Francis Lee and starring Kate Winslet and Saoirse Ronan.


                                                                                          STAFF COMMENTS

                                                                                          says: There are few experiences I treasure more than popping some slow moving ambient business on the stereo and sitting down, and there are few bands that do that exact business better than AWVFTS. One of my all-time favourites return for another gorgeous suite of swelling pads and tentative piano.

                                                                                          TRACK LISTING

                                                                                          1. So That The City Can Begin To Exist
                                                                                          2. The Celestial City
                                                                                          3. The Dead Outnumber The Living
                                                                                          4. Every Solstice & Equinox
                                                                                          5. Nothing Of The City Touches The Earth
                                                                                          6. Thirteenth Century Travelogue
                                                                                          7. The Divided City
                                                                                          8. Only Strings And Their Supports Remain
                                                                                          9. There Is One Of Which You Never Speak
                                                                                          10. Despair Dialogue
                                                                                          11. The Merchants Of Seven Nations
                                                                                          12. Desires Are Already Memories
                                                                                          13. Total Perspective Vortex

                                                                                          Mirry

                                                                                          Mirry

                                                                                            Mirry is one of those rare projects where the story seems so absolutely magical, that it’s almost impossible to imagine such beauty being lost in the shadows for so long.

                                                                                            30 years ago, Edinburgh based musician Tom Fraser was helping with the house clearance after his grandfather’s death and found an old scratched Transco record left out on the street. He took it home where it sat on a shelf for years until one day during lockdown, he gave it a play - and a whole world opened up to him - his Great Aunt Mirry had recorded a number of piano compositions which she had kept secret from her family. Since then, Tom has been re-working and re-mixing her compositions with his brother-in- law Simon Tong (The Verve, The Good the Bad and the Queen, and The Magnetic North) and together with project curator Kirsteen McNish they hope that this secret life will now reach beyond Mirry’s own four walls.

                                                                                            Mirabel Lomer was born in 1906 to a military family and for the best part of her life stayed at home in Ireland looking after her elderly parents. In the early 1950s she became a paid companion to another elderly couple in Wiltshire, both of whom she nursed until they died. While most of her life was spent caring for others it also transpired that Mirry had written music (despite the fact that as a young woman, her father actively discouraged her playing music in the family home). In quiet rebellion and creative escape, she composed this piano music secretly and her nephew and confidant Geoffrey captured it on his tape recorder.

                                                                                            Like untold numbers of women whose creative lives didnt find an outlet, Mirry never received any accolades for her work but enjoyed the act of creating work for herself. She died in the 1980s but the story of Mirry’s music and secret life is still unfolding.

                                                                                            The resulting album “Mirry” by Fraser and Tong is a celebration of Mirry’s work and a call and response to her original recordings with her family members – almost as if she were still in a room with them.

                                                                                            Since then Tong has retrieved whatever else he could find in the family attic. Hundreds of Stereoscopic slides, super-8 films, photography, stories, poetry and further recordings were found, all recorded by her nephew, (now in his nineties) who believes Mirry would be delighted that her work would be heard many years down the line.

                                                                                            Tong said “This project hopes to shine a light on carers, and how ones creative work can live on and continue to reverberate and evolve long after it’s original conception”

                                                                                            STAFF COMMENTS

                                                                                            says: I was (am) a big fan of The Books, and Mirry certainly shares elements of that kind of patchworked loop business, but what really sets this apart is the gorgeous depth of the brittle piano and organic echoes of the ambient instrumentation surrounding it. Really transportive and intoxicating suite of hazy ambience and almost veers into ragtime piano in parts too.

                                                                                            TRACK LISTING

                                                                                            Anthem
                                                                                            Idyll
                                                                                            Study In B Flat Minor
                                                                                            Caragh Lake
                                                                                            Study In F
                                                                                            Consolation
                                                                                            Reverie
                                                                                            Anthem Reprise
                                                                                            Nicholas And Alexandra

                                                                                            Tala Vala

                                                                                            Modern Hysteric

                                                                                              Tala Vala combine experimental recording methods bridging marginalised genres, synths, brass and strings, jagged guitars and primal percussion.
                                                                                              John Roffe-Ridgard is a producer and former touring musician and Ben Locket is a composer for TV and Film.

                                                                                              The pair began making music in 2017 and self-released their first EP on a limited vinyl run. Mixed by Jake Jackson at Masterchord studios, the records were sold exclusively through Sounds of the Universe and Bandcamp.
                                                                                              Enthused by the interest in the record and selling out the run, the pair set about recording a full-length album expanding on the ideas of the fist ep. The album was again performed and produced by Ben and John using mainly analogue processes, where possible utilising 24 track tape and mixed by Jake. The self-titled record was self-released on vinyl and made it into the Stranger Than Paradise top 10 albums of the year.

                                                                                              Album number two began as a soundtrack project in early 2019, it was abandoned as they became disillusioned with the boundaries the film was imposing. The only remaining music from the soundtrack session is the opening cue which can be heard as the last track of what became Modern Hysteric, album two.

                                                                                              The new album was worked on throughout 2019 and mixed in early 2020 again sticking to mainly analogue processes, avoiding any audio plugins and computer editing. Jim White (Dirty Three, Xylouris White) guest drums on two of the tracks ( Reoccurring Weather & Haxen ) bringing his instantly recognisable style to the Tala Vala sound. In addition to the string quartet and brass sections, a kora player and the manipulated voice of soprano singer, Grace Davidson can also be heard throughout the album. 


                                                                                              TRACK LISTING

                                                                                              Side A
                                                                                              1 Angel Organ
                                                                                              2 Modern Hysteric
                                                                                              3 Beach Tranquiliser
                                                                                              4 Reoccurring Weather

                                                                                              Side B
                                                                                              5 Exit Strategies
                                                                                              6 Hexen
                                                                                              7 Orbits
                                                                                              8 See The Moon Shine

                                                                                              Psymon Spine

                                                                                              Charismatic Megafauna

                                                                                                Fusing psychedelic pop and the deep grooves of dance music, Psymon Spine’s music oozes with melodic hugeness - but the places this Brooklyn electronic pop outfit takes their songs is truly out there, exploring complicated feelings through a singular approach to left-of-center dance sounds.

                                                                                                Only a year ago, band members Noah and Sabine were playing in the dream-pop group Barrie, who broke out following a string of buzz-making singles, but Charismatic Megafauna proves that Psymon Spine are on a different journey, exploring sounds ranging from disco to early techno and motorik’s incessant pulse.

                                                                                                Psymon Spine put their own addictive stamp on the sounds of the past, with surprises at every turn and the type of lush synth work that could only come from brilliant students of dance music. Reflecting optimism and catharsis, Charismatic Megafauna is a heady trip through left-field pop that packs its own emotional wallop.

                                                                                                STAFF COMMENTS

                                                                                                says: Mixing crunchy lo-fi guitars and an unbelievably hi-fi production aesthetic, Psymon Spine are a whirlwind of bright synths and hypnotic dancefloor groove all wrapped in a sleek, seductive melodic maelstrom.

                                                                                                TRACK LISTING

                                                                                                Side A
                                                                                                01. Confusion
                                                                                                02. Modmed
                                                                                                03. Jacket (Don't Want You Back)
                                                                                                04. Jumprope
                                                                                                05. Milk (feat. Barrie)
                                                                                                Side B
                                                                                                06. Channels
                                                                                                07. Different Patterns
                                                                                                08. Real Thing
                                                                                                09. Solution
                                                                                                10. Unwound

                                                                                                Drums Valentino (Flexi-disc Single)

                                                                                                The Weather Station

                                                                                                Ignorance

                                                                                                  Through Ignorance, Lindeman has remade what The Weather Station sounds like, using the occasion of a new record to create a novel sonic landscape, tailor-made to express an emotional idea. Ignorance is sensuous, ravishing, as hi-fi a record as Lindeman has ever made, breaking into pure pop at moments, at others a dense wilderness of notes; a deeply rhythmic and painful record that feels more urgent and clear than her work ever has.

                                                                                                  Ignorance began when Lindeman became obsessed with rhythm; specifically straight rhythm, dance rhythm, those achingly simple beats that had never showed up on a Weather Station album before. The album marks Lindeman’s first experience writing on keyboard, not guitar, and her first time building out arrangements before bringing them to a band. Montreal producer Marcus Paquin (Arcade Fire) co-produced, with Lindeman, and also mixed the record.

                                                                                                  The lyrics across Ignorance roil with conflict. The narrator confronts characters who turn away from love. “I used to be an actor, now I’m a performer,” Lindeman says. In those roles she often finds herself to be the subject of projection, reflecting back the ideas and emotions of others. In turn, the album cover shows Lindeman laying in the woods, wearing a hand made suit covered in mirrors. Throughout Ignorance, she sings of trying to wear the world as a kind of ill fitting, torn garment, dangerously cold; “it does not keep me warm / I cannot ever seem to fasten it” and of walking the streets in it, so disguised and exposed. 

                                                                                                  STAFF COMMENTS

                                                                                                  says: The jazzy instrumentation and orchestration behind the vocals may indicate something a lot less melodic than the sum of the Weather Station's parts, but the end result is a brilliantly balanced mix of slow lounge, funky soul and classic indie-rock song structure. A beguiling but enduringly deep listen.

                                                                                                  TRACK LISTING

                                                                                                  Side A
                                                                                                  1. Robber
                                                                                                  2. Atlantic
                                                                                                  3. Tried To Tell You
                                                                                                  4. Parking Lot
                                                                                                  5. Loss

                                                                                                  Side B
                                                                                                  1. Separated
                                                                                                  2. Wear
                                                                                                  3. Trust
                                                                                                  4. Heart
                                                                                                  5. Subdivisions

                                                                                                  Teenage Fanclub

                                                                                                  Endless Arcade

                                                                                                    Teenage Fanclub have announced news of their tenth studio album, Endless Arcade, released 5th March. Even if we weren’t living through extraordinarily troubling times, there is nothing quite like a Teenage Fanclub album to assuage the mind, body and soul, and to reaffirm that all is not lost in this world.

                                                                                                    Endless Arcade follows the band’s ninth album “Here”, released in 2016 to universal acclaim and notably their first Top 10 album since 1997; a mark of how much they’re treasured. The new record is quintessential TFC: melodies are equal parts heart-warming and heart-aching; guitars chime and distort; keyboard lines mesh and spiral; harmony-coated choruses burst out like sun on a stormy day.

                                                                                                    In the 1990s, the band crafted a magnetically heavy yet harmony-rich sound on classic albums such as “Bandwagonesque” and “Grand Prix”. This century, albums such as “Shadows” and “Here” have documented a more relaxed, less ‘teenage’ Fanclub, reflecting the band’s stage in life and state of mind, which Endless Arcade slots perfectly alongside. The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community and hope is entwined with more bittersweet, sometimes darker thoughts - insecurity, anxiety, loss.

                                                                                                    Such is life. But the title track suggests, “Don’t be afraid of this endless arcade that is life.”

                                                                                                    A preview from the album came in February 2019 with Raymond’s ‘Everything Is Falling Apart’, an online single released at the outset of a six-month tour and a highlight of Endless Arcade.

                                                                                                    Everything is falling apart? Well, yes, but the song was written long before COVID-19 arrived. Neither was Raymond’s inspiration political or social, but more, “the entropy in the universe, the knowledge that everything eventually decays,” he explains. But Raymond says relax. Or rather, “Relax, find love, hold on to the hand of a friend”.

                                                                                                    Fortunately, Endless Arcade was virtually finished by the time lockdown was announced, bar the odd tinker under the engine hood. It seems timely, given how everyone had to initially stay home under lockdown, that the album starts with Norman’s ‘Home’, though it was chosen in part because of its opening line: “Every morning, I open my eyes...” The album’s longest track (at seven minutes) typifies TFC’s relaxed groove, culminating in Raymond’s peach of a guitar solo.

                                                                                                    Norman’s search for ‘home’ could be literal: after all, he’s been living in Canada for the last 10 years. But it’s also figurative. Like Norman’s other Endless Arcade songs – The Sun Won’t Shine On Me’, ‘Warm Embrace’, ‘I’m More Inclined’, ‘Back In The Day’ and ‘Living With You’ – his words on ‘Home’ are etched by loss and yearning. “Without going into too much detail, the last eighteen months have been challenging for me on an emotional level,” he admits. “But it’s been cathartic channelling some of these feelings and emotions into song.”

                                                                                                    In contrast, Raymond’s songs – he’s also responsible for ‘Come With Me’, ‘In Our Dreams’, ‘The Future’ and ‘Silent Song’ – are philosophical and questing. As he sings in ‘The Future’: “It’s hard to walk into the future when your shoes are made of lead”, but he’s still going to try, “and see sights we’ve never seen.”

                                                                                                    In the band’s own near future, they’re already planning another new album given they can’t yet tour the one they’re releasing now. Welcome back, Teenage Fanclub, unafraid of this endless arcade that is life.


                                                                                                    STAFF COMMENTS

                                                                                                    says: With one of the most legendary discographies behind them, it's no surprise that the new album from these Glasgow stalwarts is every bit the triumph. Clanging guitar lines and nigh-whispered silken vox coalesce together into an oddly triumphant (the irony of the beautifully melodic 'Everything Is Falling Apart' being one of the highlights is not lost on me) and brilliantly wistful treat.

                                                                                                    TRACK LISTING

                                                                                                    CD
                                                                                                    1. Home
                                                                                                    2. Endless Arcade
                                                                                                    3. Warm Embrace
                                                                                                    4. Everything Is Falling Apart
                                                                                                    5. The Sun Won’t Shine On Me
                                                                                                    6. Come With Me
                                                                                                    7. In Our Dreams
                                                                                                    8. I’m More Inclined
                                                                                                    9. Back In The Day
                                                                                                    10. The Future
                                                                                                    11. Living With You
                                                                                                    12. Silent Song

                                                                                                    LP
                                                                                                    A1. Home
                                                                                                    A2. Endless Arcade
                                                                                                    A3. Warm Embrace
                                                                                                    A4. Everything Is Falling Apart
                                                                                                    A5. The Sun Won’t Shine On Me
                                                                                                    A6. Come With Me
                                                                                                    B1. In Our Dreams
                                                                                                    B2. I’m More Inclined
                                                                                                    B3. Back In The Day
                                                                                                    B4. The Future
                                                                                                    B5. Living With You
                                                                                                    B6. Silent Song

                                                                                                    Kiwi Jr.

                                                                                                    Cooler Returns

                                                                                                      Kiwi Jr. is a phenomenal “rock” and/or “punk” and/or “indie-rock” (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun.

                                                                                                      RIYL indie-pop from down under, things that are smart / exuberant / catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor’s basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.’s Cooler Returns “timely.” But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year’s parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what’s coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. 

                                                                                                      Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019’s KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days.

                                                                                                      Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates -  Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r  R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

                                                                                                      STAFF COMMENTS

                                                                                                      says: Sounding not unlike a modern version of The Strokes, Kiwi Jr mix the unhurried punky aesthetic and mild, modern fuzz with cleverly measured heft and undeniably clever songwriting.

                                                                                                      TRACK LISTING

                                                                                                      Side A
                                                                                                      1. Tyler
                                                                                                      2. Undecided Voters
                                                                                                      3. Maid Marian's Toast
                                                                                                      4. Highlights Of 100
                                                                                                      5. Only Here For A Haircut
                                                                                                      6. Cooler Returns

                                                                                                      Side B
                                                                                                      1. Guilty Party
                                                                                                      2. Omaha
                                                                                                      3. Domino
                                                                                                      4. Nashville Wedding
                                                                                                      5. Dodger
                                                                                                      6. Norma Jean's Jacket
                                                                                                      7. Waiting In Line

                                                                                                      Virginia Wing

                                                                                                      Private LIFE

                                                                                                        One of the year's most daring and true pop records, private LIFE comes as the result of Virginia Wing living through, and with, huge personal emotional and mental traumas. It is a document of how the very process of music creation in a group can be of huge therapeutic benefit to people. The three members of Virginia Wing have explored the depths of their creative and artistic inspirations within performance, production and composition, and have made a candid and brash pop record that speaks clearly about hope, desperation, impulse, addiction, urge and shame.

                                                                                                        More tumultuous than its predecessor, private LIFE knocks hard. The evolution of Virginia Wing’s sound continues to build on the broad creative flow of the last album whilst being another audacious contribution to contemporary pop. The drums are huge and playfully unquantized. Edits are both assured and heavy handed, the instrumentation lightly mediates the two and finds itself on the edge of collapse alongside them. The icy facade of Merida Richards’ words are still front and centre, but are contrasted by dense, multilayered improvisations, vying for attention throughout the record. Over ‘I’m Holding Out For Something’s relentless juggernaut of 90’s R’n’B beats, Richards examines the relentless hope and desperation glued to modern consciousness, and speaks of how we often find the answer, or the route through, right at the breaking point. Subsequently, ‘St Francis Fountain’ compounds the issue, observing that often our own coping mechanisms can grow into full blown traumas of their own. Virginia Wing’s last record opened its arms into euphoric light, private LIFE invites you through a door and closes it. It examines what we’re doing at night, on our own, after work. What we do to enjoy ourselves, to cope, to be together, to be alone. It shines a dim blue light on what might be happening, causing us anxiety, stress and desire.

                                                                                                        STAFF COMMENTS

                                                                                                        says: Virginia wing bring another nuanced slab of moody synth-indie, with 'Private Life' displaying all of the superb songwriting prowess which made 2018's 'Ecstatic Arrow' such a heavy hitter, but with a more world-weary experience and depth of feeling. Superb stuff.

                                                                                                        TRACK LISTING

                                                                                                        Side A
                                                                                                        A1 I’m Holding Out For Something
                                                                                                        A2 Moon Turn Tides
                                                                                                        A3 Soft Fruit
                                                                                                        A4 Michael Returns To The Garden
                                                                                                        A5 99 North
                                                                                                        A6 Return To View

                                                                                                        Side B
                                                                                                        B1 St. Francis Fountain
                                                                                                        B2 Private Life
                                                                                                        B3 Half Mourning
                                                                                                        B4 Lucky Coin
                                                                                                        B5 OBW Saints
                                                                                                        B6 I Know About These Things

                                                                                                        LICE

                                                                                                        WASTELAND: What Ails Our People Is

                                                                                                          A ‘satire about satire’, WASTELAND is a wild Burroughsian adventure melding science-fiction, absurdism and magical realism, calling fora revolution against the reductive ‘good versus evil’ narratives of popular satirical music. Arguing that through experimenting with the form of the song lyric (our most widely disseminated form of creative writing) we can build more nuanced popular discourse around the implicit forms of bias that ail us, WASTELAND presents complex characters changing their minds–along with their bodies and places in spacetime. Set in an unearthly liminal space populated by shape-shifters, time-travellers, talking genitalia and ectoplasmic spectres, the prose text evolves as the characters do: warping into cut-ups, soliloquies and even plays.Created over two years, the album draws from LICE’s rise in ‘the punk world’ (sharing stages with IDLES, The Fall, Squid, Fat White Family, Girl Band etc.) and eventual disillusionment with the limits of its prevailing ideas.

                                                                                                          WASTELAND is a concept album structured as an experimental short story, taking cues from Brian Catling, William Burroughs and Kurt Vonnegut Jr. Its core argument is that, through reworking the prevailing forms of satirical song lyrics, we can build more nuanced popular discourse around the implicit forms of bias that ail us–the song lyric being the most widely disseminated and commonly ‘engaged with’ form of creative writing there is. In this allegory for crises in society and art (from commodification to ideological state apparatuses), the moral, physical and temporal transformations of its characters are paired with the text’s transformation: breaking from prose into cut-ups, soliloquies and even plays. In the wild, liminal space of the Wasteland, this story follows The Conveyor as here lates the schemes of the shadowy RDC and flamboyant Dr Coehn to engineer the human race’s self-annihilation:introducing us to a cast of time-travellers, shape-shifters, talking genitalia and ectoplasmic spectres.As well as WASTELAND’s manifesto, this text features notes directing the curious reader to sources, figures or narratives behind the story’s various arguments.

                                                                                                          Musically, the album features a ‘noise intoner’ hand-built by LICE, based on the ‘Intonarumori’ of Luigi Russolo and his early 20th century circle of revolutionaries The Italian Futurists (whose vicious writings and manifestos about the art-world formed source material for the album). WASTELAND sees LICE draw influence from Bristol’s vital experimental scene, with the album principally written at community hub The Old England. Having performed with projects such as SCALPING, Giant Swan andEP/64 (HARRGA), LICE’s first album sees them reconcile minimalism, prog and industrial in the band’s post-punk framework.


                                                                                                          STAFF COMMENTS

                                                                                                          says: It's almost certain that unless you've had your eyes and ears entirely shut for the past few years, you can't have helped but notice the influx of heavy AF punk indie hitting the shelves. Enter : Lice, as scathing as they come and sitting in the oft-ignored space between indie, psychedelic and thrash. Bizarre and brilliant.

                                                                                                          TRACK LISTING

                                                                                                          A1 Conveyor
                                                                                                          A2 Imposter
                                                                                                          A3 Espontáneo
                                                                                                          A4 R.D.C.
                                                                                                          A5 Pariah
                                                                                                          A6 Persuader
                                                                                                          B1 Arbiter
                                                                                                          B2 Serata
                                                                                                          B3 Deluge
                                                                                                          B4 Folla
                                                                                                          B5 Clear

                                                                                                          The Besnard Lakes

                                                                                                          Are The Last Of The Great Thunderstorm Warnings

                                                                                                            The Besnard Lakes have passed through death and they’re here to tell the tale. Nearly five years after their last lightning-tinted volley, the magisterial Montreal psych-rock band have sworn off compromise, split with their long-standing label, and completed a searing, 72-minute suite about the darkness of dying and the light on the other side.

                                                                                                            The Besnard Lakes Are The Last of the Great Thunderstorm Warnings is the group's sixth album and the first in more than 15 years to be released away from a certain midwestern American indie record company. After 2016's A Coliseum Complex Museum - which saw Jace Lasek and Olga Goreas attempting shorter, less sprawling songs - the Besnards and their label decided it was time to go their separate ways; with that decision came a question of whether to even continue the project at all. What use is a band with an instinct for long, tectonic tunes - rock songs with chthonic heft and ethereal grace, five or 10 or 18 minutes long? How do you sell that in an age of bite-sized streaming? How do you make it relevant?

                                                                                                            "Who gives a shit!" the Besnard Lakes realized. Ignited by their love for each other, for playing music together, the sextet found themselves unspooling the most uncompromising recording of their career. Despite all its grandeur, ...The Last of the Great Thunderstorm Warnings honours the very essence of punk rock: the notion that a band need only be relevant to itself. At last the Besnard Lakes have crafted a continuous long-form suite: nine tracks that could be listened together as one, like Spiritualized's Lazer Guided Melodies or even Dark Side of the Moon, overflowing with melody and harmony, drone and dazzle, the group's own unique weather.

                                                                                                            Here now, the Besnard Lakes finally dispensed with the two/three-year album cycle, taking all the time they needed to conceive, compose, record and mix their opus. Some of its songs were old, resurrected from demos cast aside years ago. Others were literally woodshedded in the cabanon behind Lasek and Goreas's "Rigaud Ranch" - invented and reinvented, relishing this rougher sound. Some of that distortion makes its way into the final mix: an incandescent crackle that had receded from the Besnards' more recent output.

                                                                                                            Rightly - nay, definitively! - The Besnard Lakes Are The Last of the Great Thunderstorm Warnings is a double LP. "Near Death" is the title of the first side. "Death," "After Death," and "Life" follow next. It's literally a journey into (and back from) the brink: the story of the Besnard Lakes' own odyssey but also a remembrance of others', especially the death of Lasek's father in 2019. Being on your deathbed is perhaps the most psychedelic trip you can go on: in Lasek's father's case, he surfaced from a morphine dream to talk about "a window" on his blanket, with "a carpenter inside, making intricate objects." That experience pervades the album, catching fire on the song "Christmas Can Wait"; elsewhere the band pays tribute to the late Mark Hollis and, on "The Father of Time Wakes Up," they mourn the death of Prince.

                                                                                                            In these scorched and pitted times, as the world smoulders, there might be nothing less trendy than an hour-long psych-rock epic by a band of Canadian grandmasters. Then again, there might be nothing we need more. ...The Last of the Great Thunderstorm Warnings is a bright-blazing requiem: nine tunes that are one tune and six musicians who make one band - unleashed and unconstrained, piercing and technicolour. At the end of the golden day, the Besnard Lakes are right where they should be.

                                                                                                            STAFF COMMENTS

                                                                                                            says: 'Are The Last...' has all of the haunting Besnard Lakes atmospherics with a more direct bombastic stadium approach, cavernous echo and rolling basses below the wonderfully acrobatic vocal performances. As ever, it's quintessentially THEM, and sounding better than ever.

                                                                                                            TRACK LISTING

                                                                                                            1. Blackstrap
                                                                                                            2. Raindrops
                                                                                                            3. Christmas Can Wait
                                                                                                            4. Our Heads, Our Hearts On Fire Again
                                                                                                            5. Feuds With Guns
                                                                                                            6. The Dark Side Of Paradise
                                                                                                            7. New Revolution
                                                                                                            8. The Father Of Time Wakes Up
                                                                                                            9. Last Of The Great Thunderstorm Warnings

                                                                                                            Jim Ghedi

                                                                                                            In The Furrows Of Common Place

                                                                                                              “Instead of landscape sketches I wanted to go into more personal areas of my reality,” says Jim Ghedi of his third album In The Furrows Of Common Place. “To hold up certain aspects of society that were laying bare in front of me.”

                                                                                                              Whilst Ghedi’s previous idiosyncratic take on folk has often been instrumental, exploring the natural world and his relationship to it through his music as seen on 2018's A Hymn For Ancient Land. His new album In The Furrow Of Common Place is a deeper plunge inside himself to offer up more of his voice to accompany his profoundly unique and moving compositions. “There were things I was seeing around me and being affected by in my daily life,” he says. “Socially and politically I saw defiance but also hopelessness. I wanted to be honest with the frustration and turmoil I was experiencing.”

                                                                                                              The decision to include more of Ghedi’s vocals was a conscious one and driven by a need to say something. However, this isn’t a brash raging political polemic. As is now customary with Ghedi’s work, it is rich in nuance, history, poetry and allegory. Musically, the album is equally locked into this ongoing sense of evolution. Ghedi’s intricate yet deft guitar playing still twists and flows its way through the core, weaving in and out of gliding double bass, sweeping violin, gentle percussion and vocals that shift from tender solos to overlapping harmonies.

                                                                                                              As with much of Ghedi’s work, there’s a rich connection between the past and the current. Musically, he continues to sit in a singular position of sounding distinctly contemporary yet also with a touch of traditional flair. This expands itself into the lyrical terrain here too. “I've been exploring contemporary issues and in that process discovering sources that correlate with similar issues in the past,” he says. “Which proves that these issues throughout history - environmental destruction, working class poverty etc - are ongoing.”

                                                                                                              For all the socio-political and historical backdrop to the record it is not one that feels overwhelmed by it. Much like Ghedi’s work when it was largely instrumental - and some of it still is here - it flows and unfurls thoughtfully, with space still being utilised masterfully, creating room to pause and reflect. It’s another inimitable record from an artist that truly sounds like nobody else right now. 


                                                                                                              STAFF COMMENTS

                                                                                                              says: An intoxicating mix of traditional folk, hazy psychedelia and classic rock progressions all enriched with Ghedi's distinctive vocal affectations. It's a heady and transportive affair, and one that will reward richly on repeated listens. Gorgeous.

                                                                                                              TRACK LISTING

                                                                                                              1. Common Thread
                                                                                                              2. The Lamentations Of Round Oak Waters
                                                                                                              3. Mytholm
                                                                                                              4. Stolen Ground
                                                                                                              5. Ah Cud Hew
                                                                                                              6. Beneath The Willow
                                                                                                              7. Beneath The Willow Part II
                                                                                                              8. Son David

                                                                                                              Black Honey

                                                                                                              Written & Directed By

                                                                                                                ‘Written & Directed’ is Black Honey’s second album. It follows their outstanding self-titled debut released back in 2018 when the world that surrounded the Brighton fourpiece looked and felt like a very different place. Black Honey however are still the bad-ass, truly original band they have always been, they’ve just graduated from the intriguingly anomalous newcomers to becoming one of UK indie’s most singular outfits. They've travelled the world and released a Top 40 album; graced the cover of the NME and become the faces and soundtrack of Roberto Cavalli's Milan Fashion Week show; smashed Glastonbury and supported Queens of the Stone Age, all without compromising a shred of the wild, wicked vision they first set out with.

                                                                                                                It's now time for the next instalment of their story – ‘Written & Directed” – which see’s Black Honey deliver one, very singular, message – a 10 track mission statement that aims to unashamedly plant a flag in the ground for strong, world-conquering women. For fierce frontwoman and album protagonist Izzy B. Phillips – it’s the most important message she could send to inspire her cult-like fanbase and fill the female-shaped gap that she felt so acutely when she was growing up and discovering rock music for the first time.

                                                                                                                Written throughout 2019 and recorded in fits and spurts between touring, ‘Written & Directed’ is drenched with a hedonistic, anything-goes attitude. It’s also the most full-throttle collection of music that Black Honey have ever-written – egged-on by their run of shows supporting long-term friends and collaborators Royal Blood. Exploring everything from womanhood, to identity and power, it’s an album that revels in the rich history of pop culture, throws a wink to its rock-and-roll heroes, but ultimately (and in true Black Honey fashion) it stands on its own two feet.

                                                                                                                With a typically hyper-visual world referencing grindhouse cinema, kitschy pulp films and a flip-reverse of female cinematic representation all primed to unfurl and explode around them, 'Written & Directed' is the sound of Black Honey strapping in and saddling up, of harnessing their quirks, and, as the Phillips has always hoped, riding them joyously into the sunset.


                                                                                                                STAFF COMMENTS

                                                                                                                says: Black Honey return, bringing more of their scathing guitars and pummeling rhythms, pitch-perfect vocals and psychedelic grooves. A superbly singable and dynamic coalition of energy and politicism in one hugely enjoyable package.

                                                                                                                TRACK LISTING

                                                                                                                1. I Like The Way You Die
                                                                                                                2. Run For Cover
                                                                                                                3. Beaches
                                                                                                                4. Back Of The Bar
                                                                                                                5. Believer
                                                                                                                6. I Do It To Myself
                                                                                                                7. Disinfect
                                                                                                                8. Summer '92
                                                                                                                9. Fire
                                                                                                                10. Gabrielle

                                                                                                                Buck Meek

                                                                                                                Two Saviors

                                                                                                                  Big Thief’s Buck Meek announces his new solo album, Two Saviors, out January 15th on Keeled Scales. While his last album, 2018’s Buck Meek, is a yarn of blue-collar fairy tales and character driven narratives, Two Saviors emerges as a cathartic, naked confession of heartbreak, resiliency, and enchantment. The first word on Two Saviors is “pareidolia.” It is a word about recognising shapes where none were intended to exist - like searching for images in the clouds. It’s an uncommon word, with a beautiful sound, and serves as an apt guide through these new songs of Buck’s, which are themselves uncommon and beautiful, and which invite a deep, cloud-gaze state of attention.

                                                                                                                  Two Saviors was recorded by producer and engineer Andrew Sarlo (who produced the first four Big Thief LPs), under his specific conditions: they make the album in New Orleans, during the hottest part of the year, spend no more than 7 days tracking, all live, on an 8-track tape machine with only dynamic microphones, and no headphones, not allowing the players to hear back any takes until the final day. The band, featuring Adam Brisbin (guitar), Mat Davidson (bass, pedal steel, fiddle), Austin Vaughn (drums), and Buck’s brother Dylan Meek (piano, organ), set up in a Victorian house one block from the Mississippi River and worked within these limitations, encouraging every recording to be imbued with the living, intuitive, and human energy of a first take.

                                                                                                                  The rituals that led towards these songs are ones of pain and healing; the power felt through the songs lies in the fact that the pain is never plainly stated, never a note of anguish or resentment, no complaints about the feeling of pain. Pain is not weaponised on this record, but cared for, nurtured, and the songs become meditations on the reality of pain, conducted without resistance.

                                                                                                                  Although the song’s narrator runs into several roadblocks in 'Second Sight' - like a pool spiked with turpentine - the chorus is uplifting, with sprightly guitar and upbeat lyrics: “I work for free // because love is all I need // yes I work for free // and love is all I need.” “The value in our world is built by the labour of love - a currency that accrues no debt, enriching both the giver and receiver,” says Buck. “This wealth provides the vitality needed to lift a hammer, to raise a roof, and to lay upon the eaves in silent awe of nature and civilization and the culmination of universal effort. Magic (the left hand of love?) arises from attention, and is accessible to all without prejudice. A creation from nothing, from some uncaused cause, some eternal unmoved mover."

                                                                                                                  The songs on this album shine with this wisdom and are not ostentatious about it. This is true to Buck’s nature. He is recording life, consciously and unconsciously on a broad spectrum of planes. A new album from him is a gift, a chance to wonder about ways we could be seeing, recording.

                                                                                                                  “At its core, Buck Meek feels like a country record, and not just because Meek’s native Texan twang stands at the forefront of every tune. The album has a mischievous spirit like the celebrated self-titled LP from cult-hit country star Willis Alan Ramsey.” Pitchfork // “Writing these songs was a process of creating talismans - little prayers and visions from within the constant flux of pain, healing, and discovery - that I could return to for perspective, and share with those in need.” Buck Meek.

                                                                                                                  STAFF COMMENTS

                                                                                                                  says: A collection of beautifully brittle ballads and Americana-tinged anthems beautifully conceived and delivered with the assured confidence of an artist at the peak of their skills. A beautiful outing for the increasingly essential Keeled Scales.

                                                                                                                  TRACK LISTING

                                                                                                                  Pareidolia
                                                                                                                  Candle
                                                                                                                  Second Sight
                                                                                                                  Two Saviors
                                                                                                                  Two Moons
                                                                                                                  Dream Daughter
                                                                                                                  Ham On White
                                                                                                                  Cannonball! Pt. 2
                                                                                                                  Two Moons (morning)
                                                                                                                  Pocketknife
                                                                                                                  Halo Light

                                                                                                                  Michael Price

                                                                                                                  Eternal Beauty - Original Motion Picture Soundtrack

                                                                                                                    Michael Price, one of the UK’s most sought after composers (Unforgotten, Sherlock, Dracula), releases the original soundtrack from director Craig Roberts’ (Submarine, Just Jim) latest feature Eternal Beauty, starring Sally Hawkins.

                                                                                                                    The Eternal Beauty soundtrack will be released on vinyl as the 73rd Dinked Edition, exclusive to the Dinked network of the UK’s best independent record shops.

                                                                                                                    The 16 track Première edition LP - exclusive to the Dinked network - is a limited edition on blue vinyl with multi-colour splatter and includes a signed and numbered print.

                                                                                                                    It becomes available to pre-order from October 2nd, coinciding with the cinema release and on demand première of the film. It will also be available exclusively on Bandcamp from the same date, before arriving on all other digital platforms in November.

                                                                                                                    Recorded and mixed by Andrew Dudman at Abbey Road Studios and The Control Room.
                                                                                                                    Mastered by Oli Morgan at Abbey Road Mastering.

                                                                                                                    Price’s score, as his so often do, serves as a narrator, a character helping to guide us through the true highs and lows of Jane’s (Sally Hawkins) rarely uneventful life. Price’s signature sweeping strings, underpinned by piano and a beautifully restrained use of sound design ensures that whilst the score drives the story forwards it never distracts from that which is unfolding before our eyes.

                                                                                                                    “A soundtrack that provides the rocket fuel for a story that unzips our understanding of ’normal’ " Adrian Bates, Eternal Beauty Producer

                                                                                                                    When Jane (Sally Hawkins) is dumped at the altar she has a breakdown and spirals into a chaotic world, where love (both real and imagined) and family relationships collide with touching and humorous consequences.

                                                                                                                    The reality we see through Jane’s eyes is vividly different, heightened in the film by the stylized palette, camera work and intoxicating score - a reality that the film celebrates and treats with dignity, humour and affection.

                                                                                                                    On writing the music, Michael Price explains:

                                                                                                                    "Finding a musical voice for Jane was a little daunting at first. Craig Roberts' kaleidoscopic writing, and Sally Hawkins' blazing performance seemed to fill so much of the air around me, that the first few notes to emerge were tiny and bird-like. In fact, there is literally bird-song, an Irish nightingale, that stayed in the score, early in the film when Jane sits and feeds the pigeons in the park. That became a key to unlocking Jane's interior world, as did using snippets of her vocalisations, which became percussion instruments and stretched into more ambient pads. Once I had opened the door to her world, though, the music came tumbling out - rich, romantic, delicate and tender, and sometimes terrifying. All of it brought into life by the writing and performance, and the opportunity to celebrate Jane's "superpower", as Craig described it.”

                                                                                                                    Shot in and around writer/director Craig Robert’s native South Wales, the inspiration for the character of Jane at the heart of Eternal Beauty came from people Craig was close to when growing up. He explains “The character came fully formed. I just kind of knew those people, to be honest.

                                                                                                                    On the recording, Michael Price recalls:

                                                                                                                    When we finally recorded the orchestra at Abbey Road Studios, I was touched to see that Craig had brought some of his family down to listen too. I think this is an incredibly personal film for him, and there was something about hearing the orchestra sounding majestic and noble, which seemed as if we had done musical justice to both the characters, and the people who had inspired their creation."


                                                                                                                    STAFF COMMENTS

                                                                                                                    says: There's something inherently soundtracky about Michael Price's work for the decidedly soundtracky Erased Tapes records, so it's no giant surprise that this soundtrack of his for Craig Roberts' 'Eternal Beauty'. It's the perfect score, and displays wonderfully how talented a composer Price is.

                                                                                                                    TRACK LISTING

                                                                                                                    Side A
                                                                                                                    1. A Walk And A Wedding
                                                                                                                    2. Eternal Beauty
                                                                                                                    3. Different Dose
                                                                                                                    4. Where Have You Been
                                                                                                                    5. Cannibals
                                                                                                                    6. Beauty Pageant
                                                                                                                    7. Marry Me

                                                                                                                    Side B
                                                                                                                    8. Pot Plant
                                                                                                                    9. Unpacking
                                                                                                                    10. Making You Better
                                                                                                                    11. The Other Side
                                                                                                                    12. Towards The Light
                                                                                                                    13. Time To Go
                                                                                                                    14. More Friends Than You
                                                                                                                    15. Nice Or Really Nice?
                                                                                                                    16. The End

                                                                                                                    Anna B Savage

                                                                                                                    A Common Turn

                                                                                                                      City Slang is thrilled to announce the debut album of London based singer-songwriter Anna B Savage! Her 2015 EP was deeply intriguing and quickly drew the attention of Father John Misty and later Jenny Hval, both of whom brought Savage out on European tours.

                                                                                                                      Anna B Savage’s first full-length record ‘A Common Turn’ is question mark music. Her songs are heavy with unanswered queries, with dilemmas and insecurities, or often just with wondering.

                                                                                                                      Savage’s voice is endlessly warm, but producer William Doyle (East India Youth) consistently finds the iron in it. Even the darkest moments in this music don’t stick in their devastation, though – Savage’s fire burns too brightly. Her voice can drop to a whisper, but then it will open all the way up in a flash flood of cavernous guitar, echoes, and swelling strings that expand and then vanish just as suddenly as they arrived.

                                                                                                                      Savage’s music is deeply vulnerable, without being submissive. She lays claim to her own fragility, and the stories she tells are of taking up space, finding connections, and owning the power in not knowing all the answers. Hers are songs for anyone who thinks hard, feels deeply, and asks big questions.

                                                                                                                      Produced by William Doyle (East India Youth), ‘A Common Turn’ presents us a nest of fully-formed and room-filling artistry.


                                                                                                                      TRACK LISTING

                                                                                                                      Side A
                                                                                                                      1. A Steady Warmth
                                                                                                                      2. Corncrakes
                                                                                                                      3. Dead Pursuits
                                                                                                                      4. BedStuy
                                                                                                                      5. Baby Grand
                                                                                                                      6. Two

                                                                                                                      Side B
                                                                                                                      7. A Common Tern
                                                                                                                      8. Chelsea Hotel #3
                                                                                                                      9. Hotel
                                                                                                                      10. One

                                                                                                                      Rats On Rafts

                                                                                                                      Excerpts From Chapter 3: The Mind Runs A Net Of Rabbit Paths

                                                                                                                        The third album from Dutch punk-laced noiseniks adds new maturity and a conceptual feel that pulls the extremes of their sound together. A psychefuelled journey into the id punctuated with rhythmic kabuki modal mood swings, thunderstorms, digital beeps, traffic noise, and just plain old beautiful cacophonous reverb-drenched sound when needed.

                                                                                                                        The ‘third chapter’ refers to the last five years that the Dutch band have spent creating their “difficult” third album. Each song spins a yarn; there are plagues, dreams, wind and fire, ‘mythical’ characters, and the search for the secret government warehouse. Lead single, Tokyo Music Experience, resonates with a conveyor belt-propelled modal guitar, reflecting the halcyon days of Japanese super-productivity; a mesmerising mantra, infected with news bulletin on-thehour bleeps underlining its time-sensitive nature; a pristine super-commercial anthem to drive loyalty and reinforce solidarity with the party!

                                                                                                                        Having been described as creating “underground noise with a bracing, warped pop appeal” (Mojo), their new album is a coming-of-age post-classic with a unique worldview - inspired by Van Dyke Parks (Song Cycle) Scott Walker (3 & 4), Moondog (Elpmas), White Noise (An Electric Storm) and Beach Boys (Smile).

                                                                                                                        If their previous effort (Tape Hiss) was their very own sketch of a sketch for an incomplete concept album, a noisy reaction to their previous life, then ‘Excerpts From Chapter 3..’, with all its interlaced intricacies, is the realisation of their transition from punk-spiked-pop to psyche-pop protagonists. Evolving, testing, infectious...

                                                                                                                        STAFF COMMENTS

                                                                                                                        says: This wild and superb outing from Rats On Rafts shows that the bands playful spirit and whimsical melodies don't have to give way when things get serious. A brilliantly deep and eminently enjoyable third outing.

                                                                                                                        TRACK LISTING

                                                                                                                        Side A
                                                                                                                        1 Prologue: Rain
                                                                                                                        2 A Trail Of Wind And Fire
                                                                                                                        3 Second Born Child
                                                                                                                        4 Tokyo Music Experience
                                                                                                                        5 The Rise And Fall Of The Plague
                                                                                                                        6 Another Year

                                                                                                                        Side B
                                                                                                                        7 Fragments
                                                                                                                        8 The Disappearance Of Dr. Duplicate
                                                                                                                        9 Excerpt Taken From Chapter 3
                                                                                                                        10 Where Is My Dream?
                                                                                                                        11 Part One: The Long Drought
                                                                                                                        12 Part Two: Crossing The Desert
                                                                                                                        13 Epilogue: Big Poisonous Shadows

                                                                                                                        Bonus Dinked Edition 7":
                                                                                                                        1. Tokyo Music Experience (Single Edit)
                                                                                                                        2. Osaka

                                                                                                                        Kelley Stoltz

                                                                                                                        Ah!(etc)

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

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

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


                                                                                                                          STAFF COMMENTS

                                                                                                                          says: Kelley Stoltz returns for his newest 'Ah! etc', brimming with the clever riffs and latent sunshine psychedelia we've come to expect. It's a refreshing and beautifully accomplished LP, and will certainly go on to reveal many layers with each subsequent listen. Gorgeous.

                                                                                                                          TRACK LISTING

                                                                                                                          SIDE A
                                                                                                                          1. Team Earth
                                                                                                                          2. The Quiet Ones
                                                                                                                          3. Never Change Enough
                                                                                                                          4. Dodged A Bullet
                                                                                                                          5. Cold

                                                                                                                          SIDE B
                                                                                                                          6. She Likes Noise
                                                                                                                          7. Some Other Time
                                                                                                                          8. Moon Shy
                                                                                                                          9. Darkness Too
                                                                                                                          10. Chasing The Light
                                                                                                                          11. Tomorrow
                                                                                                                          12. Having Fun

                                                                                                                          Dinked Edition Bonus 12” EP
                                                                                                                          A:
                                                                                                                          Gift Of Days
                                                                                                                          Peace Together
                                                                                                                          B:
                                                                                                                          Pictures Of Me
                                                                                                                          Casio Life

                                                                                                                          AK/DK

                                                                                                                          Shared Particles

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

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

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

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

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

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

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

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

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

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

                                                                                                                            STAFF COMMENTS

                                                                                                                            says: With all the percussive thrust of the famously drummy Ty Segall, AK/DK unveil their blistering new outing, 'Shared Particles'. We get thumping drums and shifting micro-arpeggios all joined by a frantic core of 8bit blips and perfect harmonised vox. Ace.

                                                                                                                            TRACK LISTING

                                                                                                                            1.Feeds
                                                                                                                            2.Wait…
                                                                                                                            3.Shared Particles
                                                                                                                            4. Return To Zero
                                                                                                                            5. Data Beach
                                                                                                                            6. Casio Beguine
                                                                                                                            7. Kosmische #1
                                                                                                                            8. Heliotrap
                                                                                                                            9. Hot Mist
                                                                                                                            10. Astroturf
                                                                                                                            12. Defragment To Survive
                                                                                                                            13. Draggin'

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

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

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

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


                                                                                                                            STAFF COMMENTS

                                                                                                                            says: Sunny Melbourne soulsters Surprise Chef return for another LP of sunshine groove and jazzed out instrumentals. Toeing the line expertly between frenetic, percussive mayhem and Khruangbin-esque downbeat business, they have crafted a uniquely innovative and sun-dappled sound. Another perfect pick-me-up.

                                                                                                                            TRACK LISTING

                                                                                                                            1. College Welcome
                                                                                                                            2. Deadlines 
                                                                                                                            3. New Ferrari
                                                                                                                            4. Washing Day
                                                                                                                            5. College Welcomes Carl
                                                                                                                            6. Sick Day
                                                                                                                            7. Daylight Savings
                                                                                                                            8. Dinner Time
                                                                                                                            9. Leave It, Don Take It
                                                                                                                            10. The Limp

                                                                                                                            Luke Abbott

                                                                                                                            Translate

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

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

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

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

                                                                                                                              STAFF COMMENTS

                                                                                                                              says: 'Holkham Drones' was one of my favourite albums for many a year, and still gets a good playing nowadays but nothing has come close to the mind-melting electronic bliss-blanket of 'Translate'. Perfectly split between hypnotic electronic counterpoints and synthy, IDM levity.

                                                                                                                              TRACK LISTING

                                                                                                                              1) Kagen Sound
                                                                                                                              2) Our Scene
                                                                                                                              3) Flux
                                                                                                                              4) Ames Window
                                                                                                                              5) Roses
                                                                                                                              6) Earthship
                                                                                                                              7) Living Dust
                                                                                                                              8) River Flow
                                                                                                                              9) Feed Me Shapes
                                                                                                                              10) Luna
                                                                                                                              11) August Prism

                                                                                                                              The Phoenix Foundation

                                                                                                                              Friend Ship

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

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

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


                                                                                                                                STAFF COMMENTS

                                                                                                                                says: Phoenix Foundation present a widescreen look at the blurred peripheries between dream pop, synthwave and good old fashioned indie music here with their latest outing, Friend Ship'. Beautifully smooth, soaringly melodic and deeply comforting, The Phoenix Foundation have done it again.

                                                                                                                                TRACK LISTING

                                                                                                                                1. Guru
                                                                                                                                2. Miserable Meal (with The NZSO)
                                                                                                                                3. Hounds Of Hell (with Nadia Reid)
                                                                                                                                4. Decision Dollars (with Hollie Fullbrook)
                                                                                                                                5. Transit Of Venus (with The NZSO)
                                                                                                                                6. Tranquility (with Hollie Fullbrook)
                                                                                                                                7. Landline
                                                                                                                                8. Former Glory (with Anita Clark)
                                                                                                                                9. My Kitchen Rules
                                                                                                                                10. Trem Sketch

                                                                                                                                Frankie And The Witch Fingers

                                                                                                                                Monsters Eating People Eating Monsters...

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

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

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

                                                                                                                                  TRACK LISTING

                                                                                                                                  SIDE A
                                                                                                                                  1. Activate
                                                                                                                                  2. Reaper
                                                                                                                                  3. Sweet Freak
                                                                                                                                  4. Where's Your Reality?
                                                                                                                                  5. Michaeldose

                                                                                                                                  SIDE B
                                                                                                                                  1. Can You Hear Me Now?
                                                                                                                                  2. Simulator
                                                                                                                                  3. Urge You
                                                                                                                                  4. Cavehead
                                                                                                                                  5. MEPEM...

                                                                                                                                  Pan Amsterdam is back with his second album, titled HA Chu. It’s been a trip since 2018 and the release of The Pocket Watch. A UK Tour. A tour of the US with Open Mike Eagle. Contributions, interviews and shows with THE Iggy Pop...

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


                                                                                                                                  STAFF COMMENTS

                                                                                                                                  says: A stunningly diverse mix here from Pan Amsterdam with a veritable cornucopia of superb guests. Downbeat, hip-hop, rhythmic soul and superb beats throughout.

                                                                                                                                  TRACK LISTING

                                                                                                                                  1. Toot My Own Horn...
                                                                                                                                  2. Trix (Prod. Malik Ameer)
                                                                                                                                  3. Tea, Of Course
                                                                                                                                  4. Hannibal Lecture (Feat. Jason Williamson Prod. Coup Diablo)
                                                                                                                                  5. I Love Duck
                                                                                                                                  6. Carrot Cake (Prod. By GUTS)
                                                                                                                                  7. Kun G Chicken (Prod. Mr. Shn)
                                                                                                                                  8. The Music Made The Decision
                                                                                                                                  9. Dried Saliva (Prod. Malik Ameer)
                                                                                                                                  10. Cancelled Check (Prod. Mr. Shn)
                                                                                                                                  11. Can’t Be Too Romantic
                                                                                                                                  12. Debtors Skyline (Prod. Mr. Shn)
                                                                                                                                  13. PM Don (Prod. Mr. Shn)
                                                                                                                                  14. Al’s Courtyard (Prod. Malik Ameer)
                                                                                                                                  15. Into Old Punks
                                                                                                                                  16. Hall N Oats (Prod. Leron Thomas)
                                                                                                                                  17. Script (Prod. Coup Diablo)
                                                                                                                                  18. The New York Hustle

                                                                                                                                  Richard Norris

                                                                                                                                  Elements

                                                                                                                                    Hypnotic sequences, majestic drones and deep listening ambience collide on a new album from Richard Norris entitled ‘Elements’.

                                                                                                                                    The five long tracks use warm, pulsing electronics and washes of synthesiser to create an evocative and widescreen sound.

                                                                                                                                    Electronic Sound magazine called Richard “the electronic musician’s electronic musician’, whilst Time Out New York referred to him as an ‘unhinged sonic magician’ He has a deep and broad history spanning decades of electronic culture, which serves him well on ‘Elements’.

                                                                                                                                    His background includes working alongside Soft Cell’s Dave Ball in the Grid, alongside Erol Alkan in Beyond The Wizards Sleeve, and collaborating and mixing countless artists including Brian Eno, Sun Ra, Robert Fripp, Warpaint, Tame Impala, Joe Strummer, Yello and many more. He has also recently released two deep listening ambient albums entitled ‘Abstractions’ on the Group Mind label, as well as a series of weekly 20 minute pieces called ‘Music For Healing’ during lockdown.


                                                                                                                                    STAFF COMMENTS

                                                                                                                                    says: Now THIS is exactly up my street. Slowly morphing arpeggios and modulated filters work their way around a solid rhythmic backbone, bringing to mind some of the early pioneers of Kosmische synthesis, or more recently, Panabrite. Beautiful.

                                                                                                                                    TRACK LISTING

                                                                                                                                    1. Earth
                                                                                                                                    2. Water
                                                                                                                                    3. Fire
                                                                                                                                    4. Air
                                                                                                                                    5. Space

                                                                                                                                    The Wytches

                                                                                                                                    Three Mile Ditch

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

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

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

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

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

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

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


                                                                                                                                      TRACK LISTING

                                                                                                                                      1. Cowboy
                                                                                                                                      2. Three Mile Ditch
                                                                                                                                      3. Midnight Ride
                                                                                                                                      4. Fly Inside
                                                                                                                                      5. A Love You’ll Never Know
                                                                                                                                      6. Meat Chuck
                                                                                                                                      7. Everyone’s Friend
                                                                                                                                      8. White Cliffs
                                                                                                                                      9. Silver Trees
                                                                                                                                      10. You Looked Happy To Me

                                                                                                                                      Tim Koh

                                                                                                                                      In Your Dreams

                                                                                                                                        In Your Dreams is Tim’s most straightforward and accessible release to date, and an exciting addition to his body of solo work, which hitherto can broadly be described as experimental noise. The poignant song collection tackles core themes of life’s calamities, broken love, and transitory relationships, yet counterbalances its essential melancholy with a whimsical, upbeat, and playful spirit throughout. While not strictly autobiographical, the songs draw from Tim’s recent personal experiences during his two-year isolation from friends and family, and create a compelling narrative of alienation, loss, and love.

                                                                                                                                        Tim wrote In Your Dreams in Amsterdam, L.A., and London in-between his time touring with Ariel Pink, and subsequently recorded the songs at home in Amsterdam while recovering from a near-fatal 2018 accident. The recurring hospitalizations that Tim has endured in recent years subtly find their way into the album through phone recordings from Tim’s actual hospital stints, underscoring the album’s themes on this highly personal work. In Your Dreams deftly juxtaposes lush, densely layered sounds with stark simplicity through a series of quick turnarounds, creating the captivating feeling of tension and release that characterizes this remarkable song collection.

                                                                                                                                        Guest musicians on In Your Dreams include Chris Cohen on guitar, and drum help from Jay Watson (Tame Impala, Gum) and Josh da Costa (CMON). Adding to the family feel of the album, longtime Ariel Pink and Tim Koh collaborator Jorge Elbrecht performed mixing duties along with mastering by Heba Kadry.


                                                                                                                                        TRACK LISTING

                                                                                                                                        Side A
                                                                                                                                        01 Fall Into Your Dream
                                                                                                                                        02 The Stomach
                                                                                                                                        03 Not Tonight
                                                                                                                                        04 The Passenger
                                                                                                                                        05 DNA Spray

                                                                                                                                        Side B
                                                                                                                                        06 Rational Anthem
                                                                                                                                        07 Please Don’t Go
                                                                                                                                        08 Everyday
                                                                                                                                        09 Covered With The Moss Of Time
                                                                                                                                        10 Cherry Box



                                                                                                                                        Hoops had to self-destruct in order survive.

                                                                                                                                        These three friends from central Indiana, each one a distinctive singer, songwriter, and multi-instrumentalist, had reached a point where years of hard work and creativity were just starting to pay off. They were hailed as one of the most inventive young bands around, with comparisons to Guided by Voices, My Bloody Valentine, and the Radio Dept., and that’s exactly when they broke up the band.

                                                                                                                                        With Hoops on the shelf, the three friends went back home and got on with their lives.

                                                                                                                                        Freed from the weight of Hoops, they kept writing what they thought sounded like Hoops songs, demos of which they sent back and forth to each other. There was no pressure to make anything of them, though, and that revived some of the excitement they felt when they made their first cassettes.

                                                                                                                                        Just a few months later, they met up in Bloomington, Indiana, to record Halo at Russian Recording, the studio that had been home to L’il Bub (RIP). They invited their friend Ben Lumsdaine to produce. In addition to mixing and producing records for locals Amy O and Steve Marino, he had worked on Krauter’s solo albums and toured with him, and he immediately settled in as the fourth Hoop.

                                                                                                                                        One thing they wanted to avoid was falling right back into their old routines. Instead, they took on new roles that allowed them more room to breathe, more space to create. They even wrote a few songs together—a first the band’s history. Hoops take obvious joy in playing these songs and playing around with them, often nodding to their favorite bands but always putting those familiar sounds in new contexts.

                                                                                                                                        An album defined by musical exuberance, full of gratitude and generosity to counteract and compliment the deep undercurrents of melancholy coursing through every hook and riff, Halo sounds like a lively conversation among close friends, each song a high five, as they look for some stability in their lives and figure out what they owe themselves, each other, and everyone around them.

                                                                                                                                        "Hoops know the power of dream-pop" - Pitchfork. 

                                                                                                                                        "Sprightly lo-fi constructed with an attention to production and atmosphere that you'd expect from someone with a background in noise music." - The FADER. 

                                                                                                                                        "There are legit flashes of brilliance to be found in the tapes’ collective" - Gorilla Vs. Bear.

                                                                                                                                        “Propelled by ample grooving keys and guitar, 'Rules' is a two minute jaunt into the past when synths and subdued vocals were king.” - Stereogum.

                                                                                                                                        “Simply put, this is the best dream/jangle-pop debut since the aforementioned Oshin and an absolute must for fans of this genre...absolutely terrific and addictive debut full-length album.” - Under The Radar.

                                                                                                                                        "The Bloomington, Ind. outfit blends shimmering guitars, woozy keyboards, and clacking drum tracks for their sun-flecked brand of indie-rock, which evokes peers like Real Estate and DIIV." - Entertainment Weekly.

                                                                                                                                         
                                                                                                                                        RIYL: Barrie, The Marias, Beach Fossils, Men I Trust, Blood Orange, Part Time, Real Estate, Crumb, Ariel Pink, The Clientele, Clairo, No Vacation, Video Age, Kevin Krauter, Golden Days, Hovvdy

                                                                                                                                        TRACK LISTING

                                                                                                                                        A1: Glad You Stayed
                                                                                                                                        A2: Fall Back
                                                                                                                                        A3: Blind
                                                                                                                                        A4: Ride
                                                                                                                                        A5: Everyone You Know
                                                                                                                                        A6: Heart Never Stops
                                                                                                                                        B1: They Say
                                                                                                                                        B2: Quiet Games
                                                                                                                                        B3: Total Disregard
                                                                                                                                        B4: I’m On TV
                                                                                                                                        B5: When It Goes

                                                                                                                                        Bonus 7” With Dinked Edition:
                                                                                                                                        A1: Don’t Panic (Coldplay)
                                                                                                                                        B1: Reflections After Jane (The Clientele)

                                                                                                                                        Narratively, H.C. McEntire’s Eno Axis is about finding direction in the natural world, and following love.

                                                                                                                                        Sonically, it’s an album shaped enormously by the atmosphere it was recorded in - the crew’s synergy and positivity, the proximity and presence of a band in a room playing with intention.

                                                                                                                                        Structurally, it’s a group of songs inspired by the colors and tones of open tunings, by the sacrality of space and instinct.

                                                                                                                                        Stylistically, it’s folk-rock leaning into its curious experimental side and moved by the spiritual rawness of classic soul and the simplicity of earnest pop.

                                                                                                                                        Eno Axis feels like a confident and mature step forward from her debut album LIONHEART - in tone, arrangement, production, and spirit.

                                                                                                                                        STAFF COMMENTS

                                                                                                                                        says: Eno Axis is an entrancing record in many ways, rich with the majesty of traditional Americana but with an experimental sensibility effecting everything from the timbres, chord patterns and song structure. Psychedelic, downbeat moments are contrasted with major key changed and spine-tinglingly optimistic turns. Gorgeous stuff.

                                                                                                                                        TRACK LISTING

                                                                                                                                        Side A
                                                                                                                                        1 Hands For The Harvest 4:17
                                                                                                                                        2 Footman's Coat 3:43
                                                                                                                                        3 High Rise 4:49
                                                                                                                                        4 River's Jaw 4:34
                                                                                                                                        5 One Eye Open 2:12

                                                                                                                                        Side B
                                                                                                                                        6 Final Bow 4:09
                                                                                                                                        7 True Meridian 3:34
                                                                                                                                        8 Sunday Morning 1:41
                                                                                                                                        9 Time, On Fire 3:07
                                                                                                                                        10 Hoses Of The Holy 4:10

                                                                                                                                        Widowspeak

                                                                                                                                        Plum

                                                                                                                                          With Plum, the songwriting partnership rooted in the creative rapport between bandleader Molly Hamilton and guitarist Robert Earl Thomas continues to expand on shared visions, delving deeper into what was always there: dusty guitars, ear-worm melodies, warm expansive arrangements. Each entry to their catalog has marked a subtle reimagining of Widowspeak’s sound, though perennial points of reference remain the same: 90's dream pop, 60's psych rock, a certain unshakeable Pacific-Northwestness. Speaking to the timeless feeling of each, the albums continue to be discovered well beyond their respective PR cycles, made beloved by new listeners through word of mouth.

                                                                                                                                          The band’s fifth album feels comfortable and lived-in: humble in structure, heavy on mood. Perhaps that came taking time off from the touring grind, instead working full-time jobs and settling into the rhythm of daily life in a small upstate New York town. Plum was recorded over a handful of weekends last winter by Sam Evian (Cass McCombs, Kazu Makino, Hannah Cohen) at his Flying Cloud studio in the Catskills, and was mixed by Ali Chant (PJ Harvey, Aldous Harding, Perfume Genius). In addition to Hamilton (vocals, guitar) and Thomas (guitars, bass, synth), it features instrumental contributions by Andy Weaver (drums), Michael Hess (piano), and Sam himself (bass, synth). Plum nestles into the band’s canon like it was always there, but with new textures coming to the fore, like the polyrhythmic pulse of "Amy" and "The Good Ones", or the watery, Terry Riley-influenced track "Jeanie".

                                                                                                                                          Plum navigates the spaces between the lesser emotions of modern life. Hamilton’s lyrics speak to the unique turmoil of anyone who creates as their work, who must somehow survive off such "fruits of their labor." Yet, Widowspeak have always made a bitter pill much easier to swallow. The majestic "Breadwinner", the luminous "Even True Love" – these songs here were made to be listened to, enjoyed. "Money" is particularly hypnotic, built around a repeating, cyclical motif that serves as both skeleton and body. "Will you get back what you put in?" Hamilton asks over an insistent guitar riff. The line is delivered with a knowingness that transcends its surface critiques of late-stage capitalism, asking both herself and the listener whether this is, in fact, the world we want to live in. Through Plum, Widowspeak have brought something into the world that seems to know its own worth, even as it wonders aloud about what is to come. What value and meaning do we assign ourselves, our time, and how do we spend it?

                                                                                                                                          STAFF COMMENTS

                                                                                                                                          says: Widowspeak mix the swooning, airy aspects of country with drifting melodic twists and a gorgeous, heady production aesthetic. A rewarding and heartening experience, exactly as you'd expect from such stellar talent, and a perfect fit for Captured Tracks.

                                                                                                                                          TRACK LISTING

                                                                                                                                          1. Plum
                                                                                                                                          2. The Good Ones
                                                                                                                                          3. Money
                                                                                                                                          4. Breadwinner
                                                                                                                                          5. Even True Love
                                                                                                                                          6. Amy
                                                                                                                                          7. Sure Thing
                                                                                                                                          8. Jeanie
                                                                                                                                          9. Y2K

                                                                                                                                          Tricky

                                                                                                                                          Fall To Pieces

                                                                                                                                            "Fall To Pieces" was recorded in Tricky’s Berlin studio in late 2019. Tricky is keen to point out that the tracks on the record can be deceptive; often short, ending abruptly and moving on to the next without warning. Although instrumentation varies from bursts of tense synths, distorted dial tones, and samples, the song’s lyrics can be dark and dense. Tricky’s music has always enlisted female vocalists to carry his ideas: the majority of tracks on Fall To Pieces, including ‘Fall Please’ rely on Marta Zlakowska, the singer he discovered during a european tour when he was left without a vocalist on the opening night. She saved the tour from disaster. “I can tell when someone is humble and down to earth,” says Tricky. “Marta doesn't care about being famous, she just wants to sing.” 


                                                                                                                                            STAFF COMMENTS

                                                                                                                                            says: Tricky has been at the forefront of out downbeat landscape for some years now, and 'Fall To Pieces' sees him in fine form, moving from bass-rich grooving dancefloor material to more abstract, classic trip-hop territory. It's a wonderful and mature record, and goes to show why Tricky is still one of the top names in electronic music.

                                                                                                                                            TRACK LISTING

                                                                                                                                            01 / A1 - Thinking Of
                                                                                                                                            02 / A2 - Close Now
                                                                                                                                            03 / A3 - Running Off
                                                                                                                                            04 / A4 - I’m In The Doorway
                                                                                                                                            05 / A5 - Hate This Pain
                                                                                                                                            06 / A6 - Chills Me To The Bone
                                                                                                                                            07 / B1 - Fall Please
                                                                                                                                            08 / B2 - Take Me Shopping
                                                                                                                                            09 / B3 - Like A Stone
                                                                                                                                            10 / B4 - Throws Me Around
                                                                                                                                            11 / B5 - Vietnam

                                                                                                                                            Girl Friday

                                                                                                                                            Androgynous Mary

                                                                                                                                              Burning deep in Girl Friday's music is an unquenchable will to survive. The LA-based band don't blunt the impact of the themes they work through in their ferocious, knotty rock songs, but they don't let the more harrowing aspects of being alive and young in the 21st century daunt them, either. Dystopian shades of post-punk and noise rock abound alongside abundant optimism on Girl Friday’s arresting debut LP, Androgynous Mary. The world is a hellscape, but the four of them are in it together.

                                                                                                                                              With bold, dramatic guitar lines and tightly wound vocal harmonies, Girl Friday - guitarist Vera Ellen, bassist Libby Hsieh, guitarist Sierra Scott, drummer Virginia Pettis - negotiate the stress and alienation of being sidelined by society. "Does the average man feel like he's on the outside?" goes the beginning of "Public Bodies," a wistful jangle-pop gem that shudders open into a snarling punk coda. Taking cues from boundary-pushers Sonic Youth, Girl Friday favor the rush of jarring turns over the safety of well-defined pop taxonomy. Looking to queer provocateurs like Placebo, they cherish the frisson of incongruous musical elements: "really dark, heavy things mashed up with quite beautiful things, whether that be a distorted guitar line and a sentimental vocal or vice versa," as Ellen puts it. That duality dovetails with the thematic friction running through the album, the alternating despair and hope that intertwine in the fight to survive as disenfranchised people in the US.

                                                                                                                                              Written during a year of personal struggle for all four band members, Androgynous Mary reflects the solace they took in each other -- as a band, but also as a microcommunity and a chosen family. On the record's final song, "I Hope Jason Is Happy," Girl Friday sing in unison: "My head is on your chest / In the end I'll be happy if you do your best / You've got to fight to keep your breath in this world." It's a testament to the power of their bond, and a gesture of solidarity with those listening. Alone, we suffer under the weight of everything designed to keep us down. Together, we stand a fighting chance. Girl Friday place their hope squarely on that chance.

                                                                                                                                              STAFF COMMENTS

                                                                                                                                              says: With all of the vim of punk rock, but with an instrumental sensibility far beyond the typical punk band, Girl Friday come roaring out of the gates with a ripping collection of ballads, both tender and rawkous.

                                                                                                                                              TRACK LISTING

                                                                                                                                              1. This Is Not The Indie Rock I Signed Up For
                                                                                                                                              2. Amber's Knees: A Matter Of Concern
                                                                                                                                              3. Eaten Thing
                                                                                                                                              4. Public Bodies
                                                                                                                                              5. What We Do It For
                                                                                                                                              6. Earthquake
                                                                                                                                              7. Clotting
                                                                                                                                              8. Gold Stars
                                                                                                                                              9. Favorite Friend
                                                                                                                                              10. I Hope Jason Is Happy

                                                                                                                                              Little Kid

                                                                                                                                              Transfiguration Highway

                                                                                                                                                After six days Jesus took with him Peter, James and John the brother of James, and led them up a high mountain by themselves. There, he was transfigured before them. His face shone like the sun, and His clothes became as white as the light.”(Matthew 17:2).

                                                                                                                                                Based out of Toronto, Little Kid’s Kenny Boothby finds himself inspired by this idea of transfiguration - a complete change of form or appearance into a more beautiful or spiritual state. Far-ranging in both its sonic palette and its subject matter, the band’s forthcoming album, Transfiguration Highway is a record of unusual depth and clarity from a songwriter who has spent the better part of a decade honing his craft and a lifetime building the perspective his songs so deftly express. These are personal songs that look outward, that seek to tie together the bigness of the world and the smallness of the everyday with both subtlety and humility. For years Boothby and Little Kid have been quietly building a devoted following, but their Solitaire debut is a beautifully formed introduction to the wider world for an artist who will undoubtedly be recognized as a uniquely gifted songwriting voice.

                                                                                                                                                Operating since 2011, and now joined by Megan Lunn (banjo, keys, vocals), Paul Vroom (bass & vocals), Liam Cole (drums) and Brodie Germain (drums, guitar, percussion), Little Kid has built a cult audience with a series of idiosyncratic home recordings, self-released in short cassette runs that range from more traditional albums and EPs, to 2019’s Botched Restorations - on which Boothby sold out a run of one-of-a-kind 60 minute cassettes that each contained 10 songs from his discography, chosen by the purchaser and recorded live to tape in his bedroom.


                                                                                                                                                TRACK LISTING

                                                                                                                                                1. I Thought That You'd Been Raptured
                                                                                                                                                2. What's In A Name
                                                                                                                                                3. Transfiguration Highway
                                                                                                                                                4. Thief On The Cross
                                                                                                                                                5. All Night (Golden Ring)
                                                                                                                                                6. Candle Out
                                                                                                                                                7. Made For Each Other
                                                                                                                                                8. Close Enough To Kill
                                                                                                                                                9. Losing
                                                                                                                                                10. Gill
                                                                                                                                                11. Pry

                                                                                                                                                Crack Cloud

                                                                                                                                                Pain Olympics

                                                                                                                                                  Like Psychic TV before them, Crack Cloud have a philosophy, and one that they are not afraid to wear on their sleeves. While their anarchic, phantasmagorical visuals, heavy use of symbology, and seemingly never-ending cast of colourful collaborators have often invited cult comparisons, this really does the collective no justice.

                                                                                                                                                  There is no apocalyptic death drive here; no cult of personality; no hierarchy of power. While frontman and lyricist Zach Choy is in many ways the face of the group, the collective is one founded on equality, and in his cryptic lyrical blending of poetics, polemics and personal experience, Choy is truly the mouthpiece of something far larger than himself. Nowhere else is this more apparent than on the album’s first single, ‘The Next Fix.’

                                                                                                                                                  What begins as a caustic, claustrophobic account of addiction swells into a sprawling, euphoric hymn as Choy is joined by a choir of seemingly endless celestial voices. Less a cult then; more a church. Listening to this song or watching  its accompanying self-directed video is a truly spiritual experience, and in its building, jubilant movement it offers a glimpse of Crack Cloud’s most vital message: using community to turn adversity into hope. This isn’t just bravado; its a story born of deep, personal experience. Crack Cloud operate on the frontline of Canada’s out-of-control opiate crisis, mobilising and organizing in Vancouver’s harm reduction programmes.

                                                                                                                                                  The group themselves have had their fair share of trauma, and the collective offers its members a vital vehicle for rehabilitation and recovery. As the tagline on the album’s back cover makes clear then, this is absolutely ‘based on true shit.

                                                                                                                                                  TRACK LISTING

                                                                                                                                                  Post Truth (Birth Of A Nation)
                                                                                                                                                  Bastard Basket
                                                                                                                                                  Somethings Gotta Give
                                                                                                                                                  The Next Fix (A Safe Space)
                                                                                                                                                  Favour Your Fortune
                                                                                                                                                  Ouster Stew
                                                                                                                                                  Tunnel Vision
                                                                                                                                                  Angel Dust (Eternal Peace)

                                                                                                                                                  Brigid Dawson & The Mothers Network

                                                                                                                                                  Ballet Of Apes

                                                                                                                                                    Tip-top of our osmosis list is the first quiver of tunes from Brigid Dawson and her newly minted Mothers Network: wise warnings dyed in dark hues, knotted and hard-won torch songs from the edge of a turbulent sea, bittersweet balladry spun in defense against evils familiar and unknown. Lovely though it may seem from a distance, the striation of loss quicksilvered throughout provides weighty balance to her contralto lilt. Those familiar with her harmonic counterpoint from her time in Thee Oh Sees or in OCS know she can belt as well as lullaby but there’s a fresh and smolderingly heavy swing in her step on display here that we mightily dig.

                                                                                                                                                    “Ballet of Apes” tapestries together sessions that read like a who’s who from outside our own castle walls - in Australia with Mikey Young (Total Control/Eddy Current Suppression Ring), in San Francisco with Mike Donovan (ex Sic Alps), Shayde Sartin (ex Fresh & Onlys/lifetime ringer) and Mike Shoun (ex Oh Sees/Peacers), and in Brooklyn with instrumental heavy-weights Sunwatchers - and the results are spellbinding. At the focal point of this maelstrom, our lady, as if illumed by candlelight, intones, pleads, consoles - white magic perhaps but it carries with it the anodized tang of blood. 

                                                                                                                                                    TRACK LISTING

                                                                                                                                                    1. Is The Time For New Incarnations
                                                                                                                                                    2. The Fool
                                                                                                                                                    3. Carletta’s In Hats Again
                                                                                                                                                    4. When My Day Of The Crone Comes
                                                                                                                                                    5. Ballet Of Apes
                                                                                                                                                    6. Heartbreak Jazz
                                                                                                                                                    7. Trixxx

                                                                                                                                                    Kate NV

                                                                                                                                                    Room For The Moon

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

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

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

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

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

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


                                                                                                                                                      TRACK LISTING

                                                                                                                                                      LP Tracklisting:
                                                                                                                                                      Not Not Not
                                                                                                                                                      Du Na
                                                                                                                                                      Sayonara
                                                                                                                                                      Ça Commence Par
                                                                                                                                                      Marafon 15
                                                                                                                                                      Tea
                                                                                                                                                      Lu Na
                                                                                                                                                      Plans
                                                                                                                                                      If Anyone’s Sleepy
                                                                                                                                                      Telefon

                                                                                                                                                      CD Tracklist:
                                                                                                                                                      01. Not Not Not (5:12)
                                                                                                                                                      02. Du Na (4:48)
                                                                                                                                                      03. Sayonara (Full Moon Version) (6:26)
                                                                                                                                                      04. Ça Commence Par (3:16)
                                                                                                                                                      05. Marafon 15 (5:26)
                                                                                                                                                      06. Tea (Full Cup Version) (3:40)
                                                                                                                                                      07. Lu Na (4:38)
                                                                                                                                                      08. Plans (5:37)
                                                                                                                                                      09. If Anyone’s Sleepy (3:22)
                                                                                                                                                      10. Telefon (4:36)
                                                                                                                                                      11. Sayonara (Single Edit) (5:15)
                                                                                                                                                      12. Tea (Small Sip Edit) (1:44)

                                                                                                                                                      The Cool Greenhouse

                                                                                                                                                      The Cool Greenhouse

                                                                                                                                                        Those in glass houses shouldn’t throw stones, but The Cool Greenhouse are about to shatter glass ceilings with their self-titled debut LP.

                                                                                                                                                        “I wanted to hear repetitive music that wasn’t pretentious” tells the band’s voice Tom Greenhouse of his personal agenda to inject some pop sentimentality into the rock’n’roll textbook. “The mission was to make long, repetitive pop music that wasn’t boring. I soon realised I could do that through focusing on the lyrics.”

                                                                                                                                                        With phrases culled from the pages of his many notebooks, Greenhouse has a way with words. Exploring Rotary Club jumble sales and mausoleums or making futuristic voyages into musical VR, his songs dig at the gammon classes and scoff at the stupidity of society alongside pop punches about female harassment. Inspired by conversations and magazine articles he narrates upon the world as he sees it, preferring wise-cracks and judgement to merely passing comment. “At school I wrote a story about a whale that fell in love with a submarine and tried to have sex with it which almost caused a serious nuclear meltdown; it won a prize. As a teenager I thought I was Arthur Rimbaud so moved to Paris and wrote terrible poetry.”

                                                                                                                                                        Down and out in Paris and later, in London, Tom got skint fast so headed to the sticks of Norwich. Sitting in his garden, inspired to turn scripture into song and record it on a friend’s tape recorder, he began penning the album between writing clickbait articles to get by and turned to humour to express his deeper thoughts; “A lot of punk is on the nose like “fuck the Tories” but I’m not that hardcore. Humour is good for talking about serious things without getting too sentimental.”

                                                                                                                                                        Encouraged by The Shadow Ring’s Graham Lambkin (“I wrote to him asking whether it was worth the bother. He sent a really nice reply. He probably doesn’t remember, but it spurred me on.”), Tom took to the live circuit, but his solo backing track performances needed a fuller sound. Ahead of securing a show with The Stroppies, he turned to the talent of guitarist Tom O Driscoll, bassist Thom Mason, drummer and percussionist Kevin Barthelemy and Merlin Nova on keys and synths, harmonium, melodica, violin and backing vocals. “We practiced the songs and played that first show; we did a good job and Melodic signed us! Those guys are crazy,” Tom says. Perhaps not; also championed by DIY it could be a sign of things to come as the band prepare for their Great Escape debut.

                                                                                                                                                        Discovering The Cool Greenhouse’s first 7” (which coincidentally mentioned his own surname) ace producer, sound engineer and mixer Phil Booth (Sleaford Mods, Jake Bugg) invited the group to his JT Soar studio in Nottingham. The old potato-packing warehouse offered an idiosyncratic working method for the band, who recorded the album over 7 days as live between kipping on its couches, 4am whiskey-soaked sessions and Mario Kart ’64 on demand. “Phil’s got all the kit and know-how, but the studio is rough around the edges with great character,” Tom tells. “There were weird little synchronistic miracles… discussing a song then seeing its title on a shop window, finding things in pubs straight out of our songs… these zapped me onto some sort of Jungian plane where I didn’t need sleep and knew just what to do.”

                                                                                                                                                        Blissfully instinctive, Tom’s lexicon flies across the album with the agitation of an internal monologue that won’t quit. From pop culture to cautionary tales, anything deemed too musically extravagant was swiftly removed before being mastered by Mikey Young (Bodega, Amyl and the Sniffers); “we added a tympani and clarinet but ended up taking it all off again” At times the Truman Show-trappings of ‘Trojan Horse’ or ‘Gum’s unsettling cowbell hint at the motoric. For now, whatever it is that gets you going, let’s just call it The Cool Greenhouse effect.


                                                                                                                                                        TRACK LISTING

                                                                                                                                                        01 The Sticks
                                                                                                                                                        02 Cardboard Man
                                                                                                                                                        03 Gum
                                                                                                                                                        04 Life Advice
                                                                                                                                                        05 Dirty Glasses
                                                                                                                                                        06 Smile, Love!
                                                                                                                                                        07 Trojan Horse
                                                                                                                                                        08 4Chan
                                                                                                                                                        09 Prospects
                                                                                                                                                        10 Outlines
                                                                                                                                                        11 The Subletters Pt 2 (Ft. The Shifters)

                                                                                                                                                        Thee MVPs

                                                                                                                                                        Science Fiction

                                                                                                                                                          Thee debut longplayer from Thee MVPS, on their own label, taking cues from all of their favourite labels…Influenced by SST, In The Red, Au Go Go, Goner, Stiff, Castle Face, Dischord etc. (you know, the good ones!!).

                                                                                                                                                          The band lives in the same house in Leeds, they have a whole slew of 7” records out all over the world, some sold out, some, not, they are steeped in music, playing live and this album shows that: Thee MVPs (Most Valuable Players) love music a whole bunch and hope they made a record that shows that.

                                                                                                                                                          Thee MVPs believe you can do a band just as well as anyone else

                                                                                                                                                          Thee MVPs ran in to quite the hurdles trying to do make this album, a good few Gs sank in the wrong places and to say bad luck follows them would be an understatement

                                                                                                                                                          Thee MVPs have already done 350+ shows all over the world.

                                                                                                                                                          Thee MVPs have played with all your favourite bands.

                                                                                                                                                          Thee MVPs mastered the record in Chicago with Bob Weston of Shellac.

                                                                                                                                                          Thee MVPs wanted the first record to be 10 songs, Blue Album style.

                                                                                                                                                          Thee MVPs think some of the guitar solos are like J Mascis.

                                                                                                                                                          Thee MVPs think the bass is the best sounding instrument on this album.

                                                                                                                                                          Thee MVPs like Hot Snakes, The Stranglers, Sleep, Meatbodies, Marked Men, Quelle Chris, CAN, Black Sabbath, Black Flag and Super Furry Animals. Please add on whatever else that makes them sound like they have cool influences.
                                                                                                                                                          Thee MVPs ditched the reverb and space echo on the vocals and traded it for better lyrics.

                                                                                                                                                          Thee MVPs consider this album part concept - tying in references and homages to Sci Fi with themes of difficulties all of us face as we get a little less away from youth. Some themes include always having camaraderie in the face of any dire straight, how being contactable 24/7 probably isn't best for any of us and how really we're not any more different/cooler/better/worse/charming/narcissistic than anyone else because we do a band

                                                                                                                                                          Thee MVPs were lucky enough to have Edd's mum Sahrah, an architect student to design the cover based off Joel's readings of polymath Walter Russell.

                                                                                                                                                          This is the best MVPs record until the next one is out.


                                                                                                                                                          TRACK LISTING

                                                                                                                                                          1. Ship Episode, Planet Episode
                                                                                                                                                          2. Causality
                                                                                                                                                          3. A Song For Councillor
                                                                                                                                                          4. You Ain’t It
                                                                                                                                                          5. HAL
                                                                                                                                                          6. SESH
                                                                                                                                                          7. Super Contactable
                                                                                                                                                          8. A Pining Replicant
                                                                                                                                                          9. Funeral I & Iii
                                                                                                                                                          10. US Airways (Final Flight)

                                                                                                                                                          Once And Future Band

                                                                                                                                                          Deleted Scenes

                                                                                                                                                            "The space-age songsmiths of Once & Future Band have been ting-tinging away on the truly heavy anvil of hominid perspective and emotion again to bring you this singing scape of songs.
                                                                                                                                                            Annealing for over a year now, until it was cool enough to hold in your ears, nested in the pinnae, the time has finally come.
                                                                                                                                                            Dew drops pop and hiss as they settle on the gliding guitarmonies.

                                                                                                                                                            Once & Future Band have outdone themselves this time around, in my opinion. If songs could stop heated exchanges by mere presence, these are the ones, and more needed than ever.
                                                                                                                                                            As I tuned in to each new transmission, each step closer to this perfect platter, I had to stop and do nothing else, and merely absorb how wonderful this album is. Each tune exists in the company it was born to live with. There are haunting chorale escorts here...long trains of room warmth... the belting of the machine heart...lofty guitar and bass melange... and just beautifully laid to magnetic tape with a sure hand by the throbbing brains that are Once & Future Band for fans of Roy Wood, Idle Race, ELO, Roxy Music, Head Hunters, Stevie Wonder, Paul McCartney, The Lord Bowie, The Band, and the soundtrack from every movie that ever pierced your cold, cold heart”
                                                                                                                                                            - John Dwyer.


                                                                                                                                                            TRACK LISTING

                                                                                                                                                            1. Andromeda
                                                                                                                                                            2. Automatic Air
                                                                                                                                                            3. Problem Addict
                                                                                                                                                            4. Several Bullets In My Head
                                                                                                                                                            5. Freaks
                                                                                                                                                            6. Mr. G
                                                                                                                                                            7. Deleted Scenes
                                                                                                                                                            8. Airplane
                                                                                                                                                            9. The End And The Beginning

                                                                                                                                                            Erland Cooper

                                                                                                                                                            Hether Blether

                                                                                                                                                              Erland Cooper is set to release Hether Blether, the third and final album in a trilogy of releases shaped by the islands where he grew up. Hailing from the archipelago of Orkney in Scotland, the contemporary composer and multiinstrumentalist has explored the birdlife (2018’s Solan Goose), sea (2019’s Sule Skerry) and, on Hether Blether, the land, manifesting an immersive collection of music, words and imagery.

                                                                                                                                                              TRACK LISTING

                                                                                                                                                              1. Noup Head Ft. Kathryn Joseph, Kevin Cormack, John Burnside And Alex Kozobolis
                                                                                                                                                              2. Rousay
                                                                                                                                                              3. Peedie Breeks Ft. Benge
                                                                                                                                                              4. Skreevar Ft. Marta Salogni
                                                                                                                                                              5. Longhope Ft. Kathryn John, John Burnside & Hiroshi Ebina
                                                                                                                                                              6. Linga Holm
                                                                                                                                                              7. Hildaland
                                                                                                                                                              8. Hether Blether
                                                                                                                                                              9. Hamnavoe
                                                                                                                                                              10. Where I Am Is Here

                                                                                                                                                              Katie Von Schleicher

                                                                                                                                                              Consummation

                                                                                                                                                                Katie Von Schleicher doesn’t hold back. Her music, drenched in layers of warmth and fuzz, mines depression, devotion, power, and anxiety without reserve.

                                                                                                                                                                But if channeling weighty subject matter is a constant in Von Schleicher’s music, so too is transforming that material into sonic landscapes that defy expectations. On Von Schleicher’s second record, Consummation, she blasts past the lo-fi power ballads of her debut Shitty Hits (2017) with a severe expansion of her sonic palette; its 13 shape-shifting songs depict a deeply personal exploration of trauma. The result is both potent and listenable; strange and familiar; intense and entertaining - and, perhaps most of all, teeming with life.

                                                                                                                                                                Von Schleicher pulls the listener in from the outset. The synths and drum machines of the album opener “You Remind Me” evoke a room depressurizing, signaling a crossover into unsettling, dream-like territory. Her self-assured voice floats above the fray, her lyrics pointed: “And now I can’t confine my rage.” The following songs vary in genre and tempo, ranging from a pulsating, electronic rocker (“Brutality”) to upbeat and jagged kraut (“Wheel,” “Caged Sleep”) and a melancholic, cosmic ballad (“Gross”). There’s even a brief, haunting crooner of a track (“Strangest Thing”). What they share is lyrical concision, emotional heft, and conscientious production.

                                                                                                                                                                Consummation is, in part, inspired by an alternate interpretation of Hitchcock’s Vertigo. In 2018, Von Schleicher rewatched the seminal film and was struck by its largely unanalyzed subtext of abuse. She knew immediately that this hidden narrative, which spoke to her personal experience, would be the basis of her next album.

                                                                                                                                                                While writing and engineering the record, she found sanctuary in the words of other women: namely, Carmen Maria Machado’s Her Body and Other Parties, Rachel Cusk’s Outline trilogy, and Rebecca Solnit’s A Field Guide to Getting Lost. The latter proved particularly influential: Soon after revisiting Vertigo, Von Schleicher stumbled upon Solnit’s lacerating take on the film. Solnit describes the “wandering, stalking, haunting” of romantic pursuit that it depicts as “consummation,” while “real communion” - understanding and mutual respect between two lovers - is, to the men in the film, “unimaginable.” The consequence is a fundamental failure of communication. At its core, Consummation evokes the pain of being unable to bridge that vast psychic distance between oneself and another.

                                                                                                                                                                Can love that destroys, Von Schleicher asks, be love at all? At the close of the album, it seems she’s arrived at something of an answer, at least for herself. On “Nothing Lasts,” the record’s final song, a romantic verse gives way to an anthemic, albeit fatalistic chorus - one that feels something like a sigh of relief: “Cause nothing lasts for long, nothing lasts, see it’s gone.”


                                                                                                                                                                TRACK LISTING

                                                                                                                                                                Side A:
                                                                                                                                                                1. You Remind Me
                                                                                                                                                                2. Wheel
                                                                                                                                                                3. Nowhere
                                                                                                                                                                4. Caged Sleep
                                                                                                                                                                5. Messenger
                                                                                                                                                                6. Loud

                                                                                                                                                                Side B:
                                                                                                                                                                1. Strangest Thing
                                                                                                                                                                2. Can You Help?
                                                                                                                                                                3. Brutality
                                                                                                                                                                4. Hammer
                                                                                                                                                                5. Power
                                                                                                                                                                6. Gross
                                                                                                                                                                7. Nothing Lasts

                                                                                                                                                                Bonus 7” (DINKED EDITION ONLY)
                                                                                                                                                                Side A
                                                                                                                                                                1. CMWA
                                                                                                                                                                Side B
                                                                                                                                                                1. Display

                                                                                                                                                                Kelly Lee Owens' masterful second album "Inner Song" finds the convention-blurring techno producer and singer/songwriter diving deep into her own psyche—excoriating the struggles she's faced over the last several years and exploring personal pain while embracing the beauty of the natural world. It's a leap in artistry from a musician who burst forth on the scene with a confident, rich sound, and "Inner Song" is endlessly enticing when it comes to what Owens is capable of.

                                                                                                                                                                "Inner Song" follows the star-making debut of her 2017 self-titled album, a quixotic blend of body-moving beats and introspective songwriting that garnered numerous accolades from the music press. Owens has indeed come a long way from her background as a nurse, since then she has remixed Bjørk & St Vincent, released an indelibly clubby two-tracker, 2019's "Let It Go" b/w "Omen," and teamed up with likeminded auteur Jon Hopkins on the one-off "Luminous Spaces."

                                                                                                                                                                Her latest album also comes off of what Owens describes as "the hardest three years of my life," an emotionally fraught time that, in her words, "Definitely impacted my creative life and everything I'd worked for up to that point. I wasn't sure if I could make anything anymore, and it took quite a lot of courage to get to a point where I could make something again." So while the lovely cover of Radiohead's "Arpeggi" might strike some as an unconventional way to open a sophomore effort, to Owens the winding take on the classic tune—recorded a year before work on "Inner Song" properly kicked off—represents the sort of sonic rebirth that's so essential to Inner Song's aura.

                                                                                                                                                                "Inner Song" was largely written and recorded over a month last winter. As with her debut, Owens holed up in the studio with co-producer and collaborator James Greenwood —and letting loose in the studio and being open to whatever sonic whims emerge was essential to Owens' craftwork. The evocative title of the album is borrowed from free-jazz maestro Alan Silva's 1972 opus, which was gifted to Owens by Smalltown Supersound's Joakim Haugland for her 30th birthday: "I'm so grateful for him and his perspectives—he's always thinking outside of the box. Those two words really reflect what it felt like to make this record. I did a lot of inner work in the past few years, and this is a true reflection of that." The hair-raising bass and tickling textures of "Inner Song" drive home that, more so than ever, Owens is locked in to delivering maximal sonic pleasure—as evidenced by the decision to make the album's vinyl release a sesqui album, or triple-sided album: "I'm still obsessed with frequencies that don't do well on vinyl if they don't have the space."

                                                                                                                                                                "The power of conceptualizing who you are has really informed this album," Owens states about Inner Song's essence, and her second album is truly a discovery of self— the latest statement from a fascinating artist who continues to surprise, gesturing towards a rich and varied career to come.


                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                says: Three years on from her championship season and KLO returns to the long format with a deeper, more refined distillation of her trademark techno pop style. If her debut album delivered on the promise of those early singles, ‘Inner Song’ offers us a dizzying premonition of just how far she could go.

                                                                                                                                                                By her own admission, this album emerged after the hardest three years of her life, and even a cursory scan of the lyrics hints at a little darkness before the dawn. “‘On” and “L.I.N.E.” explore the end of a troubled relationship, “Melt” references the climate crisis and “Wake Up” warns against extended screen time. Rather than wallowing in the melancholy though, Kelly strikes an optimistic tone, serving a resilient reminder that we all have the power to overcome adversity, mirrored in the vital beats and healing frequencies which underpin her emotive songwriting.

                                                                                                                                                                Much like Arthur Russell, an early inspiration, Owens revels in the space between genres, providing a fresh perspective on established styles. Crystalline electronics sit beneath a shoegaze shimmer on “Night”, the bastard offspring of the Cocteau’s and Kraftwerk in a fresh pair of dancing shoes. “Re-Wild” splits the difference between futuristic RnB and taut Detroit techno, a new Minimal Nation woozy on lean, while “Jeanette”, a celebration of the life of her nan, renders an organic landscape in precise electronics.

                                                                                                                                                                On this complex yet cohesive album, Owens tackles serious subject matter with poetic sensitivity, pop hooks and thunderous beats, all the while retaining the ethereal beauty of her Welsh heritage.

                                                                                                                                                                TRACK LISTING

                                                                                                                                                                SIDE A:
                                                                                                                                                                1. Arpeggi
                                                                                                                                                                2. On
                                                                                                                                                                3. Melt!
                                                                                                                                                                4. Re-wild

                                                                                                                                                                Side B:
                                                                                                                                                                1. Jeanette
                                                                                                                                                                2. L.I.N.E.
                                                                                                                                                                3. Corner Of My Sky (ft. John Cale)

                                                                                                                                                                Side C:
                                                                                                                                                                1. Night
                                                                                                                                                                2. Flow
                                                                                                                                                                3. Wake-Up

                                                                                                                                                                Modern Studies

                                                                                                                                                                The Weight Of The Sun

                                                                                                                                                                  New album from kosmiche folk-rock quartet Modern Studies. A glorious compendium of haunted disco hallelujahs, mercurial krautrock chorales, cosmic pop adagios and euphoric, resilient, anthems. ‘The Weight of the Sun’ sees principal songwriters Emily Scott and Rob St John further their warm, esoteric field studies with Pete Harvey and Joe Smillie, as previously reconnoitred on ‘Swell To Great’ (2016) and ‘Welcome Strangers’ (2018).

                                                                                                                                                                  “The exact point where Fairport Convention meet Jim O’Rourke at a remote Scottish railway station.” Tim Burgess.

                                                                                                                                                                  “Melancholic magic… recalls Johnny Marr’s hazier reveries and the febrile, electrified folk of Polly Harvey’s Let England Shake.” UNCUT

                                                                                                                                                                  There is a strange familiarity, and a welcome strangeness, in the quiet alchemy of Modern Studies.

                                                                                                                                                                  TRACK LISTING

                                                                                                                                                                  Side A
                                                                                                                                                                  1. Photograph
                                                                                                                                                                  2. Run For Cover
                                                                                                                                                                  3. Heavy Water
                                                                                                                                                                  4. She
                                                                                                                                                                  5. Corridors
                                                                                                                                                                  6. Signs Of Use

                                                                                                                                                                  Side B
                                                                                                                                                                  7. Brother
                                                                                                                                                                  8. The Blue Of Distance
                                                                                                                                                                  9. Back To The City
                                                                                                                                                                  10. Jacqueline
                                                                                                                                                                  11. Spaces
                                                                                                                                                                  12. Shape Of Light

                                                                                                                                                                  The Blinders

                                                                                                                                                                  Fantasies Of A Stay At Home Psychopath

                                                                                                                                                                    The Blinders have announced their new album, 'Fantasies Of A Stay At Home Psychopath' via Modern Sky UK.

                                                                                                                                                                    The follow-up to their critically acclaimed debut album, Columbia, released in 2018, the album explores existential despair, mental health and society’s ills in a time of planetary crisis, and is both a riposte to, and commentary on, the rise of populist ideology. Delivering a blistering collection of powerful tracks, Fantasies Of A Stay At Home Psychopath is imbued with the visceral energy of IDLES, the twisted melodies of solo-era Lennon and the darkness of the Bad Seeds.

                                                                                                                                                                    In the shadow of Brexit and the climate crisis, The Blinders return with their unique brand of outspoken anthemicism and a sensational album to rouse awareness and inject vital energy into a bleak 2020. Combined with their blistering live energy, get ready for The Blinders to accelerate furiously into the limelight. 

                                                                                                                                                                    TRACK LISTING

                                                                                                                                                                    1. Something Wicked This Way Comes
                                                                                                                                                                    2. Forty Days & Forty Nights
                                                                                                                                                                    3. Lunatic (With A Loaded Gun)
                                                                                                                                                                    4. Circle Song
                                                                                                                                                                    5. I Want Gold
                                                                                                                                                                    6. Interlude
                                                                                                                                                                    7. Mule Track
                                                                                                                                                                    8. Rage At The Dying Of The Light
                                                                                                                                                                    9. From Nothing To Abundance
                                                                                                                                                                    10. Black Glass
                                                                                                                                                                    11. In This Decade

                                                                                                                                                                    Warm Digits

                                                                                                                                                                    Flight Of Ideas

                                                                                                                                                                      On "Flight of Ideas", Warm Digits make a call to arms: when we all think our ideas are right, what are the costs of never believing you could be wrong? Looking back to the history of psychology to find out what happens when ideas outlive their sell-by date, with their vocal guests they set up a blistering musical exchange between fluorescent agit-funk, primary-coloured synth-bounce and fizzing sheets of guitar noise. The LP features vocal contributions from Maximo Park’s Paul Smith, The Lovely Eggs, The Orielles, Rozi Plain and the Delgados’ Emma Pollock.

                                                                                                                                                                      Infused with the restive spirit of Warm Digits and their guests, these inspirations are taken as a call to arms rather than an academic panel discussion. “Fools Tomorrow” uses the language of scientific revolutions and a spiral-eyed swirl of electro shoegaze to show how being able to accept you’re wrong can change your life, while “Replication” takes the ever-circling influence of Steve Reich and cult synth-composers like Laurie Spiegel to create a luminescent sparkling throb that’s impossible to resist. The Delgados’ Emma Pollock lends her vocals to "The View From Nowhere" which concerns two people working out their closeness and distance. It could be about any relationship, but the title is a reference to the way psychoanalysts historically kept themselves a "blank screen" with their patients, as if they could take a "view from nowhere" and be wholly objective in what they saw. “Feel the Panic” sees wigout psych-merchants The Lovely Eggs take advantage of Warm Digits’ relentless momentum to enthusiastically rail against pigeonholing and outmoded systems of authority with an unruly air-punching chorus. The song was inspired by the "being sane in insane places" experiment, which argued that the power wielded by psychiatrists' diagnoses was dangerously capricious, and that in some instances the treatment induced precisely the psychic distress they sought to classify.

                                                                                                                                                                      "Shake The Wheels Off" is about the moment when those subjugated by archaic systems of control take their power back: in this instance, the way research on transport safety took the male body as the norm, drastically increasing the risk that women would get injured in a car crash. The Orielles' roll-call of female engineering heroes heralds the moment when the balance starts to be redressed. Meanwhile Rozi Plain gently turns insecurity on its head over a pulsating Eurobeat-meets-MBV backing to make “Everyone Nervous” almost feel like a valedictory slogan. Celebrate Your Uncertainty!

                                                                                                                                                                      In an increasingly off-kilter world where reality shifts daily, truth is merely what we decide it to be, and an avalanche of possible identities overwhelms us with possibility, it can feel like our lives are careering towards chaos down a one-way street. The question is: do we “Feel The Panic” or “Shake The Wheels Off”? With its glorious defiance and heart-bursting grooves, “Flight of Ideas” calls to our past experience for answers, and dares us to listen.

                                                                                                                                                                      Warm Digits are Andrew Hodson and Steve Jefferis from Newcastle-upon-Tyne, UK. Their previous album for Memphis Industries, "Wireless World", featured guest vocals from Field Music and Sarah Cracknell, amongst others, garnered plaudits from BBC 6Music including an "Album of the Day" slot and playlists for “End Times” “Growth of Raindrops”, and boosted them on to the festival bills of Bluedot, Green Man and Festival No.6 amongst others.

                                                                                                                                                                      TRACK LISTING

                                                                                                                                                                      1. Frames And Cages
                                                                                                                                                                      2. Feel The Panic (feat. The Lovely Eggs)
                                                                                                                                                                      3. The View From Nowhere (feat. Emma Pollock)
                                                                                                                                                                      4. I'm OK, You're OK
                                                                                                                                                                      5. Fools Tomorrow (feat. Paul Smith)
                                                                                                                                                                      6. Replication
                                                                                                                                                                      7. Shake The Wheels Off (feat. The Orielles)
                                                                                                                                                                      8. Everyone Nervous (feat. Rozi Plain)
                                                                                                                                                                      9. False Positive
                                                                                                                                                                      10. Flight Of Ideas

                                                                                                                                                                      Hinds

                                                                                                                                                                      The Prettiest Curse

                                                                                                                                                                        With “The Prettiest Curse” Hinds shrug off any remaining lo-fi accusations and unveil a widescreen beast of an album, not so much a shift as a quantum leap in their evolution as a band. This is a record positively bursting with life, with the band finally harnessing the full extent of their pop prowess and unleashing songs which sound bigger, bolder, and more complex than anything they have done before. Which isn’t to say they have turned their backs on being Hinds – quite the opposite in fact! Here, they double down on what, precisely, makes them so special – the bright melodies betraying heartbreaking themes of isolation and betrayal, the empowering, don’t mess with us all-girl gang glow - while going even further.

                                                                                                                                                                        You know how people say that a drop of balsamic vinegar makes strawberries taste more strawberry-ish? Well, on “The Prettiest Curse”, Hinds sound even more Hinds-ish, and marvelously so.

                                                                                                                                                                        TRACK LISTING

                                                                                                                                                                        1. Good Bad Times
                                                                                                                                                                        2. Just Like Kids (Miau)
                                                                                                                                                                        3. Riding Solo
                                                                                                                                                                        4. Boy
                                                                                                                                                                        5. Come Back And Love Me <3
                                                                                                                                                                        6. Burn
                                                                                                                                                                        7. Take Me Back
                                                                                                                                                                        8. The Play
                                                                                                                                                                        9. Waiting For You
                                                                                                                                                                        10. This Moment Forever

                                                                                                                                                                        The Slow Readers Club

                                                                                                                                                                        The Joy Of The Return

                                                                                                                                                                          Manchester’s The Slow Readers Club return with their fourth album, The Joy Of The Return. Opening to an energetic blend of driving drums and infectious guitar lines, the opening track builds through evocative verses and anthemic choruses, imbued with their idiosyncratic brand of insightful and confronting lyricism and set against relentlessly danceable and energy-provoking instrumentation. “‘All I Hear’ is about a lack of agency and an inability to affect change. That there’s something happening, and you have no choice but to go along with it,” explains singer Aaron Starkie.

                                                                                                                                                                          Throughout the album, the band explore a vast swathe of sonic territory, from the passionately delivered ‘All The Idols’, to the poppier tones of ‘Jericho’ that power through with bright indie guitar lines and ethereally melodic choruses.  Recorded at Parr Street Studios in Liverpool and produced by long-standing collaborator Phil Bulleyment, The Joy Of The Return marks a significant change in the band’s process, with their extensive touring allowing them time to write and develop tracks and arrangements through soundchecks and back-of-van jams.

                                                                                                                                                                          “I think it’s definitely our most interesting and accomplished record musically,” says singer Aaron Starkie. “Lyrically the album covers love, alienation, the rise of right wing populism and comments on algorithm driven propaganda. And as always, I try to deliver those lyrics with uplifting melody.”

                                                                                                                                                                          The dark power-pop that defined their previous releases holds a strong influence, with the brooding ‘No Surprise’ providing a powerful dose of evocative lyricism amid immersive soundscapes, while the unsettling ‘Paris’ is an undulating exploration of observational songwriting and eclectic musicality The swelling, arena-sized ‘Zero Hour’ displays the enormity of The Slow Readers Club sound and sets the precedent for their incredibly exciting future, while ‘The Wait’ closes the album with a beautifully absorptive combination of atmospheric synths flipping the pace of the record on its head to intoxicating effect.


                                                                                                                                                                          TRACK LISTING

                                                                                                                                                                          Side A
                                                                                                                                                                          1. All I Hear
                                                                                                                                                                          2. Something Missing
                                                                                                                                                                          3. Problem Child
                                                                                                                                                                          4. Jericho
                                                                                                                                                                          5. No Surprise
                                                                                                                                                                          6. Paris

                                                                                                                                                                          Side B
                                                                                                                                                                          1. Killing Me
                                                                                                                                                                          2. All The Idols
                                                                                                                                                                          3. Every Word
                                                                                                                                                                          4. Zero Hour
                                                                                                                                                                          5. The Wait

                                                                                                                                                                          Nadia Reid

                                                                                                                                                                          Out Of My Province

                                                                                                                                                                            No one ever got anywhere by standing still. As an artist, you must move to grow. It’s a sentiment Nadia Reid knows well. Leaving her beloved New Zealand for America to record her third album with strangers, what she didn’t expect was a family awaiting her; teaming up with Spacebomb, her evocative travel tales push explorations of love, personal growth and deep reflection beyond boundaries she ever thought possible.

                                                                                                                                                                            Out of My Province further marks Nadia’s wildly expanding trajectory, this time from outside her comfort zone. Nadia packed up for Spacebomb studios in Richmond, Virginia with long-term “musical rock” and guitarist Sam Taylor. They were joined by joined by the Spacebomb house band - Cameron Ralston (electric and upright bass), Brian Wolfe (drums) Daniel Clarke (organ, piano, and keys), and producer Trey Pollard, who would arrange strings, horns, piano and Rhodes to give the album a depth in sound Nadia had always imagined. “As an artist, progression is key. I want to always be changing, pushing boundaries, to feel growth. It’s good for us,” Reid says.

                                                                                                                                                                            “Out of My Province is definitely a travelling album; they are road songs,” tells Nadia, written during a period of intensive touring following the release of her critically acclaimed LP, Preservation. “I felt inspired while I was moving and playing most nights. Sometimes good. Sometimes hard – there was this term I came up with called ‘digging for gold’ where some nights, you’d need to dig deeper for that feeling. During that time I felt really alive and useful.”

                                                                                                                                                                            Completed back home in her hometown of Dunedin, first single “Best Thing” is a "song is about relationships, childhood and nostalgia. It is about intimate love and about the love between a mother and a daughter." The video was directed by Charlotte Evans and shot on film in locations around her neighbourhood including Tunnel Beach, the Railway Station and Botanic Gardens, starting at 6 AM in wintertime. "Dunedin is full of places that will flaw you with its natural beauty." reveals Reid, whose new songs act like postcards back to Port Chalmers.

                                                                                                                                                                            The album takes its title from an interview with one of Nadia’s favourite New Zealand authors, the late Janet Frame, in which the interviewer asks if she has considered the supposition that she is one of the greatest writers of the twentieth century, to which Frame uncomfortably replies, "That question doesn't reach me. It's out of my province." Explains Nadia, “I was so moved by her response for some reason. I am enamoured by her books. I can re-read them at any time and take such comfort from them. So ever since... out of my province. That phrase has never left me.”


                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                            01. All Of My Love
                                                                                                                                                                            02. High & Lonely
                                                                                                                                                                            03. Oh Canada
                                                                                                                                                                            04. Heart To Ride
                                                                                                                                                                            05. Other Side Of The Wheel
                                                                                                                                                                            06. Best Thing
                                                                                                                                                                            07. I Don’t Wanna Take Anything From You
                                                                                                                                                                            08. The Future
                                                                                                                                                                            09. Who Is Protecting Me
                                                                                                                                                                            10. Get The Devil Out

                                                                                                                                                                            Juniore

                                                                                                                                                                            Un Deux Trois

                                                                                                                                                                              The “yéyé noir” of Juniore has always been rooted in the cinematic as much as the musical. The Paris outfit’s blending of 1960s French pop, hazy psychedelia, seamless pop, surf grooves and lush orchestration feels as intertwined with big screen aesthetics as greatly as it does being found in the grooves of vinyl. So it makes perfect sense that the band would sooner or later find themselves appearing on more film and TV soundtracks, including the universally lauded drama Killing Eve.

                                                                                                                                                                              It marks a period of continuous upward trajectory and forward momentum for the band who, since the release of their acclaimed 2018 album Magnifique, have been exposed to more people all over the world via stages and screens. From playing huge venues to thousands of people opening for the likes of the Dandy Warhols, to “corners of dive bars with duct tape holding the stage together” the band have been solidifying their sound, approach and relationship by playing extensively. “We’ve become more connected and better musicians,” Says the band’s songwriter and singer Anna-Jean. “I think the new songs are full of that wonderful conversation we have with each other on stage.”

                                                                                                                                                                              It’s this sense of deeper understanding that the band have reached between one another that has allowed them to record an album that sounds as natural, graceful and seamless as this one. “We are now even more who we are than before,” she says of their musical and personal bonding. “And yet we still don’t really know who we'll become next. I know it sounds absurd but it's a very nice feeling.” It’s a feeling that is mirrored in the music too. There is a sense of familiarity, a retro pop flourish – filled with infectious rolling bass lines, razor-sharp guitar lines, dense atmospheres and immersive melodies – yet predicting where the album will go remains a constant impossibility.

                                                                                                                                                                              The album’s title Un, Deux, Trois is another nod to the tight unit of the group. Swanny Elzingre and Samy Osta make up the trio, with the former on drums and the latter sharing guitar and keys along with Anna-Jean. It was in Samy’s cosy Paris studio that the album was recorded. The finished tone of the album - recorded often live to a 16 track - sounds like an amalgamation of their favourite French 60's muses like Françoise Hardy, Brigitte Bardot and Anna Karina with the new wave spark of Devo and the B-52's. While that cross-pollination between sultry, sophisticated pop and good-time energy and vibrancy is certainly present, there’s also a wealth of other touching points that underpin the record. So much so that Anna-Jean says of the themes that run through the album: “It’s a mix of everything we have loved and watched and felt in the last few years. It's like a laboratory of feelings – not really my or our feelings but more universal feelings and emotions – it's like a nonsensical Frankenstein’s laboratory."

                                                                                                                                                                              However, as fun as this record is, much like its predecessor, there's an underlying lyrical message that remains a key part of the band’s identity as they push forward equality-based principles. “It's the same as we've been trying to state since the beginning,” Anna-Jean suggests. “The importance of being independent, of counterculture, humour and poetry. Of not taking ourselves seriously but being very serious about it and fighting against sexism, ageism, racism, consumerism – all the worthwhile fights.”


                                                                                                                                                                              TRACK LISTING

                                                                                                                                                                              A.
                                                                                                                                                                              Soudain
                                                                                                                                                                              Grave
                                                                                                                                                                              Drôle D’histoire
                                                                                                                                                                              En Solitaire
                                                                                                                                                                              Walili

                                                                                                                                                                              B.
                                                                                                                                                                              La Vérité Nue
                                                                                                                                                                              Bizarre
                                                                                                                                                                              Tu Mens
                                                                                                                                                                              Que La Nuit
                                                                                                                                                                              Ah Bah D’accord
                                                                                                                                                                              Adolescent

                                                                                                                                                                              7” Dinked Only Vinyl
                                                                                                                                                                              A. Tes Cheveux
                                                                                                                                                                              B. Un Jour Ou L’autre

                                                                                                                                                                              'Dark Matter’ is a landmark record, a producer album by a young auteur, threading several thrilling musical traditions into a bold new tapestry: the raw energy of grime and afrobeats and the rolling club rhythms of the London underground, combined with the freewheeling creativity and collaborative spirit of his jazz training. With that mentality in mind, it’s no surprise that his talents have trickled over into fashion, producing original compositions for the Louis Vuitton Foundation x MoMa Archive film (2017) and most recently scoring the Men's Dunhill Paris Fashion shows in both 2018 and 2019.

                                                                                                                                                                              A double MOBO & Jazz FM Award winner, Boyd’s live and studio collaborations have been as varied as they have been prolific, from touring with Sampha & Kelsey Lu, to drumming on Sons of Kemet’s Mercury-nominated album, to his recent collaboration with South African Gqom king DJ Lag, which made its way onto Beyonce’s official soundtrack for The Lion King. He produced Zara McFarlane 's 2017 full-length, Arise, in its entirety, for Gilles Peterson’s Brownswood label, and released several acclaimed solo projects though his Exodus record label. Boyd has produced original scores for major Paris fashion shows, and with saxophonist Binker Golding, he’s co-leader and co-producer of the ferocious semi-free group Binker and Moses.

                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                              says: Sitting at the heart of the British Nu-Jazz scene, Moses Boyd steps forward to bring us ‘Dark Matter’. An upbeat album with amazing depth and complexity, featuring the likes of Nathaniel Cross, Joe Armon Jones, Theon Jones, Nubya Garcia and Ife Ogunjobe.

                                                                                                                                                                              TRACK LISTING

                                                                                                                                                                              A.
                                                                                                                                                                              Stranger Than Fiction
                                                                                                                                                                              Hard Food Interlude
                                                                                                                                                                              B.T.B

                                                                                                                                                                              B.
                                                                                                                                                                              Y.O.Y.O
                                                                                                                                                                              Shades Of You (ft. Poppy Ajudha)

                                                                                                                                                                              C.
                                                                                                                                                                              Dancing In The Dark (ft. Obongjayar)
                                                                                                                                                                              Only You
                                                                                                                                                                              2 Far Gone (ft. Joe Armon Jones)

                                                                                                                                                                              D.
                                                                                                                                                                              Nommos Descent (ft. Nonku Phiri)
                                                                                                                                                                              What Now?

                                                                                                                                                                              English songsmith Douglas Dare returns with his third and most stripped back studio album to date, "Milkteeth". Produced by Mike Lindsay - founding member of Tunng and one half of LUMP with Laura Marling - in his studio in Margate in just twelve days, "Milkteeth" sees Douglas become confident and comfortable enough with his own identity to reflect on both the joys and pains of youth. In doing so, he has established himself as a serious 21st century singer-songwriter with an enduring lyrical poise and elegant minimalist sound.

                                                                                                                                                                              Douglas Dare grew up on a farm as the youngest member of a large extended family, where he was often found in his own private world, dancing in his mother’s pink ballet dress. 'Only now do I feel free to express my inner child again, and am giving myself permission to play dress up,' says Dare of Milkteeth’s cover shot, in which he wears soft makeup and is draped with layers of white linen, acting the part of a Greek muse. 'I never felt like I fit in. I was different, odd. I wanted to dance and sing and dress up and on a small farm in rural Dorset that really stuck out.'

                                                                                                                                                                              Where previously he has been known as a piano player, for "Milkteeth" Dare picked up a new instrument, the autoharp, and as soon as he sat down with it, songs poured out – he wrote the album’s first single "Silly Games", in under an hour. 'Instinctual feelings about childhood and innocence were the catalyst,' he explains. 'Then with the autoharp, it all just clicked – I could see the album laid out ahead of me.'

                                                                                                                                                                              Dare’s music speaks of his own experiences of universal themes like love, loss, and childhood. Perhaps most importantly, his music gives a voice and a sanctuary to anyone who’s ever felt unusual or out of place. Whether he’s singing of the pain of those in the Magdalene Laundries as on Whelm, describing coming out to his parents on Aforger, or processing his own childhood isolation on Milkteeth, Dare has a graceful honesty and an abiding clarity of vision in his simple and distinctive sound.


                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                              says: Tender ballads of loss and hope, brittle instrumentation and Dare's rich syrupy vocals combine into an atmospherically rich but instrumentally minimalistic suite of heartfelt ballads and hypnotic, swimming bliss.

                                                                                                                                                                              TRACK LISTING

                                                                                                                                                                              1. I Am Free
                                                                                                                                                                              2. Red Arrows
                                                                                                                                                                              3. Heavenly Bodies
                                                                                                                                                                              4. The Piano Room
                                                                                                                                                                              5. Silly Games
                                                                                                                                                                              6. The Joy In Sarah’s Eyes
                                                                                                                                                                              7. The Stairwell
                                                                                                                                                                              8. Whereever You Are
                                                                                                                                                                              9. The Window
                                                                                                                                                                              10. The Playground
                                                                                                                                                                              11. Run

                                                                                                                                                                              Low Anthem

                                                                                                                                                                              Oh My God, Charlie Darwin - 10th Anniversary Edition

                                                                                                                                                                                It’s been a decade since Rhode Island’s The Low Anthem released their breakout second LP 'Oh My God, Charlie Darwin'. The album trawled a sombre and indelible beauty from America’s troubled waters, and struck a deep chord with listeners. The band’s 2008 self-released version of the disc spread like wildfire via word-of-mouth audience response, eventually attracting the attention of Bella Union and Nonesuch Records. Oh My God, Charlie Darwin was licensed, remastered, reissued and traveled the globe, sweeping the DIY minded Low Anthem along with it. From the ragtag house show hopping, MySpace friending, bar gigging circuits to the venerated stages of Glastonbury, Lollapalooza, Newport Folk Festival, and the BBC.

                                                                                                                                                                                “At first we were pushing the album out into the world, but then at some point we passed a threshold where the album took over, and started pulling us along on its ride,” the group’s co-founder Ben Knox Miller said. “Suddenly we were trying to keep up with it.”

                                                                                                                                                                                A brief survey of late-2000s American popular culture offers no immediate clue as to why an earnest, and largely acoustic folk-rock album would so dramatically rise up from America’s underground - and perhaps no-one was more surprised by this than the band itself. “We definitely worked hard, and we had a lot of luck, but the response was overwhelming,” Miller observed.


                                                                                                                                                                                TRACK LISTING

                                                                                                                                                                                1. Charlie Darwin
                                                                                                                                                                                2.To Ohio
                                                                                                                                                                                3. Ticket Taker
                                                                                                                                                                                4. The Horizon Is A Beltway
                                                                                                                                                                                5. Home I’ll Never Be
                                                                                                                                                                                6. Cage The Songbird
                                                                                                                                                                                7. (Don’t) Tremble
                                                                                                                                                                                8. Music Box
                                                                                                                                                                                9. Champion Angel
                                                                                                                                                                                10. To The Ghosts Who Write History Books
                                                                                                                                                                                11. OMGCD
                                                                                                                                                                                12. To Ohio (Reprise)

                                                                                                                                                                                Algiers return in 2020 with their third album 'There Is No Year', which will be released January 17th on Matador Records. 'There is No Year' solidifies and expands upon the doom-laden soul of their foundation, toward an even more epic, genre-reformatting sound, one somehow suspended in the amber of “a different era,” as described by guitarist Lee Tesche. 

                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                says: Shouty melancholic rockers Algiers bring us all the feels on their newest outing, 'There Is No Year'. Clearly influenced by the torrid political climes, this rousing and hearty romp is as meaningful as is effecting, a brilliantly written call to arms.

                                                                                                                                                                                TRACK LISTING

                                                                                                                                                                                There Is No Year
                                                                                                                                                                                Disposession
                                                                                                                                                                                Hour Of The Furnaces
                                                                                                                                                                                Losing Is Ours
                                                                                                                                                                                Unoccupied
                                                                                                                                                                                Chaka
                                                                                                                                                                                Wait For The Sound
                                                                                                                                                                                Repeating Night
                                                                                                                                                                                We Can’t Be Found

                                                                                                                                                                                Squirrel Flower - the moniker of Ella O’Connor Williams - announces I Was Born Swimming, her debut album, out January 31st on Full Time Hobby. The album’s title was inspired by Williams’ birth on August 11th 1996 - the hottest day of the year - born still inside a translucent caul sac membrane, surrounded by amniotic fluid. Throughout the 12 songs, landscapes change and relationships shift. The album’s lyrics feel like effortless expressions of exactly the way it feels to change - abstract, determined and hopeful.

                                                                                                                                                                                Squirrel Flower’s music is ethereal and warm, brimming over with emotional depth but with a steely eyed bite and confidence in it's destination. The band on I Was Born Swimming plays with delicate intention, keeping the arrangements natural and light while Williams' lead guitar is often fiercely untethered. The album was tracked live, with few overdubs, at The Rare Book Room Studio in New York City with producer Gabe Wax (Adrienne Lenker, Palehound, Cass McCombs). The musicians were selected by Wax and folded themselves into the songs effortlessly. At the heart of the album lives Williams’ haunting voice and melancholic, soulful guitar.

                                                                                                                                                                                The sounds expand and contract over diverse moods, cutting loose on the heavier riffs of 'Red Shoulder'. "'Red Shoulder’ is a song about destabilisation and dissociation,” explains Williams. “Something soft and tender becomes warped and sinister, turning into sensory overload and confusion. How can something so lovely turn painful and claustrophobic? The song ends with a heavy and visceral guitar solo, attempting to reground what went awry."

                                                                                                                                                                                Williams comes from a deep-rooted musical family tree. Her grandparents were classical musicians who lived in the Gate Hill Co-op, an artistic cooperative from upstate New York that grew out of Black Mountain College. Ella’s father, Jesse Williams, spent most of his life as a touring jazz and blues performer and educator, and lends his bass playing to the album. Growing up in a family of hard working musicians fostered a love of music and started Williams down her own musical path. As a child, Williams adopted the alter ego of Squirrel Flower. A couple years later, she began singing with the Boston Children’s Chorus while studying music theory and teaching herself to play the guitar. As a teen, she discovered the Boston DIY and folk music scenes and began writing, recording, and performing her own songs, now returning to Squirrel Flower as her stage name.

                                                                                                                                                                                Sheer determination and belief quickly saw her make a name for herself in this newly discovered scene. Doing everything from making videos and artwork to the production of her music herself she recorded two EP's and began touring, appearing on bills with the likes of Moses Sumney, Lucy Dacus, Frankie Cosmos, Jay Som, Julien Baker, Soccer Mommy and Big Thief. During this time the signature artful songcraft heard on I Was Born Swimming was formed.

                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                says: At a superb midpoint between dreamy psychedelia, soaring Americana and more percussive, anthemic rock numbers, 'I Was Born Swimming' displays the wide breadth of influences that Williams has woven through her sound. The more meditative pieces are beautifully offset with driving, southern rock and screaming, guitar-heavy heft.

                                                                                                                                                                                TRACK LISTING

                                                                                                                                                                                1. I-80
                                                                                                                                                                                2. Red Shoulder
                                                                                                                                                                                3. Slapback
                                                                                                                                                                                4. Eight Hours
                                                                                                                                                                                5. Headlights
                                                                                                                                                                                6. Honey, Oh Honey!
                                                                                                                                                                                7. Seasonal Affective Disorder
                                                                                                                                                                                8. Home
                                                                                                                                                                                9. Streetlight Blues
                                                                                                                                                                                10. Rush
                                                                                                                                                                                11. Belly Of The City
                                                                                                                                                                                12. I Was Born Swimming

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

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

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

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

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

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

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

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

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

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


                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                says: Smoke Fairies follow up 2015's 'Wild Winter' with this chunky, grunge-tinged opus. Swimming guitars and those unmistakable vocals soar over a groove-led background, showing influence from both gothic rock and 70's progressive, 'Darness Brings The Wonders Home' does exactly that, and with aplomb.

                                                                                                                                                                                TRACK LISTING

                                                                                                                                                                                1. On The Wing
                                                                                                                                                                                2. Elevator
                                                                                                                                                                                3. Disconnect
                                                                                                                                                                                4. Coffee Shop Blues
                                                                                                                                                                                5. Left To Roll
                                                                                                                                                                                6. Out Of The Woods
                                                                                                                                                                                7. Chocolate Rabbit
                                                                                                                                                                                8. Chew Your Bones
                                                                                                                                                                                9. Don't You Want To Spiral Out Of Control?
                                                                                                                                                                                10. Super Tremolo

                                                                                                                                                                                Jeffrey Lewis & Voltage

                                                                                                                                                                                Bad Wiring

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

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

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

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


                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                  says: With one eye on a mind-bogglingly huge range of genre influences, Lewis manages to craft a sound entirely unlike anything you've hard before. Old school jangly indie sits comfortably alongside punky riffs and Lewis' trademark American twang, giving more than a hint of the attitude and drive of 90's college rock without the pomp and cheese that comes along with it. A singular talent, and possibly his best LP yet.

                                                                                                                                                                                  TRACK LISTING

                                                                                                                                                                                  1. Exactly What Nobody Wanted
                                                                                                                                                                                  2. Except For The Fact That It Isn’t
                                                                                                                                                                                  3. My Girlfriend Doesn’t Worry
                                                                                                                                                                                  4. Depression! Despair!
                                                                                                                                                                                  5. Till Question Marks Are Told
                                                                                                                                                                                  6. LPs
                                                                                                                                                                                  7. Knucklehead/Happy Rain
                                                                                                                                                                                  8. Take It For Granted
                                                                                                                                                                                  9. In Certain Orders
                                                                                                                                                                                  10. Where Is The Machine
                                                                                                                                                                                  11. Dogs Of My Neighborhood
                                                                                                                                                                                  12. Not Supposed To Be Wise

                                                                                                                                                                                  Dinked Edition Exclusive 7”

                                                                                                                                                                                  A. In Certain Orders (acoustic)
                                                                                                                                                                                  B. Not Supposed To Be Wise (acoustic)

                                                                                                                                                                                  Dry Cleaning

                                                                                                                                                                                  Sweet Princess / Boundary Road Snacks And Drinks

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

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


                                                                                                                                                                                    TRACK LISTING

                                                                                                                                                                                    Side A
                                                                                                                                                                                    1/ Dog Proposal
                                                                                                                                                                                    2/ Viking Hair
                                                                                                                                                                                    3/ Spoils
                                                                                                                                                                                    4/ Jam After School
                                                                                                                                                                                    5/ Sombre One
                                                                                                                                                                                    6/ Sit Down Meal

                                                                                                                                                                                    Side B
                                                                                                                                                                                    1/ Goodnight
                                                                                                                                                                                    2/ New Job
                                                                                                                                                                                    3/ Magic Of Meghan
                                                                                                                                                                                    4/ Traditional Fish
                                                                                                                                                                                    5/ Phone Scam
                                                                                                                                                                                    6/ Conversation

                                                                                                                                                                                    Fenella

                                                                                                                                                                                    Fenella

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

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

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

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

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

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

                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                      says: F'in-ell-a, this is good. As you'd expect, a project from Raz, Jane and Peter being anything but wonderful would be a rare day indeed, but this woozy slab of arpy psychedelia is pushing the boundaries. Intricate but easily digested, this rich tapestry of fizzing oscillators and analogue saturation is a gift straight from the white mare's mouth. AT LEAST 250ug of pure joy.

                                                                                                                                                                                      TRACK LISTING

                                                                                                                                                                                      Side A
                                                                                                                                                                                      Slow Swoop
                                                                                                                                                                                      Three Heads Rising
                                                                                                                                                                                      Bright Curse
                                                                                                                                                                                      Occurring In Waves
                                                                                                                                                                                      Triangular Journey
                                                                                                                                                                                      The Seed
                                                                                                                                                                                      Pendulum
                                                                                                                                                                                      Shard Of Glass
                                                                                                                                                                                      Truly Seduced

                                                                                                                                                                                      Side B
                                                                                                                                                                                      The Spectacle
                                                                                                                                                                                      Battle
                                                                                                                                                                                      Echo Chamber Of Your Heart
                                                                                                                                                                                      Strength In Air
                                                                                                                                                                                      Rotation Wells
                                                                                                                                                                                      Gilded Griffin
                                                                                                                                                                                      Transfiguration Into One

                                                                                                                                                                                      Mikal Cronin

                                                                                                                                                                                      Seeker

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

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

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

                                                                                                                                                                                        I needed a change.

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

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

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

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

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



                                                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                                                        says: Superb new album from Ty Segall's Mikal Cronin, encompassing the shredding psych-rock vibe of his parent band but with a definite sound of his own. Tender moments are cut through with a swathe of distorted guitar and Cronin's gravelly vocals. At points, 'Seeker' veers towards country-rock but with a more edgy, saturated edge. A brilliant development for Cronin, and a thrilling journey for us.

                                                                                                                                                                                        TRACK LISTING

                                                                                                                                                                                        Side A
                                                                                                                                                                                        1 Shelter 3:48
                                                                                                                                                                                        2 Show Me 4:50
                                                                                                                                                                                        3 Feel It All 4:58
                                                                                                                                                                                        4 Fire 4:35
                                                                                                                                                                                        5 Sold 3:27
                                                                                                                                                                                        Side B
                                                                                                                                                                                        6 I've Got Reason 3:46
                                                                                                                                                                                        7 Caravan 2:05
                                                                                                                                                                                        8 Guardian Well 5:17
                                                                                                                                                                                        9 Lost A Year 5:07
                                                                                                                                                                                        10 On The Shelf 2:59

                                                                                                                                                                                        Bonus 12" On Dinked Edition:
                                                                                                                                                                                        Side A
                                                                                                                                                                                        Arsonist 17:07
                                                                                                                                                                                        Side B
                                                                                                                                                                                        Tsinosra 17:07

                                                                                                                                                                                        Portico Quartet return with Memory Streams, their fifth studio album and one that continues the journey that first started with 2008's Mercury nominated debut "Knee Deep in the North Sea". It's a creative path that has seen the band embrace new technology and explore ambient and electronic influences alongside minimalism, jazz and beyond. It is a process that has encouraged change. Each album has seen the band expand its palate or explore new trajectories. From the gentle charm of their breakthrough's inimitable mix of jazz, world and minimalist influences, to the tight-knit brilliance of "Isla", the electronic infused eponymous Portico Quartet to 2016's return "Art in the Age of Automation" (the band's most electronic statement to date) they have never been a band to look backwards. Each record has been its own world, its own statement and offered its own meaning. It's the mark of a band that has always both stood apart from any scene and been prepared to challenge its self and find new things to say and to push the limits of what they could do.

                                                                                                                                                                                        It is an approach that has encouraged the band to plough their own furrow. Drummer Duncan Bellamy notes that "For better or worse I think we have always been quite an isolated band. Perhaps that comes from never feeling like we really belonged to or fit in to a scene when we first started making music" While for saxophonist Jack Wyllie " I feel more connected to other musicians these days and those relationships influence the sound we have in some way. But I wouldn't say we feel a part of scene, it still feels quite out on its own, which is cool, because it helps the music feel unique"?

                                                                                                                                                                                        The band's new album, "Memory Streams" is part of the same continuum and yet, as the name hints, there is a sense here of a remembering, shards of past influences, hints of ideas re-forged. For Wyllie, Memory Streams "feels in some ways about the identity of the band, about the records we've made before, and the memory of them" whereas for Bellamy it suggests "a torrent of imagery, accessing and reliving archived memories, perhaps not even your own".

                                                                                                                                                                                        Sonically, the album embraces the classic Portico Quartet sound pallet of drums, saxophone, bass and Hang- Drums, but nonetheless the sound has modulated, become more modern, whilst still channelling the beauty and mystery which has always marked the very best of Portico Quartet's music. It's the sound of a band at ease with its self who after a dozen years of recording and playing together are able to simultaneously explore and embrace their own identity.

                                                                                                                                                                                        "Memory Streams" also marks a return to a more predominantly band orientated sound than "AITAOA" and its partner release, the mini-album "Untitled". Bellamy says "we wanted to create something that had texture, fibre and space to it. Something that felt vivid, real and alive". During recording the band re-amped a lot of the sounds on the record, a process which lends a sense of depth and spaciousness to the sound. Wyllie adds, "We tried to reduce the pallet to what really identified the band and also as a way to help us write - it's not easy if you have unlimited possibilities. But it was also was an interesting challenge as it was about writing something new, that felt like a development, whilst also drawing on the past".

                                                                                                                                                                                        "Memory Streams" opens with "With, Beside, Against" which has an expansive, quietly unfolding quality that makes it the perfect album opener and was also one of the first tracks they wrote for the album. "Signals" is a creeping, mysterious track that captures the spirit of the record. Its hypnotic, rolling quality builds throughout with shades of a classic Portico Quartet tune but with a 'tougher' edge. The outstanding "Gradient" is a more produced piece. Mixing lo-fi and beautifully recorded acoustic parts together it grows from a simple, repeated Hang-Drum motif, outwards into a searching hypnotic crescendo. "Ways of Seeing" is a synthesis of minimalism and more dancefloor-oriented rhythms. A lone pulse from the drum machine cuts through a haze of chiming, swirling Hang-Drums and pads built from shards of looped saxophone. "Memory Palace" is a distant echo of the motif from "Gradient", and is a bare, slow piano piece shrouded in a mist of saxophone noise. The punchy "Offset" is all about motion and tension and Bellamy's drums pound in response. "Dissident Gardens" is an intricate, hypnotic track in 3 parts. Almost prog like in rhythm but has a strong minimalist element to it with Farfisa organs as the repetitive top lines. "Double Helix" begins with string swells, it stops and jolts as if someone is switching TV channels before locking into a deep groove. The beautifully sparse, emotional heft of "Immediately Visible" sits in a powerful lineage of Portico Quartet tracks such as "Line", "Rubidium" and "Beyond Dialogue". It was largely improvised in the studio and offers the perfect ending point for the album with its sense of journey and deep well of feeling. An album that locates their music in an age where we have unfettered access to a vast and ever expanding archive of imagery and ideas, Memory Streams both embraces and builds on Portico Quartet's own unique music and legacy and locates their music firmly in the present.

                                                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                                                        says: ‘Memory Streams’ is a sublime neo-classical, and prominently jazz album. “With, Beside, Against” begins the album in minimalist style creating an earnest tone of reflection. As soon as the rest of ensemble joins in, the music becomes joyous, blossoming into percussion driven highs of emotion reminiscent of their earlier work. The album centres on capturing the memories of their past, Portico Quartet wanted to create something “vivid, real and alive” and I think they’ve just done that with this timeless album. I might be the only one here but when track as beautiful as “Immediately Visible” makes your heart ache a bit, that’s when you know the song is going to stay with you for some time. Similar artists on the Portico’s wavelength are GoGo Penguin, Nils Frahm and Penguin Café. If you are a fan of them, then this is the perfect album for you to end 2019 on a calming and gentle note.

                                                                                                                                                                                        TRACK LISTING

                                                                                                                                                                                        1. With, Beside, Against
                                                                                                                                                                                        2. Signals In The Dusk
                                                                                                                                                                                        3. Gradient
                                                                                                                                                                                        4. Ways Of Seeing
                                                                                                                                                                                        5. Memory Palace
                                                                                                                                                                                        6. Offset
                                                                                                                                                                                        7. Dissident Gardens
                                                                                                                                                                                        8. Double Helix
                                                                                                                                                                                        9. Immediately Visible

                                                                                                                                                                                        Warmduscher

                                                                                                                                                                                        Tainted Lunch

                                                                                                                                                                                          Warmduscher return.

                                                                                                                                                                                          Heavy metals.

                                                                                                                                                                                          Disco Peanuts.

                                                                                                                                                                                          CCTV in the break room.

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

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

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

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

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

                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                          says: Massive, throbby basslines and snappy disco percussion take the lead before giving way into sweaty club grooves and distorted post-punk. Warmduscher succeed just as easily at hypnotic indie-rock as they do anthemic dancefloor tackle. Never a dull moment, and every one as brilliantly done as the last.

                                                                                                                                                                                          TRACK LISTING

                                                                                                                                                                                          A1. Rules Of The Game (feat. Iggy Pop)
                                                                                                                                                                                          A2. Tainted Lunch
                                                                                                                                                                                          A3. Midnight Dipper
                                                                                                                                                                                          A4. Disco Peanuts
                                                                                                                                                                                          A5. Fill It, Don’t Spill It
                                                                                                                                                                                          A6. Burner (feat. Kool Keith)
                                                                                                                                                                                          B1. The Chimp
                                                                                                                                                                                          B2. Precious Things
                                                                                                                                                                                          B3. Grape Face
                                                                                                                                                                                          B4. Dream Lotion
                                                                                                                                                                                          B5. Blood Load
                                                                                                                                                                                          B6. Tiny Letters

                                                                                                                                                                                          Bonus 7”
                                                                                                                                                                                          A. Nelson’s Threads
                                                                                                                                                                                          B. The Pressure

                                                                                                                                                                                          Allah Las have always been fascinated with both the carefree spirit and glitter-in-the-gutter lifestyle of their hometown LA. After three records mining its lore and lure (from the desert to the sea) and having taken their compact California on the road across the world, they couldn’t help but peek through the other end of the telescope.

                                                                                                                                                                                          On their fourth LP, drummer Matt Correia, bassist Spencer Dunham, and guitarists Miles Michaud and Pedrum Siadatian turn their collective gaze outward and toward the horizon. "We’ve been travelling a lot the past couple years and I think that played a role in influencing the broader variety of songs on this record” Correia explains. Simply titled LAHS (a reference to a common misspelling of the band’s name), their forthcoming release on Mexican Summer finds a band at the peak of their powers.


                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                          says: The newest Allah Las outing sees the LA quartet absorb and excel at a dizzying range of influences, exploring everything from classic psychedelic rock, hazy Balearic vibes and 12-bar blues to latin percussion, swooning lounge and of course, their trademark swooning indie. It's a triumph of diversity and thematic consistency, and most of all, bloody good fun.

                                                                                                                                                                                          TRACK LISTING

                                                                                                                                                                                          1. Holding Pattern
                                                                                                                                                                                          2. Keeping Dry
                                                                                                                                                                                          3. In The Air
                                                                                                                                                                                          4. Prazer Em Te Conhecer
                                                                                                                                                                                          5. Roco Ono
                                                                                                                                                                                          6. Star
                                                                                                                                                                                          7. Royal Blues
                                                                                                                                                                                          8. Electricity
                                                                                                                                                                                          9. Light Yearly
                                                                                                                                                                                          10. Polar Onion
                                                                                                                                                                                          11. On Our Way
                                                                                                                                                                                          12. Houston
                                                                                                                                                                                          13. Pleasure 

                                                                                                                                                                                          Comet Gain

                                                                                                                                                                                          Fireraisers, Forever!

                                                                                                                                                                                            Here comes the beat of the broken street…

                                                                                                                                                                                            'Fireraisers' as in those with flames in veins – had enough of the never ending spiral of stupidity and hate and greed and religious/political hypocrisy– the inexorable rise of the moron mind and those sleepwalking in their lazy hives letting THEM do this to US... a modern rite to burn away all this to the ground and see what nice flowers rise up from the ground… we imagine an army of disenchanted, beaten down kids becoming modern anarchist magicians drawing dumb sgylls of dada retribution ... 'if we all spit together we can drown the bastards'.

                                                                                                                                                                                            The last LP was a gentler, inner, melancholic hug at 2 am and perhaps we would’ve continued to go down a sweeter road but the state of the world has meant we were compelled to turn the fuzz up and make something more brutal and instant. In defiance to our last LP – now it’s late night sadness turns to the angry morning. First take beats ethics. Two weeks of late afternoon 45s listening parties with The Rationals/Nerves/Messthetics/Back From The Grave garage/Fading Yellow comps/The Jam/Dead Moon – whatever had the urge. Trying to figure out how Rufus Thomas would sound if he joined the Swell Maps … condensing it all mixing and absorbing then forgetting it all and propelling the psychic mix tape into an albums worth of angry pop drops and slow howls.

                                                                                                                                                                                            Recorded in a living room in North London with James Hoare (The Proper Ornaments/Ultimate Painting) with the help of Joseph Harvey-Whyte (Hanging Stars) pedal steeliest. Then turned into the record it is by drummer/producer M.J. Taylor who also produced our LP 'Realistes' – the closest cousin to this one ... songs about the evil greedy mirage of world religion, Victor Jara and those poets and teachers killed for believing in love and words, about the forgotten who are blamed for everything and can't rise up from their knees to fight back, about the high street Kali-Yuga, occult terrorists with low IQ but high ESP, about the Godfrey Brothers, about Lou Reed’s mourning dog on a road trip trying to bury his masters mullet somewhere in the desert, about those stuck in the glory days of their past myopic of the present and all the other usual losers and romantics we always bang on about – with added melody and stomp … giving no real answers but pointing fingers and prodding you in the back ... in defiance of just staying silent and letting the morons win.

                                                                                                                                                                                            So Comet Gain is still alive longer than we should – still trying to be a collective and an idea emerging every now and then with the same grumpy erratic sounds – this one’s louder than the last one but sometimes maybe quieter. It’s made from an amazement that the hate mind is winning and we're not doing anything about it – we're still voting for these bozos and not burning the whole ugly facade to the ground. And it’s filled with love and rage. And its about 40 minutes long which is always a good thing.


                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: Clashing, snarling punky guitars and peaking percussion meets sleazy alt-rock before pulling things back for gorgeous swooning slide guitar and brittle acoustic ballads. Comet Gain are pushing things rapidly forwards while still retaining their post-punk roots and superb melodic sensibilities. Brilliant stuff.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            A1 We're All Fucking Morons
                                                                                                                                                                                            A2 The Girl With The Melted Mind And Her Fear Of The Open Door
                                                                                                                                                                                            A3 Bad Nite At The Mustache
                                                                                                                                                                                            A4 Society Of Inner Nothing
                                                                                                                                                                                            A5 Victor Jara, Finally Found!
                                                                                                                                                                                            A6 The Godfrey Brothers

                                                                                                                                                                                            B1 Your Life On Your Knees
                                                                                                                                                                                            B2 Mid 8Ts
                                                                                                                                                                                            B3 The Institute Debased
                                                                                                                                                                                            B4 Her 33rd Perfect Goodbye
                                                                                                                                                                                            B5 Werewolf Jacket
                                                                                                                                                                                            B6 I Can't Live Here Anymore

                                                                                                                                                                                            EXCLUSIVE DINKED 7“ BONUS SINGLE:
                                                                                                                                                                                            C1 Chain Smokin'
                                                                                                                                                                                            D1 Even This Could Be Beautiful

                                                                                                                                                                                            Stars Are the Light, the luminous seventh album by the American psych explorers Moon Duo, marks a progression into significantly new territory. From a preoccupation with the transcendental and occult that informed Ripley Johnson and Sanae Yamada’s guitar-driven psych rock, and reached its apotheosis in the acclaimed Occult Architecture diptych, Stars Are the Light sees the band synthesize the abstract and metaphysical with the embodied and terrestrial.

                                                                                                                                                                                            Branching out from Occult Architecture Vol. 2, the album has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. These are songs about embodied human experience — love, change, misunderstanding, internal struggle, joy, misery, alienation, discord, harmony, celebration — rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos.

                                                                                                                                                                                            Taking disco as its groove-oriented departure point, Stars Are the Light shimmers with elements of ’70s funk and ’90s rave. Johnson’s signature guitar sound is at its most languid and refined, while Yamada’s synths and oneiric vocals are foregrounded to create a spacious percussiveness that invites the body to move with its mesmeric rhythms. With Sonic Boom (Spacemen 3, Spectrum) at the mixing desk in Portugal’s Serra de Sintra, (known to the Romans as “The Mountains of the Moon”) the area’s lush landscape and powerful lunar energies exerted a strong influence on the vibe and sonic texture of the album.

                                                                                                                                                                                            On embracing disco as an inspiration, Yamada says, “It’s something we hadn’t referenced in our music before, but its core concepts really align with what we were circling around as we made the album. Disco is dance music, first and foremost, and we were digging our way into the idea of this endless dance of bodies in nature. We were also very inspired by the space and community of a disco – a space of free self-expression through dance, fashion, and mode of being; where everyone was welcome, diversity was celebrated, and identity could be fluid; where the life force that animates each of us differently could flower.”

                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: Formed in 2009 by Wooden Shjips' main man Ripley Johnson and his wife Sanae Yamada, Moon Duo had been chugging along quite nicely until 2017's two records in a month opus (‘Occult Architecture’ Volumes 1 and 2) signalled a slight detour, but here we are a further two years hence at a veritable fork in the road. Moon Duo now groove! Not rockin' grooves like Hawkwind of old (very cool still, obviously), but proper, disco and funk inspired, pitter-pattering grooves like Peaking Lights. Helped in no small part by Spacemen 3's Sonic Boom, a lot of the sounds here do actually recall the late 90s UK post rave scene in their blissed out, bubbling buoyancy and hippie, repetitive, lose yourself in nature vibes. This record glides! Synths are further to the fore but Ripley's ever evolving infinite ether guitar flickers and dances around them to maximum effect. Apart from one throbbing song which is a throwback to their previous records (“Eye 2 Eye”) this albums glows with a kind of contained euphoria, languid and laid back, looping and luscious. The beats here are never obtrusive, it still sounds exactly like them, but them that's swapped pot for ecstasy, a couch for a field! There has been the sneaking suspicion, of late, that Ripley Johnson was squirelling his better songs away to this, his so-called band on the side, and now, finally, with ‘Stars Are The Light’, the proof is in the pudding; he does! It's a majestic record.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            Flying
                                                                                                                                                                                            Stars Are The Light
                                                                                                                                                                                            Fall (In Your Love)
                                                                                                                                                                                            The World And The Sun
                                                                                                                                                                                            Lost Heads
                                                                                                                                                                                            Eternal Shore
                                                                                                                                                                                            Eye 2 Eye
                                                                                                                                                                                            Fever Night

                                                                                                                                                                                            Highly anticipated second album, 1.5 years after their critically acclaimed debut LP. Featuring members of the now-defunct band The Drones. RIYL: King Gizzard and the Lizard Wizard, Nick Cave, The Slits, Protomartyr, The Drones, Gang of Four, IDLES.

                                                                                                                                                                                            “I've invented fake news as a genre of music,” Gareth Liddiard observes with a laugh. He's talking about “Maria 63”, the closing track on Tropical Fuck Storm's sophomore LP ‘Braindrops’. The song takes aim at the once-marginalized alt-right conspiracy theories that now seem to be a driving force behind the rise of fascism in global politics. “It may be the most stupid song ever written,” Liddiard jokes. He's wrong, “Maria 63” is emblematic of Tropical Fuck Storm's keen ability to mine the extreme edge of pop culture's periphery for potent musical and conceptual spice.

                                                                                                                                                                                            Tropical Fuck Storm were formed around 2017 in the city of Melbourne, Victoria along Australia's south-eastern coast. The band released their debut long-player A Laughing Death in Meatspace on Joyful Noise Recordings in 2018. Each of the band's four members bring considerable experience to the group. Liddiard and Fiona Kitschin were part of the long-running and critically-acclaimed act The Drones, while Erica Dunn and Lauren Hammel have performed in a variety of well-received projects. Perhaps it's that wealth of rock and roll experience that allows Tropical Fuck Storm to so expertly deconstruct and distort the genre's norms.

                                                                                                                                                                                            “Everything we do, we try to do it in a weird way. The whole album is full of weird beats, and just weird shit everywhere,” Liddiard explains. He cites Doc at the Radar Station-era Captain Beefheart as a key sonic touchstone, and Braindrops certainly shares the Captain's penchant for pounding abstract grooves. Tropical Fuck Storm have achieved a uniquely off-kilter sound on Braindrops Liddiard partly credits this to the group's use of unconventional equipment, “We use lots of techno gear to make rock and roll because rock and roll gear is boring, and all sounds like Led Zeppelin.”

                                                                                                                                                                                            Liddiard's own description of Tropical Fuck Storm's sound is nearly as interesting and evocative as the music itself. He describes the LP's title track as “Fela Kuti in a car crash,” and talks of creating a sonic atmosphere that “sounds like chloroform smells” for “Maria 62”. A recurring theme on Braindrops concerns the various ways the human brain can be manipulated and controlled for exploitative gain. The bracing “The Planet of Straw Men” is a study of human behavior inside the social media comments section, a place where otherwise reasonable people are seen gleefully engaging in psychotic chest-thumping rhetoric. Listening to Braindrops is a jarring and exhilarating experience, full of pulsating grooves, dissonant experimentation, and unsettling dystopian plot-lines. Braindrops is an unrelenting work, from an unrelenting musical ensemble. “Tropical Fuck Storm is a full on thing,” Liddiard offers. “Everything we do, we do it to death.”

                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: A completely nuts, clashing collection of fragmented melodies and post-punk spirit, encompassing psychedelic freeform, spoken word vitriol and arty noise into a confounding but strangely addictive listen.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            1. Paradise
                                                                                                                                                                                            2. The Planet Of Straw Men
                                                                                                                                                                                            3. Who’s My Eugene?
                                                                                                                                                                                            4. The Happiest Guy Around
                                                                                                                                                                                            5. Maria 62
                                                                                                                                                                                            6. Braindrops
                                                                                                                                                                                            7. Aspirin
                                                                                                                                                                                            8. Desert Sands Of Venus
                                                                                                                                                                                            9. Maria 63

                                                                                                                                                                                            Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat?

                                                                                                                                                                                            Since that time, Here Lies Man has expanded and expounded upon their sound and ideas of heavy riff rock and psych within the ancient rhythmic formula of the clave. The L.A. based band comprised of Antibalas members have toured relentlessly over the past 2 years, while also releasing a second album, You Will Know Nothing and an EP, Animal Noises, both in 2018.

                                                                                                                                                                                            No Ground to Walk Upon is their third album, and continues with an ongoing concept of HLM playing the soundtrack to an imaginary movie, with each song being a scene. The lead single “Clad in Silver” is the soundtrack snippet of a journey to the imaginary place called home, which can never be arrived at. With every step, the character imagines getting closer, but it is a hallucination that fades in and out of perception.

                                                                                                                                                                                            Their debut album Here Lies Man was very well reviewed and featured in loads of end of year polls. BBC 6 & Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. 2018’s You Will Know Nothing furthered the band’s reputation for genre-smashing rhythmic experimentation, topping many year-end lists as well as earning features from countless metal and indie rock outlets, plus cover stories in weekly papers. No Ground to Walk Upon is the next step in the band’s rapid ascent to what is bound to be influential upon riff based rock.

                                                                                                                                                                                            “We’re very conscious of how the rhythms service the riffs,” explains founder and vocalist/guitarist/multi-instrumentalist Marcos Garcia (who also plays guitar in Antibalas) of the band’s sound. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”

                                                                                                                                                                                            No Ground To Walk Upon also includes an interesting conceptual mathematics to the entire proceedings, a theme begun on the prior album. “There are interludes between each song that are 2/3 to 3/4 of the tempo of the previous song,” Garcia says. “The reason it breaks down to 2 over 3 or 3 over 4 is that everything in the music rhythmically corresponds to a set of mathematical algorithms known as the clave. The clave is an ancient organizing rhythmic principle developed in Africa.”

                                                                                                                                                                                            Garcia and cofounder/drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) recorded the album much like they did their previous releases, at their own L.A. studio on a Tascam 388 8-track tape machine. Additional layers were recorded with former Antibalas keyboardist Victor Axelrod and other contributors in various other locations, all while the band continued its rigorous touring schedule. 


                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: it's pretty impossible not to nod your head along to Here Lies Man, as alluring as the best funk and the most playful rock groove all mixed into one package. Fiery distorted guitar, rhythmic syncopation and hazy, chunky riffage. The Perfect combination.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            1. Clad In Silver
                                                                                                                                                                                            2. Swinging From Trees
                                                                                                                                                                                            3. Long Legs (Look Away)
                                                                                                                                                                                            4. Washing Bones
                                                                                                                                                                                            5. Get Ahold Of Yourself
                                                                                                                                                                                            6. Iron Rattles
                                                                                                                                                                                            7. Man Falls Down

                                                                                                                                                                                            "Kindness returns with their third full length album titled “Something Like A War”. The album is a culmination of years spent collaborating with the likes of Robyn, Jazmine Sullivan, Seinabo Sey and Cosima among many others. Produced entirely by Bainbridge, the record is a collection of works representing a period of reflection and transformation over the course of 4 years following their second record “Otherness.” Now based in London, the album was recorded in several locations, while Kindness was primarily based in New York during the writing and recording of the album. "

                                                                                                                                                                                            Kindness, who uses they/them pronouns, has remained busy since Otherness, working across several projects: they co-produced five tracks on Solange’s album A Seat at the Table, and contributed production, writing, and vocals to Blood Orange’s Freetown Sound and Negro Swan albums in addition to production on Robyn's latest album Honey. A sought-after DJ, radio host, writer, collaborator, and lecturer on everything from musical craft and heritage to queerness and history, they’ve spent the last several years performing as a DJ at venues across the world, from Palais de Tokyo to the Guggenheim Museum, hosted their own radio show on Red Bull Radio in 2016 and 2017, lectured at the Boiler Room in New Delhi and moderated Robyn’s Red Bull Music Academy lecture at MOMA in New York. They were recently featured in Solange’s Calvin Klein advertisement, shot by Willy Vanderperre, alongside friends Dev Hynes, Kelela and Caroline Polachek.


                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: Adam Bainbridge continues to hone their sensitive, sensual and subtle blend of synth, soul, house and disco-not-disco on this ace third LP, which features collaborations with the likes of Sampha and Robyn. Post modern pop with plenty of heart.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            1. Sibambaneni
                                                                                                                                                                                            2. Raise Up
                                                                                                                                                                                            3. Lost Without (ft. Seinabo Sey)
                                                                                                                                                                                            4. Softness As A Weapon
                                                                                                                                                                                            5. Hard To Believe (Feat Jazmine Sullivan & Sampha)
                                                                                                                                                                                            6. Who You Give Your Heart To (feat Alexandria)
                                                                                                                                                                                            7. Samthing’s Interlude
                                                                                                                                                                                            8. Dreams Fall
                                                                                                                                                                                            9. The Warning (feat Robyn)
                                                                                                                                                                                            10. Cry Everything
                                                                                                                                                                                            11. No New Lies (feat Cosmia)
                                                                                                                                                                                            12. Something Like A War (feat. Bahamadia)
                                                                                                                                                                                            13. Call It Down (feat, Cosima & Nadia Nair)

                                                                                                                                                                                            “In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep.

                                                                                                                                                                                            Animated Violence Mild was written throughout 2018, at Blanck Mass’ studio outside of Edinburgh. These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief - the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it. 

                                                                                                                                                                                            I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated - brought to life by humankind. Violent - insurmountable and wild beyond our control. Mild - delicious.
                                                                                                                                                                                            This is perhaps the most concise body of work I have written to date. Having worked extensively throughout my musical life with dramatics, narrative, and ‘melody against all odds’, these tracks are the most direct and honest yet. The level of articulation in these tracks surpasses anything I have utilized before.”
                                                                                                                                                                                            - Benjamin John Power.

                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: Huge lurching arpeggios and cavernous percussion snaps glitch their way around a solid core of 16-bit reductions and skittering vocal shards. Drawing a flawless line between game soundtracks, rawkous EDM and the slowly building electronics of dancefloor trance or the incremental atmospheric accentuation of 70's prog. Indescribably mad, but thoroughly addictive.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            1. Intro
                                                                                                                                                                                            2. Death Drop
                                                                                                                                                                                            3. House Vs. House
                                                                                                                                                                                            4. Hush Money
                                                                                                                                                                                            5. Love Is A Parasite
                                                                                                                                                                                            6. Creature/West Fuqua
                                                                                                                                                                                            7. No Dice
                                                                                                                                                                                            8. Wings Of Hate

                                                                                                                                                                                            New York’s B Boys (Andrew Kerr, Brendon Avalos, Britton Walker) find inspiration in the chaos that surrounds them: the aggressive attitude and sonic lawlessness of the city they live, work, and breathe in every day. Their raw, yet meticulous style is characterized by rhythmic complexity, commanding riffs, and introspective lyrics that are as playful and self-aware as they are cutting.

                                                                                                                                                                                            Across two acclaimed releases on Captured Tracks—2016’s No Worry No Mind EP and 2017’s debut full-length Dada—B Boys explore solitude and self-reflection through sharp, high-energy shouts and melodic mediations. Now, the sprightly sarcasm and acerbic commentary continues on the band’s highly anticipated sophomore LP, Dudu. Recorded by Gabe Wax (Deerhunter, Ought, Crumb) at Outlier Inn, and mixed by Andy Chugg (Pill, Pop. 1280, Bambara).  

                                                                                                                                                                                            Influenced by The Clash, Wire, and Talking Heads, Dudu finds B Boys picking up where they left off, pondering quotidien grievances while examining the bigger picture. On tracks like “Cognitive Dissonance” and “Automation,” subtle tensions meet agonizing pressure that softly build, then explode. “I Want,” featuring Pill’s Veronica Torres, is a bright, feel-good critique of capitalism and greed.

                                                                                                                                                                                            There’s a lot of noise in the world, but what are we actually saying? On Dudu, B Boys take time to laugh, scream and chant their way through the absurdity of it all.

                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: Of course they're from New York. That fuzzy post-punk sound, that whispered but somehow screaming vocal affectation and their hugely listenable but ferocious execution of a uniquely east coast punk snarl. B Boys, everyone, showing how it's done.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            1. Cognitive Dissonance
                                                                                                                                                                                            2. Pressure Inside
                                                                                                                                                                                            3. Closer
                                                                                                                                                                                            4. Automation
                                                                                                                                                                                            5. Ceremonies Of Waste
                                                                                                                                                                                            6. Instant Pace
                                                                                                                                                                                            7. No
                                                                                                                                                                                            8. Another Anthem
                                                                                                                                                                                            9. I Want
                                                                                                                                                                                            10. On Repeat
                                                                                                                                                                                            11. Smoke You
                                                                                                                                                                                            12. Can't Stand It
                                                                                                                                                                                            13. Asleep/Awake
                                                                                                                                                                                            14. Taste For Trash
                                                                                                                                                                                            15. Dudu

                                                                                                                                                                                            Tycho are the Grammy nominated electronic music project led by Scott Hansen as primary composer, songwriter and producer. Their fifth studio album “Weather” is an exciting progression from their previous output, with most of the new tracks being vocal lead, while still retaining the signature Tycho sound. The sonic shift has been enhanced by the collaboration with exciting new vocalist Saint Sinner, who will be joining the live band following their time in the studio. 

                                                                                                                                                                                            Tycho have been remixed by the likes of Kaitlyn Aurelia Smith and Bibio and in turn, have done remixes for Little Dragon, Maggie Rogers and ODESZA.  Recommended if you like… Boards of Canada, Bibio, Bonobo, Jon Hopkins, Mark Pritchard, Com Truise, Ulrich Schnauss etc. 


                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: Staying true to the euphoric hazy electronica they've become known for, but adding in a sizeable amount of near-whispered vocal parts brings echoes of classic downtempo and more modern dancefloor moments make this the most varied and rewarding Tycho album to date.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            Side A
                                                                                                                                                                                            Easy
                                                                                                                                                                                            Pink & Blue
                                                                                                                                                                                            Japan
                                                                                                                                                                                            Into The Woods

                                                                                                                                                                                            Side B
                                                                                                                                                                                            Skate
                                                                                                                                                                                            For How Long
                                                                                                                                                                                            No Stress
                                                                                                                                                                                            Weather

                                                                                                                                                                                            This is the debut album by electronic producer BABii, co-produced by Adrian Sherwood (On-U-Sound system). BABii produces incredibly forward thinking electro tinged pop/R&B which features skittering beats and incredibly thick, layered synths with heavy bass with a semi industrial feel to them. The lyrics are dark yet the vocals are sweet. Despite its incredible pop hooks the whole LP drips with an undercurrent of darkness.

                                                                                                                                                                                            BABii wowed SXSW this year playing 8 shows in 7 days and being compared to everyone from Grimes to FKA Twigs and while those comparisons give you a jumping off point they also feel lazy as BABii definitely inhabits her own unique world and Death Waltz Originals are very excited to give you your first dive into it.

                                                                                                                                                                                            “What sets the BABii project apart – the album, the aesthetic, the sonics and the GLOO community – is the uniform attention to detail; the pursuit for perfection, even when the tools to achieve it aren’t automatically to hand.” Loud & Quiet.

                                                                                                                                                                                            “We're swept into BABii's glitzy lair, where the beat is in our bones, the perfectly pitched chimes have infested in our mind, and there's no going back.” The 405.

                                                                                                                                                                                            “It's a sumptuously textured slice of electro-pop, with glimmers of pre-Art Angels (pre-Elon) Grimes in its measured introductory notes and fairy-like vocal” Line of Best Fit.

                                                                                                                                                                                            “These clandestine sessions yielded a thrilling thing: weaving urban electronica and cool, wafting vocals that veer between sombre and sweet.” Aesthetica Magazin.

                                                                                                                                                                                            “Startling, wholly unique electronic pop, her work drifts between art galleries and clubs, shifting context while retaining that vivid voice.” Clash.

                                                                                                                                                                                            “Synths dance around snapping, ultra-tight percussion and vocal chops, generating the ultimate beautiful-meets-banger vibe” Nest.



                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: A superb mix of future beat aesthetics with the delicate, hazy touch of 90's synthwave and all presented in a style typical of Death Waltz. Soaring in points, and minimalist in others, drenched in saturation and glitchy before dropping into a euphoric, hefty percussive streak. Surprising and completely beautiful.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            SYMMETRii
                                                                                                                                                                                            CARNiiVORE
                                                                                                                                                                                            PHANTOM
                                                                                                                                                                                            VOLCANO
                                                                                                                                                                                            SKiiN
                                                                                                                                                                                            STRAY
                                                                                                                                                                                            FEAR
                                                                                                                                                                                            POiiSON
                                                                                                                                                                                            SEiiZURE

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

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

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

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

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

                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: Gorgeous fingerplucked guitar brings echoes of 60's folk, alt-country and modern brooding indie, all wrapped together with Hoop's delicate, prominent vocal talents. Brilliantly textured but smoothly flowing from one idea to another. A masterclass in restraint and songwriting.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            1. Free Of The Feeling (Ft. Lucius)
                                                                                                                                                                                            2. Shoulder Charge (Ft. Lucius)
                                                                                                                                                                                            3. Old Fear Of Father
                                                                                                                                                                                            4. Footfall To The Path
                                                                                                                                                                                            5. Death Row
                                                                                                                                                                                            6. Red White And Black
                                                                                                                                                                                            7. 01 Tear
                                                                                                                                                                                            8. All Time Low
                                                                                                                                                                                            9. Outside Of Eden (Ft. Kate Stables And Justis)
                                                                                                                                                                                            10. Passage's End
                                                                                                                                                                                            11. Time Capsule

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

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

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

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

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

                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: Cate Le Bon’s fifth album came together during a period of self imposed solitude in the Lake District. Retreating from L.A. to a mountainside in Cumbria, she spent a year building wooden furniture and penning songs into the night. While writing an album in the woods may sound like a bit of an old singer-songwriter cliché, Le Bon’s offering is far from the soppy acoustic balladry you might expect. Instead, she has produced an album of delightfully unhinged art-pop which reveals the curiosities of her inner world.
                                                                                                                                                                                            ‘Reward’ retains the off-kilter whimsy which is characteristic of Le Bon’s ever expanding back catalogue. She expertly toes the line between heartfelt sincerity and playful absurdity, maintaining an edge to her songwriting which keeps it from sounding twee. Some of her vocal melodies alone would feel at home in a more conventional pop album, but the instrumentation elevates it to outsider status - discordant stings of electric guitar, metallic synths and an anxious ticking always lurking in the background.
                                                                                                                                                                                            The slow, stately opener “Miami” builds through a rising dialogue between the vocals, horns and synth which eventually disappears into thin air. Le Bon then takes us on a soft rock jaunt permeated by a sense of distance and longing: “Love you, I love you, but you’re not here”. “Mother’s Mother’s Magazines” spirals into nervy post punk territory, with each instrument locked into a mechanical groove which rolls forwards like a steam train. But it’s the final song “Meet The Man” which shines the brightest lyrically and melodically, ending the album with a heartwarming resolution: “Love is good, love is ancient to me, love is you, love is beautiful to me”.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            SIDE A
                                                                                                                                                                                            1. Miami
                                                                                                                                                                                            2. Daylight Matters
                                                                                                                                                                                            3. Home To You
                                                                                                                                                                                            4. Mother's Mother's Magazines
                                                                                                                                                                                            5. Here It Comes Again

                                                                                                                                                                                            SIDE B
                                                                                                                                                                                            1. Sad Nudes
                                                                                                                                                                                            2. The Light
                                                                                                                                                                                            3. Magnificent Gestures
                                                                                                                                                                                            4. You Don't Love Me
                                                                                                                                                                                            5. Meet The Man

                                                                                                                                                                                            Black Peaches follow up their acclaimed 2016 debut with a dazzling display of musicianship on their explosive new album Fire In The Hole.

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

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

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

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

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

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

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

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


                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            1. Cuatro Berimbau
                                                                                                                                                                                            2. Lemonade
                                                                                                                                                                                            3. Fire In The Hole
                                                                                                                                                                                            4. Barracuda
                                                                                                                                                                                            5. The Black Peach Boogie
                                                                                                                                                                                            6. Spice Route
                                                                                                                                                                                            7. Pillars Of Hercules

                                                                                                                                                                                            Bonus Dinked 7”
                                                                                                                                                                                            Side A
                                                                                                                                                                                            Bad Luck
                                                                                                                                                                                            Side B
                                                                                                                                                                                            Dub Peach Boogie

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

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

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

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


                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: On their 5th album, psych rockers Black Mountain go big. Less psych, more rock, Destroyer might be their most powerful and driving album to date.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            1. Future Shade
                                                                                                                                                                                            2. Horns Arising
                                                                                                                                                                                            3. Closer To The Edge
                                                                                                                                                                                            4. High Rise
                                                                                                                                                                                            5. Pretty Little Lazies
                                                                                                                                                                                            6. Boogie Lover
                                                                                                                                                                                            7. Licensed To Drive
                                                                                                                                                                                            8. FD’72

                                                                                                                                                                                            The inventors of lo-fi indie rock return with a 15-track blast of melodic melancholy, all delivered by the smudged middle finger of Dinosaur Jr original Lou Barlow - 'The auteur of the subterranean lovesick blues.' (Houston Press).

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

                                                                                                                                                                                            It’s Barlow at his introverted songwriting best; matter-of-factly delivering a stream of self-questioning stories, punctuated by detuned guitars, spine-tingling time changes and throwaway one liners. A grainy post grunge postcard wrapped in bittersweet melodies with an aftertaste that’s pure heartbreak.

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


                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            1. Phantom
                                                                                                                                                                                            2. Celebrate The Void
                                                                                                                                                                                            3. Follow The Breath
                                                                                                                                                                                            4. Medicate
                                                                                                                                                                                            5. See-Saw
                                                                                                                                                                                            6. Vacation
                                                                                                                                                                                            7. Stunned
                                                                                                                                                                                            8. Fool
                                                                                                                                                                                            9. Raging River
                                                                                                                                                                                            10. Sunshine
                                                                                                                                                                                            11. Act Surprised
                                                                                                                                                                                            12. Battery
                                                                                                                                                                                            13. Belief
                                                                                                                                                                                            14. Leap Year
                                                                                                                                                                                            15. Reykjavik

                                                                                                                                                                                            This is Kevin’s opus - a 2LP concept album on spirituality and religion. Throughout his four solo albums and myriad records of various collaboration, Kevin Morby has recognized in his work the ubiquity of an apparent religious theme. Though not identifying as “religious” in the slightest, Morby—the globetrotting son of Kansas City who has made music while living on both coasts before recently returning to his Midwestern stomping grounds—recognizes in himself a somewhat spiritual being with a secular attitude towards the soulful. And so, in an effort to tackle that notion head-on and once-and-for-all, he sat down in his form of church—on planes and in beds—and wrote what would become his first true concept-album: the lavish, resplendent, career-best double LP Oh My God.

                                                                                                                                                                                            “This one feels full circle, my most realized record yet,” he says. “It’s a cohesive piece; all the songs fit under the umbrella of this weird religious theme. I was able to write and record the album I wanted to make. It’s one of those marks of a life: this is why I slept on floors for seven years. I’ve now gotten the keys to my own little kingdom, and I’m devoting so much of my life to music that I just want to keep it interesting. At the end of the day, the only thing I don’t want is to be bored. If someone wants to get in my face about writing a non-religious religious record? Thank god. That’s all I gotta say.”


                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: Although Matt and I agree that the front cover of this looks unbelievably like a topless Dom Kozubik, don't let that put you off. 'Oh My God' is a tenderly delivered and perfectly measured slice of indie songwriting. Morby's ear for a tune and perfectly balanced juxtaposition of tender, brittle balladry and uplifting soulful soothe make this one for every collection.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            SIDE A
                                                                                                                                                                                            1. Oh My God
                                                                                                                                                                                            2. No Halo
                                                                                                                                                                                            3. Nothing Sacred / All Things Wild
                                                                                                                                                                                            4. OMG Rock N Roll

                                                                                                                                                                                            SIDE B
                                                                                                                                                                                            5. Seven Devils
                                                                                                                                                                                            6. Hail Mary
                                                                                                                                                                                            7. Piss River
                                                                                                                                                                                            8. Savannah

                                                                                                                                                                                            SIDE C
                                                                                                                                                                                            9. Storm (Beneath The Weather)
                                                                                                                                                                                            10. Congratulations
                                                                                                                                                                                            11. I Want To Be Clean

                                                                                                                                                                                            SIDE D
                                                                                                                                                                                            12. Sing A Glad Song
                                                                                                                                                                                            13. Ballad Of Faye
                                                                                                                                                                                            14. O Behold

                                                                                                                                                                                            THE PICCADILLY RECORDS ALBUM OF THE YEAR 2019.

                                                                                                                                                                                            W. H. Lung’s arrival at their debut album has been less conventional than most. A trait shared with the music they make, which weaves between shimmering synth pop and the infectious grooves of 70’s Berlin. The band never had any intention of playing live when forming, aiming instead to be a primarily studio-based project.

                                                                                                                                                                                            That approach was challenged when they released their debut 10” ('Inspiration!/Nothing Is') in 2017, which meant that they were quickly in demand. Booking requests started to flood in and W. H. Lung found themselves cutting their teeth on festival stages that summer. Though whilst some new bands may have let that interest change the course of the project, W. H. Lung stayed true to their original reticence and worked mainly as a studio band with their formidable live shows kept sporadic.

                                                                                                                                                                                            W. H. Lung have allowed this album to naturally gestate over the course of two years . The result is a remarkably considered debut - the production is crisp and pristine but not over-polished, the synths and electronics radiate and hum with a golden aura and the vocals weave between tender delivery and forceful eruptions. There is a palpable energy to the songs, as experienced in 10 glorious minutes of opening statement 'Simpatico People'.
                                                                                                                                                                                            “I think it’s important to erase the distinction between ‘high’ and ‘low’ culture,” states Joseph E. This colliding of worlds not only exists in the potent mix between whip-smart arrangements, lyrics and seamlessly danceable music but also in the fact that they are named after a cash and carry in Manchester. As Tom P. explains, “I thought it was funny juxtaposing those kind of austere associations with W. H. Auden and other initialed poets, writers, artists, etc. with the fact that it’s really just a Chinese supermarket.”


                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: It's clear from the first moments of 'Incidental Music' that the title couldn't be any less true, moving from soaring echoing kosmische into a groove-led psychedelic soup in the blink of an eye. Rich in rhythm but still undeniably melody-led, W.H. Lung are at the top for the important reason that they are something different to everyone, and everything they are is undeniably brilliant.

                                                                                                                                                                                            says: One of the most assured and confident Mancunian debuts of the past few decades, ‘Incidental Music’ is a dream of a Piccadilly Records album. With its sparkling synth laden grooves, motorik beats, sweeping electronics, crisp guitar lines and a hazy psychedelic soundscape it’s no surprise that it’s united both the indie and dance staff divide and taken the number one spot this year. Two years in the making, this is a euphoric and fully-formed masterpiece.

                                                                                                                                                                                            says: Possibly one of the most anticipated albums of the year here at Piccadilly (we wouldn't interrupt our Christmas do for just anyone but if it clashes with a W.H. Lung gig then that's where we end up!)... Like a joint effort from Talking Heads and NEU! thrown head first into 2019 with an extra portion of shimmery beats and hooks. PLAY IT LOUD!

                                                                                                                                                                                            says: Around this time last year I found myself in Soup Kitchen’s basement with the rest of the Piccadilly crew, absorbed in what was unfolding onstage. A magnetic frontman was delivering half sung, half spoken vocals over a kaleidoscopic haze of synths and a propulsive motorik beat. It seems fitting that the group we were watching, W.H. Lung, are now sitting at the top of our chart a year later. The homegrown Manchester trio have coalesced a series of hypnotic, synth fuelled krautrock grooves into their first full length release ‘Incidental Music’. In it, they strike a perfect balance between taking reference from the past and keeping their gaze tilted towards the future. Well worth a listen!

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            1. Simpatico People 
                                                                                                                                                                                            2. Bring It Up 
                                                                                                                                                                                            3. Inspriation! 
                                                                                                                                                                                            4. An Empty Room
                                                                                                                                                                                            5. Nothing Is
                                                                                                                                                                                            6. Want
                                                                                                                                                                                            7. Second Death Of My Face
                                                                                                                                                                                            8. Overnight Phenomenon

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

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

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

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


                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: Flamingods return, bringing with them a brilliantly psychedelic mix of eastern-influenced groove, dreamy anthemic pop and acid-tinged folk. With pummeling percusion and rolling distorted bass holding down the backline, the guitars and echoing vox are allowed free-reign over the sonic spectrum. Killer stuff.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            1. Paradise Drive
                                                                                                                                                                                            2. Koray
                                                                                                                                                                                            3. Marigold
                                                                                                                                                                                            4. Astral Plane
                                                                                                                                                                                            5. Peaches
                                                                                                                                                                                            6. Moonshine On Water
                                                                                                                                                                                            7. Olympia
                                                                                                                                                                                            8. Club Coco
                                                                                                                                                                                            9. Mantra East
                                                                                                                                                                                            10. Nizwa
                                                                                                                                                                                            11. Levitation 

                                                                                                                                                                                            Rozi Plain has been making music since her brother taught her a few chords on the guitar aged 13. Raised in Winchester, she spent a few years studying art and painting boats in Bristol, where she began collaborating with long-term friends Kate Stables (This Is The Kit) and Rachael Dadd among many others on a thriving local scene. It was there that Rozi made her first two albums, 2008’s Inside Over Here and 2012’s Joined Sometimes Unjoined, each works of deliciously sad and beautiful pop full of heart-wrenching harmonies dotted with unexpected instrumental flourishes. Released in April 2015 on Lost Map and featuring contributions from Hot Chip’s Alexis Taylor among others her last album Friend was a deeply meaningful and wonderfully measured ode to memory, place, companionship and music’s remarkable power as an emotional salve. A companion album of remixes, unreleased tracks and radio sessions, Friend Of A Friend, was released in 2016.


                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            says: Rozi Plain's distinctive, gentle delivery is the glue that binds this follow up to the sublime "Friends" together - it's a fuller, more coherent release than it's predecessor and no less gorgeous.

                                                                                                                                                                                            TRACK LISTING

                                                                                                                                                                                            1. Inner Circle
                                                                                                                                                                                            2. Swing Shut
                                                                                                                                                                                            3. Symmetrical
                                                                                                                                                                                            4. The Gap
                                                                                                                                                                                            5. Old Money
                                                                                                                                                                                            6. Conditions
                                                                                                                                                                                            7. Dark Park
                                                                                                                                                                                            8. Trouble
                                                                                                                                                                                            9. Quiz
                                                                                                                                                                                            10. When There Is No Sun

                                                                                                                                                                                            Snapped Ankles have taken on the guise of the very agents of their community’s demise – the property developers and brokers who heat the market on the promise of ‘Stunning Luxury’. With their adopted warehouse habitat under constant threat, the woodwose have taken this sharp-suited incarnation in order to infiltrate. The resistance starts here.

                                                                                                                                                                                            From humble forest beginnings via bohemian East Londo