DINKED EDITIONS

SPECIAL LIMITED VINYL 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

Melody's Echo Chamber

Unclouded

On her fourth album, Unclouded, Melody’s Echo Chamber embarks on a life-affirming new chapter with an album that celebrates the present moment, whatever state we find ourselves in. There’s a continuity that runs through Melody’s Echo Chamber’s brand of psychedelic pop going back to 2012’s self-titled debut but now comes a perfectly executed shaking up of personnel.

Unclouded’s impressive cast includes Swedish maestro Sven Wunder, who co-produced the record and contributed to the writing, bringing his unique sonic palette to the richly-textured canvas; Josefin Runsteen on strings, who brings her avant-garde smarts to the tableau; Dina Ögon’s Daniel Ögen on guitar and Love Orsan on bass who Melody describes as “masters of the velvet groove”; British drummer Malcolm Catto, collaborator with Madlib and DJ Shadow, and the powerhouse behind The Heliocentrics; and frequent collaborator Reine Fiske whose guitar parts can be heard throughout the record.

Last but not least, Leon Michels - the Wu-Tang, The Carters, Norah Jones and Clairo collaborator - worked with Melody on the album’s closer “Daisy”, a sparkling pop song plucked from the ether. El Michels Affair’s Grammy-winning mixer Jens Jungkurth was drafted in to bring everything to life. 


TRACK LISTING

Side A
1. The House That Doesn’t Exist
2. In The Stars
3. Flowers Turn Into Gold
4. Eyes Closed
5. Childhood Dream
6. Memory’s Underground

Side B
7. Broken Roses
8. Burning Man
9. Into Shadows
10. How To Leave Misery Behind
11. Unclouded
12. Daisy (feat. El Michels Affair)

Floating Points

Elaenia - 10 Year Anniversary

It was the arrival of a Studer A80 master recorder at the front door of Sam Shepherd-otherwise known as Floating Points-that caused him to begin building the studio that led to the creation of his debut album, Elaenia. After a slight miscalculation meant that he could not physically get the thing inside his home, what happened next can only be described as a beautiful example of the butterfly effect. Breaking away from making electronic music on his laptop, the DJ, producer and composer spent the next five years engineering Elaenia, all the while deejaying in cities across the globe and working towards his PhD in neuroscience. An incredibly special album that draws inspiration from classical, jazz, electronic music, soul and even Brazilian popular music, Elaenia-named after the bird of the same name-is the epitome of the forward-thinking Floating Points vision in 2015.

TRACK LISTING

Side A
1. Nespole Track
2. Silhouettes (I, II & III)
3. Elaenia
Side B
4. Argenté
5. Thin Air
6. For Marmish
7. Peroration Six
8. Precursor

Voka Gentle

Domestic Bliss

Vintage recording equipment has long been a bit of a fetish, but to sound pioneers Voka Gentle, even the most magical machines are a means to an end. The band, made up of twins Ellie and Imogen Mason, along with Imogen’s husband, William J Stokes, are a family band in the truest sense. Whilst they started out as a folk trio, their new album Domestic Bliss is an album of throat-grabbing, avant-garde indie rock songs studded with eccentric choices: a synth with its keys jammed, playing a tune of its own making; field recordings – Morris dancers, motorbikes – captured on binaural headphones.

Domestic Bliss is concerned with power: the abuse of it, being on the cusp of it, and what it really means. The album is teaming with imaginary people in picaresque scenes that reveal the band’s rich cultural storehouse. The songs draw on history, literature, everyday life and pop culture references (specifically Jude Law’s 1995 Vogue cover), with tracks like Cheddar Man reflecting on climate change and prehistory and Creon I tracing the unease of authority through the lens of Greek mythology.

Recorded in the orchestral studios of City University, the album folds intimacy into scale, from phone-recorded vocals and samples of breath to heavy, tribal electronics in grand acoustic spaces. The result is by far their most refined record yet, where the band treat the recording studio like an instrument.

TRACK LISTING

Side A
1. Cheddar Man
2. Creon I
3. Torpedo Mike
4. Battle Sequence (I’m Atomic)
5. You Deserve It!

Side B
1. Kinema
2. The Creature
3. K Sees The Deal Go Down
4. Jude Law For Vogue (1995)
5. Ultra Aura Glow Feat. Hamish Hawk

BONUS CD (DINKED EDITION ONLY)
Creon I (Goat Girl Remix)
Cheddar Man (Sonic Boom Remix)
K Sees The Deal Go Down (Jonathan Snipes Remix)
Creon ! (state51 Factory Session)
Cheddar Man (state51 Factory Session)
Battle Sequence (I’m Atomic) (Dope Isotope Mix) By Curtain Twitcher
First Snow (Bo Ningen X Voka Gentle)



The Clientele

The Violet Hour - 2025 Reissue

Following the breakthrough success of 'Suburban Light', the 2001 collection of The Clientele’s initial singles and EPs, tastemakers and aficionados were eager to hear what the trio of Alasdair MacLean (guitars, vocals), Mark Keen (drums, piano), and James Hornsey (bass) could make if set loose inside a studio to record a full-length album. What they emerged with from London’s Medina Road Studios in the fall of 2002 was tantalizing: Their already sharply realized motif of ’60s psychedelia and modern fuzz-pop took on inflections of jazz, particularly in how the space afforded by the LP format allowed for a keener articulation of atmosphere.

The Clientele stretch the early evening of 'The Violet Hour' out infinitely, manipulating the structured time of the pop song the way poets manipulate the structure of language—to capture place, mood, stray thoughts, disappointments, potential, and, above all, longing. It is a shimmering jewel of a record, its languid melodies and reverb-drenched choruses at once sublime and tragic, its hazy, dreamlike discursions at once recalling the warmth of a favorite record played over a midsummer rainstorm while yearning for the mist-veiled future of a yet unwritten night.

'The Violet Hour' has endured decades later as a signature album in
The Clientele’s catalog, not only perfecting the sound that made the band
a message-board phenomenon but revealing entirely new depth to it. In its wake, it was no longer possible to declare them one of the best-kept secrets in indie pop. The Clientele were, and remain, one of the genre’s most important figures, and 'The Violet Hour' was, and remains, one of their most vital statements: a lush invitation to their underground.

TRACK LISTING

1. The Violet Hour
2. Voices In The Mall
3. When You And I Were Young
4. Missing
5. Jamaican Born Rhumba
6. House On Fire
7. Everybody’s Gone
8. Porcelain
9. Haunted Melody
10. Prelude
11. Lamplight
12. The House Always Wins
13. Policeman Getting Lost

The Bug Vs Ghost Dubs

Implosion

When Chuck D proclaimed "Bass, how low can you go?" on Public Enemy's anthemic 'Bring the Noise,' maybe he was pre-empting or inciting the 10,000 fathoms-deep, spine-bending basslines and sub-quake tremors of 'Implosion.'

Implosion is a crushing split album, appropriately released on The Bug's own PRESSURE label. Mapping out a new form of spectral dub, the sound is deliberately immersive, introverted, and yes, definitely implosive. In pursuit of heavy lids, blurred vision, and merciless bass bin punishment, it’s one part meditation, two parts low-end theory, and essentially a confession of devoted sound system addiction.

As expected from a tag team featuring British soundlab explorer and 'London Zoo' composer Kevin Martin, aka The Bug, and Michael Fiedler, aka Jah Schulz—a long-time graduate of Germany's new school of sound system reggae culture—the duo approaches their target differently yet share the goal of keeping their sound "raw" (Fiedler) and "brutally minimal" (Martin). This proves that opposites can attract, even if their tools are different and their methods sometimes diverge.

From such a disparate combo, hailing from different geographical and aesthetic backgrounds, contrasts are certainly on display, even within each artist's own contributions. From the melancholia and transcendence of 'Alien Virus (West Indian Centre, Leeds),' to the duality of ascension and descension on 'Hope,' or the Sunn 0))) in dub, visceral drone of 'Dread (The End, London),' to the tripped-out repetitions of 'Midnight,' which reinvents Chain Reaction for post-millennials, the result is both sacred and narcotic. Each track illuminates the emotional impact and atmospheric pressure being explored across this deceptively sparse album—a mastery of tone and texture.

This collection might be as reduced, minimal, and deep as The Bug has ever gone, perhaps echoing the solemnity of his recent Kevin Richard Martin Black release and invoking the futurist steppas self-pioneered on his previous Pressure album. Alternatively, Fiedler‘s Ghost Dubs project ventures into his most heavyweight direction yet, which is no mean feat considering his previous, the critically acclaimed album Damaged, was a monstrously massive triumph of analogue weight and enviable sound design.

Implosion is ice-cool, a stark contrast to the warmth and sociability of traditional Jamaican roots and the current trends in digi-dub. Instead, the mood is soaked in tension and intense dread, finding an unexpected melting point where classic dub's stark rhythm attack, isolationist ambience's eerie drift, dub techno's floatation strategies, and even the relentless riffs of doom metal collide. As the bass-obsessed pair drop what is arguably the heaviest ambient dub album to emerge from any electronic sector—a moody counterpoint to The Orb's fluffy clouds, etc, Martin has cited The Roots Radics, Black Jade, and On U Sound's Pounding System as heavily influencing his approach to the album, while Fiedler has expressed his admiration for Adrian Sherwood's productions and Rhythm & Sound's enchanting soundscape. Yet, the super heavyweight pulsations, emotive resonances, and bone-rattling vibrations detonated here effortlessly go far beyond these influences.

Shadowy and elusive, there’s a mysteriousness at this record's core. A haunting moodiness oscillating between nostalgia and future shock. Despite the deadly fixation with SLOW and HEAVY, the album maintains a totally hypnotic swing throughout. Implosion and its lead single 'Imploded Versions' are testaments to being enveloped in bass, seduced by bass, submerged in bass, and utterly crushed by bass, as The Bug and Ghost Dubs seek to craft a new form of dub for zonal headz and Babylon seekers.

Mastered by Stefan Betke (a.k.a. POLE) at Scape Mastering studio, this record is heavy as f-ck without resorting to continuous distortion. It’s low-end worship taken to an absolute extreme, yet remains highly listenable and definitely danceable, albeit at the slowest of paces. Sacred and narcotic, this is low-end worship amplified to the max. Dive in if you dare. 


STAFF COMMENTS

Matt says: Living in a small block of flats, and being the considerate neighbour I am; I rarely get to fire up my separates subwoofer. This weekend however I will make an exception - as I simply cannot envisage listening to this mighty slice of tectonic bass meditation without detailed profiling of the 20hz - 150hz range. I suggest you do the same! An absolute beast for bass heads, and a real development of sound system dynamics.

TRACK LISTING

Side A
A1 THE BUG – Hooked (Hyams Gym, Leytonstone)
A2 GHOST DUBS - In The Zone
A3 THE BUG – Believers (Imperial Gardens, Camberwell)
Side B
B1 GHOST DUBS – Hope
B2 THE BUG – Burial Skank (Mass, Brixton)
B3 GHOST DUBS – Dub Remote
Side C
C1 THE BUG - Alien Virus (West Indian Centre, Leeds)
C2 GHOST DUBS – Down
C3 THE BUG - Militants (The Rocket, Holloway
Side D
D1 GHOST DUBS – Into The Mystic
D2 THE BUG - Dread (Mass Brixton)
D3 GHOST DUBS – Midnight

DINKED BONUS DINKED EDITION 12” / CD
A1. THE BUG - Spectres (Plastic People, Shoreditch)
A2. GHOST DUBS – Waterhouse
B1. THE BUG - Duppied (Brixton Rec)
B2. Ghost Dubs – No Words





Stella Donnelly

Love And Fortune

On Love and Fortune, the third album from Australian musician Stella Donnelly and first for Brace Yourself Records, Donnelly returns with a deeply personal and anchored set of songs, a body of work that traces the journey back to herself after a period of profound change. Recorded in Naarm/Melbourne, the album carries the grounding energy of place, offering a sonic landscape that feels both intimate and expansive.

After several intense years on the road, Donnelly stepped away from touring to re-evaluate her relationship with music and to ask whether she still loved it. That quiet pause led to a deeper listening: to her instincts, her emotions, and the many past versions of herself. What emerged is a collection of songs shaped by multiple endings — the dissolving of relationships, the closing of chapters, the echo of things that once felt permanent. These are breakup songs, but not just of the romantic kind. They mark a shedding of skins, a release of old expectations, and a cautious openness to what might come next.

“These songs wouldn't leave me alone,” Donnelly says. “Like seagulls, they screamed at me when I rode to work, they pecked at me while I wrote essays, and they stole my chips the second I thought I was happy without music.”

Tapping back into this source, Donnelly arrives at a starker sound that lays bare the individual behind the artist. Love and Fortune blends pianos and guitars, as in her earlier work, but this time the arrangements are more exposed, more intentional. It captures the stiller self, the reflective self, that gently asks where to next. There is a clarity here, the kind that comes from reconnecting with what matters. The result is Donnelly’s most open-hearted and self-assured work to date — a record about loss, certainly, but even more about the quiet, enduring fortune of finding one’s way home.

Love and Fortune follows 2019’s Beware of the Dogs and 2022’s Flood, two albums that marked out Donnelly as one of Australia’s finest contemporary songwriters and drew praise and acclaim from the likes of The Guardian, Pitchfork, NME, BBC Radio 1, Clash, DIY, NPR, BBC 6 Music, Paste and many more. 


STAFF COMMENTS

Barry says: A profoundly gorgeous selection of pieces that move between barely adorned, vocal-forward folk (Love And Fortune / Baths / Ghosts) and the more dynamic, upbeat groovers (Being Nice / Feel It Change). For me, 'Baths' is a probably the most heartfelt, affecting thing she's done. A stunning, beautifully textured whole.

TRACK LISTING

Side A
1. Standing Ovation
2. Being Nice
3. Feel It Change
4. Baths
5. Year Of Trouble
6. Please Everyone

Side B
7. W.A.L.K
8. Friend
9. Ghosts
10. Love And Fortune
11. Laying Low

Sorry

COSPLAY

“We died when we started writing this album,” say Sorry, preparing to release 'COSPLAY', their third studio album, set for release on 7th November on Domino. But if Sorry did, indeed, die before a note had been recorded, before a single word had even been jotted down, who the hell are this bunch now masquerading as Sorry? Who has donned the Sorry outfits so convincingly? Who is it that has recorded 'COSPLAY', this album that first meticulously erases and then extravagantly redraws the perimeters of what a contemporary rock’n’roll band can achieve? Welcome to the world of 'COSPLAY', where anyone can be anyone, past or present, real or imaginary, dead or alive.

STAFF COMMENTS

Barry says: Effortlessly slipping between jagged, angular garage rock and woozy alt-pop with flickering post-rock instrumentation and soaring synthy accents. All of this perfectly twisting around Asha Lorenz's evocative, chameleonic vocal. A brilliantly momentous, constantly evolving treasure.

TRACK LISTING

1. Echoes
2. Jetplane
3. Love Posture
4. Antelope
5. Candle
6. Today Might Be The Hit
7. Life In This Body
8. Waxwing
9. Magic
10. Into The Dark
11. JIVE

Just Mustard

WE WERE JUST HERE

On WE WERE JUST HERE, Dundalk, Ireland five-piece Just Mustard surge out of the shadows from the submerged world of Heart Under with a sound that leans toward light and euphoria. Their signature elements remain intact - warped guitars, cavernous low ends, twisted sound design - but this time the noise is channelled into something warmer and more melodic. Inspired by club spaces and physical joy, the songs strive for immediacy and feeling. Katie Ball’s vocals rise higher in the mix, capturing a conflicted pursuit of happiness that she describes as “trying to feel euphoric, but at a cost.”

Produced by the band and mixed by David Wrench (FKA Twigs, Frank Ocean, Caribou) the album expands their emotional palette while keeping things strange, textured, and uniquely their own. WE WERE JUST HERE explodes into technicolor, creating a world that feels immediate, haunted and ecstatic.

TRACK LISTING

Side A
1. POLLYANNA
2. ENDLESS DEATHLESS
3. SILVER
4. DREAMER
5. WE WERE JUST HERE

Side B
1. SOMEWHERE
2. DANDELION
3. THAT I MIGHT NOT SEE
4. THE STEPS
5. OUT OF HEAVEN

The Dead 60s

The Dead 60s - 20th Anniversary Deluxe Edition

The Dead 60s seminal self-titled album gets a timely deluxe edition reissue on vinyl for its 20th Anniversary, on Deltasonic Records

“Back in the day, punk and dub weren’t just sharing space—they were smashing into each other headfirst. Late '70s Britain was a pressure cooker, and for kids like me, growing up between Brixton’s bass bins and the chaos of King’s Road, that collision was everything. Jamaican sound system culture met punk’s raw spirit in a haze of smoke, sweat, and feedback. It wasn’t about genre—it was about energy. Identity. Defiance. so when The Dead 60s came along, post-Britpop and post-bullshit, it felt like someone had dusted off the blueprint and run it through a battered old tape echo. These weren’t just lads with good taste—they understood the assignment. They took the DNA of two rebel cultures and mutated it into something that could stand tall in the 21st century. Dub-soaked, punk-fuelled, dripping with that Liverpool attitude. I remember first hearing them and thinking—yeah, here we go again. Not in a retro way, but in a real way. Guitars that cut like sirens in the night. Basslines fat and warm, straight out the Channel One playbook. Lyrics that painted the grey corners of Britain like CCTV poetry. It was the sound of youth under pressure. The sound of not fitting in—and not wanting to.

Their debut album dropped in 2005, and it hit like a flare in the dark. “Riot Radio” was a pirate broadcast from the concrete frontlines. “Control This” swaggered with menace and reverb. It was like someone opened a time capsule from the punky-reggae party and rewired it for a new generation.

Now, with this 20th anniversary vinyl reissue—complete with the full dub companion produced by Central Nervous System—we get to hear the bones and blood of it all. The dub versions pull the tracks apart and let the ghosts speak. Reverb, delay, space—it’s not just production, it’s meditation. Revolution slowed down to a heartbeat. It’s music that makes you move and think. What they’ve done here is more than remix a record—they’ve revealed its soul. That’s what dub does when it’s done right. And The Dead 60s, they got that. They weren’t tourists in the culture—they were students of it, shaped by it, and ultimately, contributors to the legacy. Liverpool’s long had a love affair with Jamaican music—you can hear it in the streets if you’re really listening. The Dead 60s tapped into that lineage, but they brought their own thing to the table. Punk's fire. Dub’s depth. Ska’s bounce. All filtered through a Northern lens and blasted out like protest graffiti. This 20th anniversary reissue ain’t about nostalgia. It’s a reminder. A celebration. A call to arms. Music like this doesn’t belong in a museum—it belongs on a system, shaking walls and waking minds. Crate diggers, completists, young punks, old heads—this one's for all of you.

So put it on and turn it up. Let the punk edge sharpen your thoughts, and the dub shake your bones ‘cos this isn’t just a reissue - it’s resistance on wax.....”
-Don Letts The Rebel Dread 2025.


TRACK LISTING

The Dead 60s
A1 - Riot Radio
A2 - A Different Age
A3 - Train To Nowhere
A4 - Red Light
A5 - We Get Low
A6 - Ghostfaced Killer
B1 - Loaded Gun
B2 - Control This
B3 - Soul Survivor
B4 - Nationwide
B5 - Horizontal
B6 - The Last Resort
B7 - You're Not The Law

Bonus Vinyl: Space Invader Dub
C1 - Too Much TV Dub
C2 - Invader Dub
C3 - D-60 Fights The Evil Force
C4 - No Control Dub
C5 - Tower Block Dub
D1 - CNS Lazer Attack D-60
D2 - Police Radio Dub
D3 - Flight Mission Dub
D4 - No Good Town Dub
D5 - Game Over 

Dinked Edition Bonus 7"
A Train To Nowhere
B Riot Radio (Live In New York)

Long Fling

Long Fling

Amsterdam indie stalwarts Pip Blom and Willem Smit, respectively the songwriter & vocal force behind Pip Blom and the driving creative mind behind Personal Trainer, have come together after a decade of intermittent collaborations to launch a new project: Long Fling. The duo's self-titled debut album arrives 3rd of October, 2025, unveiling a collection of charming, offbeat guitar and drum machine, kraut-rock tinged anthems, touching on everyday oddities like socks, shoes, and the allure of staying home.

Unlike typical duets, Long Fling doesn’t focus on harmonies or traditional back-and-forth vocals. Instead, Pip and Willem trade lines over minimal, melodic arrangements that reflect their shared sensibilities. The songs are direct but often playful, shaped by a mix of guitars, drum machines, and off-the-cuff lyrics.

Over the course of ten years, Willem and Pip’s songwriting process evolved from tentative beginnings filled with creative tension to a natural, collaborative flow. Willem reflects: “Over the years, I feel we’ve grown more comfortable making music together... Assembling a record we have been accidentally making without the goal of making a record was fun, but also weird. It felt a bit like archaeology sometimes. We tried to change things... but found out quite quickly that it made most sense to stay true to the initial ideas we had.”

Pip adds: “We’d never done everything including the mixing ourselves before. I think we both felt comfortable doing it this time because we were in it together, and we were okay with the idea that the record didn’t need to be super polished or perfect... When we each asked our dads whether the album sounded more like a Willem album or a Pip album, they both said the other’s name. I really feel like we made this album together - it’s a true blend of the both of us.”

TRACK LISTING

1 / A1 - Pig
2 / A2 - Mouse House
3 / A3 - Weird Peace
4 / A4 - Flung
5 / A5 - For Someone
6 / B1 - Cool Bottle Water Park
7 / B2 - Waste Line
8 / B3 - Shoes
9 / B4 - Tossed
10 / B5 - Peter Dickens

Bonus 7 Inch (Two Unreleased Tracks) (with Dinked Edition)
A. Flowers
B. Screwdriver

Nightbus

Passenger

Flickering in ultraviolet, there is an elusive place where blue pill meets red, ups become downs, and day merges with night. Those liminal spaces where anything is possible is where you’ll find Nightbus and their hypnotic debut album Passenger. Doom, uncertainty, and opportunity lurk in the shadowy corners of their murky existence with stops at disassociation, co-dependency, and addiction before reaching its final destination - a glimmer of hope.

The in-between of Nightbus’ own Gotham lies where Manchester’s city pulse meets Stockport’s outer realm. An audio-visual entity formed among a musical family of friends, freaks, and foes in messy mills and after hours on dancefloors alike, their sound bleeds from tension where collective creative forces are bound together and collide with the fallout of being torn apart. Before even playing a show, their So Young released single ‘Mirrors’ – a knowing nod of respect to some well-known gloomy Northerners - may have made old school indie heads shimmy at shows in Salford’s The White Hotel but also signalled the duo’s knack for offering listeners a Bandersnatch approach to hitchhiking their own personal Nightbus in whatever direction they choose to take. “Everyone can have their moment with our songs; the music is our response to who we are as young people, living in the city full of this energy right now,” they say.

Whilst reverb hefty melodies and dread-filled loops embody isolation from writing at each of their home studio set-ups, magic happens in the ether across 90s trip-hop, indie sleaze and electronica; Jake’s production layers Olive’s pop sentimentality with drums and samples whilst tales of a cast of faceless characters place Olive as puppet master; her severed self’s perspective manipulating their stringed limbs at arm’s length to see how their stories play out when scenes reflecting her own lie close to the bone. “It’s a bit fucked; like having this out of body experience with a made-up movie running through my head,” she says. “As I write I can see they’re all from a similar world, but they allow me to explore different feelings without giving away part of myself.”

Recorded at The Nave in Leeds with producer-engineer Alex Greaves (Heavy Lungs, Working Men’s Club), surprise and danger lies in every crevice. Brooding whispers turn to chants on 6-minute opus ‘Host.’ Improvised when performed live, its immersive shift in tempo leads to hefty dub courtesy of Jake’s pedals. Even then, you won’t know shit’s hit the fan until its mid-point reveal when ominous bass blasts a thunderous soundtrack as its protagonist defiantly walks away after committing the perfect crime. “It makes you wait, and more songs should have sirens,”Olive grins.

Leaning deeper into alter-egos via the video game-psychological horror of a Silent Hill dystopia, the band’s Fight Club moment ‘Angles Mortz’ turns its literal translation of death angles on its head as it reflects upon kink and internalised shame reincarnated as pride. Elsewhere the ice cool ‘Landslide’ is a Requiem for a Dream about the addiction of being in a band; ‘The Void’ explores co-dependency and estranged relationships; and carefully selected samples revive house track ‘Just A Kid’ from the band’s early incarnation. Passenger’s every direction is to face challenges head on. “That is what’s so great about horror; you can see through predictable patterns so when the unexpected occurs it's more realistic and uncomfortable... I want to own the dark stuff!” As for Passenger’s first single, the pulsating ‘Ascension’ is a spiralling deep dive into death, suicide, and legacy around who or what we leave behind. A noughties club banger by way of NYC beats - ergonomically designed for those who like to stay out a little too often and too late - it throbs like a house party’s partition wall as the literal levelling up undergoes a neon transformation; blue glitching to pink, diffusing the white construct of the Nightbus Matrix. “It really does feel like the end of something and was purposely written that way,” they say, “the ascension is like a firework going off!”

With wheels in motion, Nightbus has become a movement surpassing sonic realms. Between shows from Porto to Brighton taking in The Great Escape, Rotterdam’s Left Of The Dial and Paris’ Supersonic; DJing; remixing; guesting (BDRMM’s Microtonic album); and even enlisting talented like-minds to craft a 3-part queer coming-of-age music video series which ties in with a new ‘hyperpop’ phase in the evolution of their popular Nightbus Soundsystem club night, heads are now being turned from sports brands to high-end fashion designers. “There are things we can’t reveal just yet,” tells Olive, “but we’re excited about the direction this beast we’ve created is heading.” As the album philosophises and asks one ultimate question; what does it truly mean to be ‘Passenger’? Nightbus may not claim to offer a definitive answer, but it might make you feel a bit better about those demons.

STAFF COMMENTS

Andy says: Nightbus are the Manchester / Stockport duo Jake Cottier and Olive Rees. They burst onto the scene a few years back with a 7 inch single which could only be described as a synth-pop take on Joy Division. It flew off our shelves! Now having enlisted the skills of producer Alex Greaves (Working Men’s Club) they have matured into a sleek and classy update, for me at least, of those electro-pop maestros Ladytron.

‘Passenger’ is a shadowy voyage into the neon wilderness with propulsive beats and plenty of cinematic scope. It’s a moody immersive experience specifically for late nights or early mornings: It’s comforting whilst at the same time having more than a small dose of melancholia. The production is hypnotic with low slung grooves and 90s dance elements competing with post-punk guitars and spectral electronics. This is a dream-like world and one previously inhabited by the likes of The Cure, The XX or even Portishead.

In album standout ”Host“ Nightbus use a dub drenched soundscape with trip-hop beats to create a whole world in itself, whilst the glacial “Ascension” (featured on our Piccadilly Records 2025 compilation), simply glides and glistens in a weightless blissed out space, moving along like prime time New Order yet somehow floating, detached, above it all and beautiful. It’s a track that’s typical of the whole record really; spectral, immersive, glowing (blue, like that artwork !) and dreamlike. Welcome aboard the Nightbus.

TRACK LISTING

Side A (21.03)
1. Somewhere, Nowhere
2. Angles Mortz
3. False Prophet
4. Fluoride Stare
5. The Void
6. Ascension

Side B (21:20)
7. Just A Kid
8. Host
9. Landslide
10. Renaissance
11. 7am
12. Blue In Grey

Terry Hall

Laugh - Deluxe Dinked Archive Edition

Deluxe 2LP Edition of Terry Hall’s second solo album pressed on Red Vinyl exclusively for Dinked. Includes the singles ‘Ballad of a Landlord’ and ’I Saw the Light’.

Features an alternate sleeve and includes new liner notes by journalist Pete Paphides, including reflections from Damon Albarn, Ian Broudie and Stephen Duffy.

Originally released in 1997 on the Southsea Bubble Company label, Terry Hall's Laugh, followed his acclaimed debut with a blend of wit, melancholy, and melody that marked him as one of Britain’s most distinctive voices.

Much of Laugh was co-written with former Smiths guitarist Craig Gannon, with further collaborations from a stellar cast including Stephen Duffy, Sean O'Hagan (The High Llamas), and Damon Albarn of Blur—who had previously worked with Hall on his 1995 Rainbows EP. The album was produced by Hall himself, alongside Gannon and Cenzo Townshend, and has since gained cult status for its sharp songwriting and intimate, understated arrangements.

This special edition expands Laugh across two discs:
Disc One: The original studio album, newly mastered by Phil Kinrade at AIR Studios.
Disc Two: B-sides, live recordings, and acoustic versions—all appearing on vinyl for the first time.

STAFF COMMENTS

Laura says: This second solo LP from Terry Hall is an absolute gem. As with his debut, Home, it's a collection of witty, melancholic pop songs, delivered in his own inimitable style. It also includes a cover of Ted Rundgren's "I Saw The Light" (IMO better than the original!) And being a Dinked Edition it's beautifully packaged with a bonus disc of added extras too.

TRACK LISTING

Side A
Love To See You
Sonny And His Sister
Ballad Of A Landlord
Take It Forever
Misty Water

Side B
A Room Full Of Nothing
Happy Go Lucky
For The Girl
Summer Follows Spring
I Saw The Light

Side C
Ballad Of A Landlord (Acoustic Version)
Working Class Hero (Live)
Close To You
Music To Watch Girls By

Side D
Bang Went Forever
Love To See You (Acoustic Version)
Misty Water (Acoustic Version)

Hollie Cook

Shy Girl

Woven with tight grooves, beautiful vocals and catchy melodies, 'Shy Girl' hears singer and songwriter Hollie Cook revel in her contemporary lovers rock sound, more confident and open to vulnerability than ever before.

A sun-drenched exploration of love in all its guises, 'Shy Girl' tells stories of the magical and the melancholy, the heart-lifting and heart-breaking, across 12 luscious, analogue reggae compositions - the culmination of a soft- hued and instantly recognisable "tropical pop" sound that Cook has made her own. Put together across three years and four cities - from LA and NYC, to Vejer de la Frontera in Spain and Cook's hometown London - Shy Girl was written with long-time collaborators, The General Roots Band, and features a contribution from legendary dub MC Horseman, who lends his voice to the album's first single 'Night Night'.

The album opens with the title track 'Shy Girl', a buoyant and elastic slice of lovers rock that was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. "I'm not a natural show-off," Cook explains. "The 'Shy Girl' theme is me. It's just about being my most vulnerable self and being as true to the music that I Iove as possible." It is this honesty which shines throughout, from the chugging deep dub of 'Frontline', complete with raking electric guitar lines, to the bittersweet roots ballad 'We Share Love', which closes out the album.

It's clear to see that Cook's songwriting draws on a lifetime of musical influences and inspirations. From her father, Sex Pistols drummer Paul Cook's record collection and touring with post-punk icon Ari Up's The Slits, to her love for strong female-led pop music and the bassweight of London's sound system culture. Enamoured with the music of Janet Kay and Phyllis Dillon, 'Shy Girl' represents a homecoming and a coming-of-age for Hollie Cook, distilling and refining a shimmering reggae sound that will capture your heart, as it first captured hers.

STAFF COMMENTS

Barry says: A huge sounding suite of cosmic dub, smooth lovers rock and deep grooves, drawing on classic reggae but pushing the boundaries into more experimental dubby cuts. A beautifully balanced affair, and all topped with Cook's wonderfully silky overtones.

TRACK LISTING

1. Shy Girl
2. Ooh Baby
3. Rockaway
4. Night Night
5. Holding On
6. In The Pictures
7. Frontline
8. Take Me In Your Arms
9. Crying Wolf
10. River Runs Deep
11. Hello Operator
12. We Share Love

Mulatu Astatke

Mulatu Plays Mulatu

Strut presents Mulatu Plays Mulatu, the first major studio album in over 10 years from the father of Ethio-jazz, Mulatu Astatke.

Featuring masterful new arrangements of some of his classic compositions, Mulatu Plays Mulatu finds Mulatu revisiting the sounds that helped to change the face of Ethiopian music during the late ‘60s and early ‘70s. The album was recorded between London and Addis Ababa, working with his long-standing UK band, a tight, intuitive ensemble honed through years of live performance, alongside cultural musicians resident at his Jazz Vi lage club in Addis. Mulatu Plays Mulatu realises Mulatu’s long-term vision of Ethio-jazz, intricately balancing Western jazz arrangements with the rich sounds of traditional Ethiopian instruments including the krar, masenqo, washint, kebero and begena. Throughout the album, he reshapes familiar material with rich textures, expanded improvisations and a deepened rhythmic complexity, creating a body of work that feels as vital and contemporary as it does steeped in tradition. Familiar compositions like ‘Yekermo Sew’, ‘Netsanet’ and the celebratory ‘Kulun’ are reinvented here as elegant big band performances.

“Ethio-jazz brings us together and makes us one,” explains Mulatu. “This album is the culmination of my work bringing this music to the world and pays respect to our unsung heroes, the original musical scientists in Ethiopia who gave us our cultural music.”

Bridging continents and generations throughout his 50-year career, Astatke now offers us an invitation to hear his music again, with a completely fresh perspective. Ethio-jazz, like its creator, is always in motion.

Mulatu Plays Mulatu was produced by Dexter Story and features contemporary artists LA-based artists Carlos Niño and Kibrom Birhane. The album was recorded and mixed by Isabel Gracefield at RAK Studios in London and by Dexter Story in Addis. The inspired album artwork was created by acclaimed Oslo-based Ethiopian artist, Wendimagegn Belete with photography by Alexis Maryon.


STAFF COMMENTS

Barry says: The Ethio-jazz godfather returns for a brand new album, clearly showing how his dedication to the preservation of classic Ethiopian music has shaped the appreciation of it throughout the world. One of the true legends and pioneers, in the finest form of his stellar career.

TRACK LISTING

LP
A1. Zelesenga Dewel
A2. Kulun
A3. Netsanet
B1. Yekermo Sew
B2. Chik Chikka
B3. Motherland
B4. Yekatit

CD
1. Zelesenga Dewel
2. Kulun
3. Netsanet
4. Yekermo Sew
5. Azmari
6. Chik Chikka
7. The Way To Nice
8. Motherland Intro
9. Motherland
10. Mulatu
11. Yekati

Home Counties

Humdrum

‘Humdrum’ is the new album by East-London sextet, Home Counties. Written in the Summer of 2024, and recorded with Al Doyle of LCD Soundsystem last Autumn, the band’s second album explores themes of fractious communication, quiet resentment, and the spiral of overthinking. Told through the dual voices and perspectives of lead vocalists Will Harrison and Lois Kelly, 'Humdrum' trades in wiry grooves, synths that lurch between menace and euphoria, and razor-sharp pop instincts - wrapping knotty ideas into songs that feel both meticulously constructed and joyfully unhinged.

TRACK LISTING

Side A
1. Take You Back
2. Humdrum
3. Spain
4. New Best Thing
5. When In Rome
Side B
6. Meet Me In The Flat Roof
7. Ravelling
8. Cheeseball
9. Roundabout
10. Like That

Blue Lake

The Animal

Blue Lake reveals his most ambitious album yet, which finds its visionary creator Jason Dungan harnessing the collective alchemy of his band, with ten spirited tracks that resonate with a powerful directness, evoking an ecological connection to the wider world.

Growing up in Dallas, Texas, Dungan then moved around for many years, living in both Europe and the USA, before finding a close connection to the Danish capital Copenhagen, where he now resides, a location heavily spotlighted in recent years as fertile creative ground for fellow experimental artists like Astrid Sonne, ML Buch and Clarissa Connelly. This well travelled upbringing would no doubt prove of spiritual significance on Dungan’s emergence as a singular artistic voice, traversing the planes of Ambient, Americana, with hues of Kosmische, uniquely infused with his own Nordic aesthetic.

The solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry’s 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album ‘Sun Arcs’ (2023), with its “ornate, zither-led lattices” (Pitchfork, Best New Music). Conceived in the blissful isolation of a Swedish cabin set in the woods, this was music that soundtracked spring in full bloom. Then, in contrast to the solitary approach of ‘Sun Arcs’, the highly lauded mini-album ‘Weft’ (2025) began to set the tone for a more band-oriented approach to delivering the Blue Lake sound. Jason had by this time experienced a special collective energy with his band during a swathe of live performances, which he then sought to harness and distill on ‘The Animal’, leading him to take the project into a traditional recording studio (The Village) and its limitless potential along with his gifted cohorts.

‘The Animal’ at its core vividly celebrates human collaboration and is deeply rooted in a sense of community and non-hierarchical connectivity. The group's creative alchemy transcends outwards and beyond the musicians performing together, to summon an inclusive, existential and ecological connection to the wider world and its inhabited spaces. The album contemplates the idea of the human as an animal as Dungan explains: “I’m quite fascinated in thinking about humans more as part of the animal environment and not as something that’s so separated into a “human” realm, or sitting on top of a hierarchical pyramid. So the Animal is also me, or us - that we are just living, existing, in the same way as a piece of moss or a sparrow or a cow.

Dungan welcomed an entirely open dialogue, a process that started from early band rehearsals, which saw his demos quickly evolve and amass weight from double bass, cello, clarinet, viola and drums to become refined and audibly decorated. Jason focused on capturing more wide ranging depth in the recording process, dissecting detailed nuances in instruments to convey the intricate, ever changing balance and dynamics that play out in the natural and urban world as the theme too circulates around the idea of The city as an animal or urban being. Speaking of his Copenhagen home town, with its industrial past but close proximity to areas of semi-wilderness, as well as the sea, he explains the overlapping scenario: “I don’t think it’s possible now to think about nature as a pure or isolated thing. Being around animals in this setting, I think about how they communicate with each other, forge relationships, and navigate the city, but all without language. It’s not an experience of nature which is bucolic and uncomplicated - it’s an experience of nature and the animal world which is bound up in human activity.”

On ‘The Animal’, Dungan introduces the use of voice as an instrument, as a way of unlocking song-like characteristics as heard on the gracious album opener ‘Circles’, which sees the group embrace in choral unison, like in birdsong, their voices echo as a part of the surrounding sonic environment. The band are foregrounded and formidable in their delivery, forming a rich, acoustic accompaniment to Dungan’s zither strokes, earthy guitars and percussive patterns. The soundworld is noticeably bolder and livelier as evidenced on ‘Cut Paper’, with now regular mixing collaborator Jeff Zeigler capturing the fullness of the new band sound. Jason also enlisted the help of Danish producer Aske Zidore who encouraged him toward new working strategies, a liberating intervention which allowed the element of surprise and discovery. The centre ground is never fully consumed by Dungan as we find him consciously orchestrating from a respectful distance, giving generous space for the musician's spontaneous performance and improvisation, allowing their musical intuition to give rise to beguiling, holistic synchronicity.

Dungan wrote the cinematic ‘Berlin’ whilst on a tour stop in the German capital, with its lush zither flurries and long reverb decays painting an expansive late night ode to the rolling hill country of Texas. The poignance of Jason’s intimate, evocative writing is heard on ‘Flowers for David’, a heartfelt folk-leaning tribute with lofted fingerpicking guitar, signalling a fond farewell to a friend's passing. The album gains forward momentum on ‘Yarrow’ as the group move in melodic tandem, before the kaleidoscopic ‘Strand’, with its soaring solos and earthy undercurrents propelling toward a euphoric komische crescendo. The title track ‘The Animal’ is a brief melancholic foray into ballad-esque territory, with a drum machine charting a dotted path for emotive horns and a second gathering of wordless, healing atmospheric vocals. As we reach ‘To Read’ Dungan’s quest is encapsulated with wondrous clarity as the group lands entirely together on a resounding chord, a precious moment for Dungan who reels in the existence of the moment as they remain interlocked in sound and space. He concludes: “I’m interested in moments that are fleeting, with a powerful sense of togetherness, shared in the music.”

‘The Animal’ is a form of musical metamorphosis, still acoustic, yet more amplified, elevating it to new dimensions. The Blue Lake project takes on a new lease of life to encompass collaboration with Jason Dungan bound in a universal connectivity, resulting in his most ambitious album to date. A harmonious rejoicing that cements his reputation as a transformative presence in contemporary music. 

STAFF COMMENTS

Barry says: A properly lovely selection of rippling, bucolic ambience, slide guitar and zither recalling folk traditions with a heavy nod to Americana and new age improvisation. A thoroughly lovely, hypnotic set of acoustic songwriting.

TRACK LISTING

Side A
Circles
Cut Paper
Berlin
Flowers For David
Seeds

Side B
Yarrow
Strand
The Animal
Vertical Hold
To Read

For Those I Love

Carving The Stone

The second album from Dublin’s For Those I Love, Carving the Stone is a stark and stirring portrait of modern Irish life. Expanding the intimate world of his acclaimed debut, David Balfe turns his lens outward - grappling with the pressures of working-class survival, the erosion of home, and the passage of time. Set to soaring instrumentals and raw spoken word, this is his most direct, urgent work to date: a deeply human collection of songs rooted in memory, resistance, and emotional honesty.

STAFF COMMENTS

Barry says: Deeply emotive found sound instrumentals, truncated snippets of speech and shimmering, crackling acoustic instruments all topped by David Balfe's rhythmic spoken word, reminiscent of the beat-backed drawl of Mike Skinner or Antony Szmierek's poetic real-life tales. A rousing, folk-influenced take on Balfe's life in Dublin, a gorgeous surprising triumph.

TRACK LISTING

Side A
1. Carving The Stone
2. No Quiet
3. No Scheme
4. The Ox / The Afters
5. Civic

Side B
1. Mirror
2. This Is Not The Place I Belong
3. Of The Sorrows
4. I Came Back To See The Stone Had Moved

Gulp

Beneath Strawberry Moons

Beneath Strawberry Moons, is the third album from Gulp and this time around the combined inspirations of Lindsey Leven and Guto Pryce are supplemented by the musicianship of Andrew Wasylyk as the stomach -butterflies of optimism flutter around and the lapping foams of the band’s ethereal, folkish psych-pop.

Musician and multi-media artist, Leven rejoins Pryce, who traces faintly around the simmering offbeat sounds of his life as a Super Furry Animal (as well as part of Das Koolies and The Pictish Trail), and supporting bandmates, Gid Goundrey (guitar) and Stuart Kidd (drums), for Gulp’s third album. The nine-track Beneath Strawberry Moons, released via ELK Records, follows their 2014 debut, Season Sun, released with Sonic Cathedral and the acclaimed All Good Wishes, which arrived four years later. Extending the gestation of a complete, new collection of work to seven years, accounting for the pair’s relocation from Pryce’s native Cardiff, Beneath Strawberry Moons emerges as a minimal-carbon-footprint, hyperlocal album, created amongst friends with no deadlines between Piggery Studio and the duo’s garden cabin in North East Fife.

Describing their surrounds as ‘idyllic’ and responding artistically to the significant life change, that has brought energy and release, Leven describes the album as “in the most part a love letter to this new way of life”, celebrating space, love, connection and time, cut with an underlying awareness of the fragility of this beauty. Having leaked new material, the cinematic showdown of Always So Far, back in May, the choice of Hope Shines Through The Haar as Gulp’s first single since 2018 links the pair’s delicately charged sense of abundant possibility, Scotland’s heritage and their bracing proximity to the sea.

STAFF COMMENTS

Barry says: It's no secret that I love Andrew Wasylyk, he's talented musician and a very nice man so it was with some excitement I heard he'd teamed up with Leven and Pryce for their latest outing of dreamy tropical pop music. There are few artists that have the same grasp of pace and melody that Gulp do but their sound is very much in the rein of AW's drifting folk for Clay Pipe records, so this collaboration is bang on for me. 10/10 would listen again.

TRACK LISTING

1. Sea Bear
2. Always So Far
3. Salt Years
4. Hope Shines Through The Haar
5. The Way We Live
6. Wildflower
7. Summer Storm
8. Someday In A City
9. Ultramarine Blue

OSEES

Abomination Revealed At Last

The 12 tracks on ABOMINATION... are a hypnotic, maniacal, and propulsive attack on the senses – a fitting reaction to a world suffering from genocide, environmental collapse, state sanctioned violence, progressing technocracy, and more. The album was recorded by Enrique Tena Padilla, Mario Ramirez & John Dwyer, mixed by Padilla and Dwyer, and mastered by JJ Golden.

OSEES are John Dwyer (vocals/guitar/synths), Tom Dolas (guitar/samples/keys), Tim Hellman (bass), and Dan Rincon (drums)."

"It feels like its all lighting off. A lot of fodder in today’s world for an artist.
Too easily humans forget their humanity. Forgiveness is a dead science. Empathy is viewed as a weakness by cretins. Easier to hate rather than love. Fear and greed have dug their bloody hands into everything.
At least now we know who you are. We see you. We defy you.
People are under duress. Recognize this abomination. Oppose the oppressor. FUCK the fascists and their enablers. Fuck the war mongers
Good luck out there. ACAB. "—OSEES


STAFF COMMENTS

Barry says: Another fiery missive from the scuzz-rock behemoth that is OSEES (OCS, Oh Sees etc.). Big, bold and brash and ram-packed with attitude. Long live Dwyer & co and for the love of god, get this on the player.

TRACK LISTING

Side A
1. ABOMINATION
2. SNEAKER
3. GOD'S GUTS
4. INFECTED CHROME
5. GLUE
6. ASHES 2
Side B
7. COFFIN WAX
8. ASHES 1
9. FLIGHT SIMULATOR
10. PROTECTION
11. GLASS WINDOW
12. GLITTER


Sprints

All That Is Over

There’s a palpable flurry of momentum surrounding SPRINTS. The Dublin band have enjoyed a whirlwind year, marked by back-to-back wins and rapid ascent. They unveiled their Top 20 debut album “Letter to Self” in January 2024, picked up two RTÉ Choice Award nominations for Best Irish Album and Breakthrough Irish Artist, opened for IDLES and Pixies, and delivered feverishly talked- about sets at Glastonbury, End of the Road, and All Together Now.

Since the album’s release in 2024 – met with 5-star reviews from NME, DIY, and Dork, and acclaim from Pitchfork and Brooklyn Vegan – the four-piece have taken their visceral live show across the globe. Along the way, they’ve become an essential new name in contemporary rock, known for urgent, compassionate songwriting shaped by personal tales of trauma and resilience.

Now, SPRINTS are turning that relentless energy into new material. Later this year the quartet will unleash brand-new music and pack an even busier schedule, with a major slot at Glastonbury, appearances at Pinkpop, Dour and Latitude, plus a run of German arena dates supporting Fontaines D.C.

SPRINTS about the new album:
“While the world is literally burning down around us there are voices that seem hell bent on pointing the finger at anyone but those responsible. There’s no need to dream-up dystopia, we’re living in it.

And somehow, while the world has never seemed uglier, our life has never been more beautiful. We have clawed ourselves out of the depths of imposter syndrome, anxiety and struggle to come together, stronger than ever, in the pursuit of that which we love most, music.
All That Is Over feels like a second chance at a first album. Gone are the shackles of insecurity, and we have confidently stepped into what we feel is our best work yet. Its loud, emotive, boisterous and a lot of fucking fun.

This is an album about love, lust, art and passion. It is a rejection of the narratives they will try to spin to force those already marginalised to suffer more. It is the repelling of criticism, critique and the combat of the modern world. This is renaissance and rebellion because within the disillusionment with the world, the fatigue, there is still hope. There is still love, music and art and a chance to start again and that’s where you’ll find us. In between hope and a hard place. Welcome to our cowboy gothic.”



STAFF COMMENTS

Barry says: A raucous, distorted distillation of garage rock and post-punk, with a breadth of sound you don't necessarily expect from a second album. 'To The Bone' is a particularly brilliant non-sequitur that shows how flexible the band are.

TRACK LISTING

Side A
1. Abandon
2. To The Bone
3. Descartes
4. Need
5. Beg
6. Rage

Side B
7. Something’s Gonna Happen
8. Pieces
9. Better
10. Coming Alive
11. Desire

Chartreuse

Bless You & Be Well

This very special second​ album was recorded in a secluded location in the north of Iceland with producer Sam Petts-Davies, and follows on from the Black Country band’s 2023 debut ‘Morning Ritual’.

The dynamic of the band feels wholeheartedly distinct, the four-piece are intimately intertwined and each of the band’s experiences informs their new material with the remote recording location providing a sanctuary from personal struggles. The band continues their precedent of equality with the instruments they play and lead vocals interchangeable, and swerve the traditional tropes of indie bands, using their instruments and production techniques in unusual and thrilling ways.

STAFF COMMENTS

Barry says: Brilliantly athletic arty progressive rock music, with strong roots in folk music and your classic singer-songwriter dynamic but with a firm grasp of the avant garde and an unbelievable ear for melody and production. Nothing else sounds like this.

TRACK LISTING

Side A
Bless You & Be Well
Fixin'
I'm Losing It
Kid Won't Eat
Offerings
More

Side B
Sequence Of Voices
Fold
Holiday From Normal Dreaming
Moon Man
By July

Dog Race

Return The Day

London’s gothic five-piece, Dog Race, unveil ‘Return The Day’ - a debut EP that drags you deep into the fog of burnout, codependency, and emotional stasis. Across five tracks, the band unspools the slow horror of fading joy and fractured identity, where insomnia bleeds into daylight and personal growth is sacrificed to keep others comfortable. Following the stark theatrics of ‘It’s The Squeeze’ and the icy operatic swell of ‘The Leader – which earned praise from BBC Radio 6, landed them in NME’s 2025 Top 100, and left Anthony Fantano in awe, placing It’s The Squeeze at #11 in his Best Singles of 2024 – the EP pushes further into the dark. Operatic vocals drift through modulated guitars and synths that crackle with unease. Produced by Ali Chant and released via Fascination Street Records, ‘Return The Day’ captures a band fully embracing psychological unrest and emotional paralysis. Dog Race may take their time, but they strike hard.

This EP is proof of that—cinematic, unnerving, and uncomfortably honest. "A soundscape born from sleepless nights, intrusive thoughts, and the quiet war between the mind and the world around me. Each track pulls at the threads of cultish beliefs and everyday expectations, exposing the weight they place on someone already battling inner turmoil."


TRACK LISTING

Side A:
Where The Barrel Meets The Badger
The Leader
Return The Day (Colours)

Side B:
40 Winks To Wyoming
It’s The Squeeze

Prolapse

I Wonder When They’re Going To Destroy Your Face

Prolapse formed in Leicester in the early 90s and are now spread across the UK and Scandinavia. Still pursuing their own path of repetition and twisted melodies, they merge influences from post punk to krautrock and even folk. Their previous releases have included numerous singles and four albums on various labels, including Cherry Red and Radar. They feature vocalists Mick Derrick and Linda Steelyard, whose intense duelling vocals combine with ferocious triple guitar assault and pummelling rhythms.

The fifth Prolapse album “I Wonder When They’re Going to Destroy Your Face?” will be released on Tapete Records and marks the band’s first new recordings since their last album, “Ghosts of Dead Aeroplanes”, released 26 years ago, but in some ways it feels like there hasn’t a break at all. From the opening incessant riff of ”The Fall of Cashline”, Prolapse set their stall out, hammering the message that they’re back, over and over (and over and over) again.

The album cover is a photo of a broken mirror the band discovered in a skip in South London whilst on tour. If you look closely, you can make out blurred images of the vocalists staring into it.

The first new sound to be heard from Prolapse this millennium, the opening beer can of ”On The Quarter Days“, the return single, perhaps gives an insight into the short, sharp, creative sessions that produced this album. Despite the elapsed 10 years of reformation Prolapse, now actually longer than they existed in the 90s, the time together has been all too brief, gigs every couple of years, writing sessions even rarer.

The album was mainly written in Leicester and recorded at Foel Studio in Wales. Some songs had been evolving for a few years whilst others (three on the album) were improvised and recorded on the spot, just like they’ve always done. Get ready, turn the microphones on, press record…. and something just happens. Perhaps channeling some of the ghosts that have previously recorded at Foel: Amon Düül II, the Groundhogs, Young Marble Giants, My Bloody Valentine and inevitably The Fall. “Err on the Side of Dead” is one of these songs; it grinds and gnaws away, gradually changing until Linda eventually yells “I hate, I hate, I hate”.

The supernatural appears again, with “Ghost in the Chair”, perhaps the album’s stand out track, not exactly like the Prolapse you know, but very much the Prolapse you want to come back to now. It starts off sleepy and eerie, as a kind of displaced therapy session between Mick and Linda, before developing into a wash of noise near the end.

The second single ”Cha Cha Cha 2000”, brings Prolapse into a more dare we say ‘jaunty’ sphere, with Mick recounting a dreamlike escapade with Canned Heat, Donovan and Cat Stevens, not regular touchstones in the 90s, but time brings a new perspectives.

“Ectoplasm United” is a messy but melodic maelstrom, which has also recently had a Faust remix (this will be available on a separate 7 inch single with the vinyl release of the album on Tapete Records).

The last words of the album are said by Linda Steelyard, recounting a tale of arriving at Leicester Forest East Services, and deciding to stay….forever.


STAFF COMMENTS

Barry says: Who doesn't love a brand new Prolapse? Their first album for over quarter of a century sees the band perfectly mixing raucous scathing punk and cosmic industrial groove with Derrick's snarling voice and the cooling balm of Linda Steelyard.

TRACK LISTING

Side A
The Fall Of Cashline
Cha Cha Cha 2000
Err On The Side Of Dead
Ghost In The Chair

Side B
On The Quarter Days
Cacophany No. C
Jackdaw
Ectoplasm United
A Forever

Side C
Swearing For Decoration

Side D
Ectoplasm Untied (A Faust Remix)

Gwenifer Raymond

Last Night I Heard The Dog Star Bark

Brighton-based, Welsh instrumentalist Gwenifer Raymond is set to announce her third studio album to be released September 5th on Canadian label We Are Busy Bodies. Last Night I Heard the Dog Star Bark is a hybrid of the ancient and the futuristic where the arcane etchings of occult folk horror fuse with the unfathomable equations of the cosmos. A big bang, yes, but also an atom cleaved. On her latest album, this celebrated new champion of the finger-picked guitar looks upwards, outwards. somewhere beyond. Now the landscape is mapped – its knotted woodlands, its aurora-crowned mountains, its tangled undergrowth – Gwenifer Raymond hears the stars call.

Last Night I Heard the Dog Star Bark is a natural evolution for such an intensely questing, personally excavating artist. The album is Raymond’s first since 2020’s Strange Lights Over Garth Mountain, which drew widespread acclaim for its repurposing of Mississippi blues and John Fahey’s intricate Americana to embody Raymond’s roots in rural South Wales and her interests in folk horror and the avant garde, a new form dubbed Welsh Primitive. Now, on her forthcoming album, Raymond finds herself conjuring the work of pioneering rocket scientists, the words of fictional hobo prophets and the concepts of mathematical infinity.

Having toured Europe, the US and Canada with the likes of Michael Chapman, Michael Hurley, The Handsome Family, Lankum, Charlie Parr, Richard Dawson, Ryley Walker and Squid, and played festivals including WOMAD, Green Man, End of the Road and Transmusicales in France, Raymond began recording Last Night I Heard the Dog Star Bark; exploring textures and following threads alone in her flat’s home studio, trying to get a sonic grip on a world spinning out of control.

Sci-fi and scientific readings provided a strange, objective clarity. One key reference was Tom O’Bedlam, an insane homeless mystic from Grant Morrison’s comic book series The Invisibles who sees holy words in street signs reflected from the city’s wet concrete, hidden meanings within the modern chaos. “The world seems to have been taking on an increasingly surrealistic tilt,” Raymond says, “and ol’ Tom makes more and more sense.”

“I’ve always been a big sci-fi reader,” she says, listing Phillip K Dick, Kurt Vonnegut and Ray Bradbury amongst the authors she read avidly as a child from her parents’ extensive sci-fi collection. Raymond would go on to complete a PhD in Astrophysics at Cardiff University, before moving to Brighton to become an AI and video game programmer.

Midway through writing her third album, then, she was drawn to the pulp sci-fi corners of Brighton market, picking up and devouring second hand tomes of strange science and the mystique of eternities. “A bunch of the stuff I was reading had these themes about the nature of infinity, and tying this into concepts about the afterlife,” she says. “Those thoughts were running in my mind a lot, especially when I was creating some of the droney sounds that book-end the album. The album enters from the cosmic void and exits through the galactic plane. Maybe you’re exiting out of hyperdrive into some strange planet where the album lives, then you zip out to find whatever is next.”

At times, ladies and gentlemen, she found herself floating in space. The opener ‘Banjo Players of Aleph One’, for instance, is built on a celestial drone – its Gibson Mastertone banjo an off-world presence, purchased second-hand from a widow looking to pay for her husband’s funeral. “I had this image in my head of him somewhere very distant, playing the banjo on the cliffs of Mount On,” Raymond says. Hence the reference to Aleph numbers, a mathematical concept often used to describe the size of infinite sets, and by Rudy Rucker in his novel White Light to outline levels of the afterlife. “I’ve always felt a strong pull to the world of the weird, and I don’t think there’s a lot weirder than infinity, the product of a division by zero,” this atheist astrophysicist muses. “We all get divided by zero eventually.”

‘One Day You’ll Lie Here But Everything Will Have Changed’ has a more serene star-gazing feel, Raymond’s slide guitar tones resembling comets filling the night sky with warping, criss-crossing threads. The title track – a Tom O’Bedlam quote – is a frenetic blues that bends and twists like space-time. And lead single ‘Jack Parsons Blues’ is a passionate fingerpicking dervish full of Arabian flair and flamenco fury, named in honour of a 1940s Californian rocket scientist who helped found NASA’s Jet Propulsion Laboratory and was also a friend of L Ron Hubbard and acolyte of Aleister Crowley.

“I’ve long been obsessed with Jack Parsons,” Raymond says, recalling reading Fortean Times articles about him as a teenager. “He lived in this vast old mansion which he shared with a whole cast of oddballs and shysters. He also came to an abrupt end, blowing himself up in his home lab. For all his faults, I find him to be a sort of romantic character – full of boundless zeal and ideas. He was both a scientist and an embracer of the weird and esoteric. He’s oddly inspirational.”

Converts to Raymond’s brand of Welsh Primitive will find plenty to clutch at their ankles here too, with tracks evoking mythical Welsh goddesses (the prairie-wide ‘Dreams of Rhiannon’s Birds’) and Raymond’s childhood woodland discovery of gruesome animal remains (the frantic, exotic ‘Bleak Night in Rabbit’s Wood’), played on a devil-haunted guitar.

A kissing cousin of Lankum’s mutant folk, the furious, gothic and wonderfully wild ‘Champion Ivy’ sounds like Hell’s hoedown, while ‘Bliws Afon Taf’ (Welsh for ‘Taff River Blues’) is more pastoral and tumbling, wrapping the listener in spider threads of gossamer guitar. At Raymond’s blessed fingertips, the earthly meets the stellar on some far-off event horizon, and you can barely see the join. 


STAFF COMMENTS

Barry says: Gorgous, dark folk music that's got more than a little hint of Alexander Tucker or John Fahey and moves beautifully between frenetic fingerpicking and slow, bucolic fireside balladry.

TRACK LISTING

Side A
Banjo Players Of Aleph One
Jack Parsons Blues
Bliws Afon Tâf
Bonfire Of The Billionaires

Side B
Dreams Of Rhiannon’s Birds
Last Night I Heard The Dog Star Bark
Cattywomp
Bleak Night In Rabbit’s Wood
One Day You’ll Lie Here But Everything Will Have Changed

James Yorkston And Friends

Songs For Nina And Johanna

‘Songs for Nina and Johanna’ is the beautiful new album from James Yorkston, this time featuring not one but two of Sweden’s most recognisable female vocalists. Recorded in Stockholm with Nina Persson (The Cardigans), Johanna Söderberg (First Aid Kit) and members of The Second Hand Orchestra, these are songs about family, love and parenthood. Tender and heart-breaking yet overwhelmingly life-affirming, ‘Songs for Nina and Johanna’ is a vital addition to the James Yorkston catalogue.

Songs for Nina and Johanna is the beautiful new album from James Yorkston, his sixteenth on Domino and his third to be recorded in Stockholm in conjunction with members of The Second Hand Orchestra. Nina Persson (The Cardigans), who teamed up with James on his previous critically-acclaimed album, The Great White Sea Eagle, this time divides singing duties with Johanna Söderberg (First Aid Kit), the two of them singing separately with James on five and four tracks respectively.


STAFF COMMENTS

Barry says: I've always been a huge fan of the otherworldly vocals of Nina Persson and this gorgeous LP from James Yorkston features both Nina and Johanna from First Aid Kit singing alongside Yorkston's perfectly pitched syrupy drawl. It's beautifully written and performed even more beautifully than you'd expect. A wonderfully warm, evocative study in collaboration.

TRACK LISTING

Side A
1. I Can Change
2. Oh Light, Oh Light
3. A Moment Longer
4. Love / Luck
5. Where's The Time?

Side B
6. Rabbit
7. Love That Tree
8. Oh Sparrow, Up Yours
9. I Spooked The Neighbours
10. With Me, With You

Dinked Edition Bonus CD EP: “Reimaginations” By The Second Hand Orchestra
1. Time Was Short (5 1/2 Min To Be Exact)
2. With You, With Me (in Swedish)
3. A Moment Longer (Lina Langendorf Solo Saxophone)
4. Where’s The Time? (Instrumental)

Water From Your Eyes

It's A Beautiful Place

It’s A Beautiful Place opens with zero-gravity instrumental ‘One Small Step’ – a fitting prelude for what is one giant leap for New York duo Water From Your Eyes. The album is a gleaming megalopolis, a satellite view of eras and musical forms, a reframing of the y2k songbook that is at once awe-struck and mindful of its place in the vastness. “It ended up being about time, dinosaurs and space,” says Nate Amos. “We wanted to present a wide range of styles in a way that acknowledges everything’s just a tiny blip.”

The duo recorded the bulk of It’s A Beautiful Place last summer, just as they have every other WFYE release: in Amos’s bedroom. But this time, much of the writing and recording were shaped around the dynamics of a full-blooded live group: “When you’re playing with a band you tend to write with one in mind - this was the first time I wrote anything for WFYE imagining us playing anywhere bigger than a basement,” he observes.

Throughout the album is a clear sense of a band who have honed their curveballs into home runs. Looming and melancholy, wide-eyed and petrified, it’s Blade Runner meets WALL-E, it’s Kubrick and Asimov with a hint of Jay and Silent Bob. These are songs that look outward, conscious of our smallness and questioning our place in the universe while admiring the surrounding beauty.

“A song can feel like everything, communicating vast emotional landscapes,” says Amos, “but your favorite album is less important than any person. That person is less interesting than any mountain. That mountain is boring compared to any planet. That planet is only a part of a solar system. If music and all other human practices are meaningless on a cosmic scale why does it still feel so important?”

“One of the most exciting bands out there right now.” Rolling Stone.

“There’s a lot of beauty to be found in the scatterbrained mayhem.” Stereogum.

“Excellent” The New York Times.

“Thrilling” The Guardian.

“WFYE are one of the most interesting acts in music these days.” Under the Radar.



STAFF COMMENTS

Barry says: Water From Your Eyes forge a sort of noise that could result in me trying to describe song after song in an endless stream of genre descriptions, but it would do no good. You need to hear it. Mad avant indie, jagged math rock and arty psychedelia, and the rest.

TRACK LISTING

Side A
One Small Step
Life Sings
Nights In Armor
Born 2
You Don’t Believe In God?

Side B
Spaceship
Playing Classics
It’s A Beautiful Place
Blood On The Dollar
For Mankind

Modern Nature

The Heat Warps

When Modern Nature toured their last album, 2023’s No Fixed Point In Space, it became apparent to Jack Cooper – the band’s main creative force – that they were already pulling away from the free, open-ended approach they had spent five years working towards; almost as if the music had become so abstract and elasticated, it now had to snap back towards something more structured. As they found themselves naturally locking into more fixed grooves, he realised a new direction had been set. Their new album – The Heat Warps – is the triumphant manifestation of where that new direction took them.

In the aftermath, Cooper’s songwriting, which had become increasingly impressionistic, found a new focus and the idea of making an album that followed a similar path to the last two increasingly seemed obtuse. The purpose was to forge a radical change. The core trio of him, Jim Wallis (drums) and Jeff Tobias (bass guitar) were augmented by a new guitarist – Tara Cunningham.

Modern Nature’s recent records have reflected an insular life. Cooper had moved out to the countryside in 2021 and had, in his words, been “hibernating” while he started a family. He felt this new band was a symbol for his reawakening and the perfect vessel for him to continue to explore themes that he’s sung about with Modern Nature – collectivism, our relationship with the natural world, the weight of consciousness – but with more directness and purpose. The key was the new dual guitar sound.

“I’ve always been drawn to bands where two guitarists work as a unit to move around and colour the rhythm section,” explains Cooper. “I’d been listening to the demos Television did with Brian Eno in the day and then that night I played with Tara for the first time at an improvised music show. We have a very similar approach to the guitar and that extends to the way we sing, so it gives the music an interesting balance.

“What we do is mirrored; a symmetry on either side of what Jim and Jeff are doing in the rhythm section. We’ve played with lots of amazing musicians who continue to orbit around what we do, but Tara joining the band felt like finding the other side to the square. Previous records have been performed by upwards of fifteen people but it was apparent the four of us could achieve something more powerful and more direct.”

In the time Modern Nature has been a band, the world has undoubtedly changed. The words Cooper had been writing previously were somewhat ambiguous but it had started to feel like he was sitting on the fence and that was something he needed to address. “Every day we’re confronted with a confusing and scary world,” he says. “Making music and creating things can feel flippant or unnecessary, but my own world view was defined and influenced by art and artists who weren’t afraid to highlight and offer solutions: Public Enemy, The Smiths or a wider American counterculture.”

“The community we’ve built our life around – artists, musicians and the people who gravitate to these things as way of communicating – are struggling to reconcile how they fit into an increasingly cruel world. This album, the themes and the lyrics are directed towards them because I think there are still seasons to be optimistic. There are amazing things happening all around us and it’s up to communities like ours to double down on the things we believe in. It feels as if being part of a group like Modern Nature and making an album that’s open, optimistic and ambitious is in itself part of the solution.”

As the new band started to play together more, the energy, excitement and telepathy between them gained momentum and it became clear they needed to make a record that captured that. They locked into a process where they booked a couple of shows, directly followed by four days in the studio (the all-analogue Gizzard Recording in east London). They’d spend two weeks living in each other’s pockets – a very condensed rush of creativity.

“It’s rare to hear a recording of a band playing in a room together,” adds Cooper. “And that interaction, the discrepancies in timing, synergy, in pitch, that’s where the magic really is, I think, and that’s what we wanted to capture.”

One additional (and slightly unlikely) influence on the record was Andrew Weatherall. Before he passed away, he’d played Modern Nature on his NTS show and Cooper was thrilled that he liked them. He made it an aim to make a record Weatherall might have played to his friends late at night. His motto “Fail we may, sail we must” is what the Can-esque track Pharaoh is about.

“It’s difficult to stay aware of the world around you without becoming despondent,” says Cooper. “Pharoah makes the case for finding a personal philosophy and trying to live a life that might inspire others or at the very least not hurt them.”

Elsewhere, Radio touches on the contempt capitalism has for the natural world. The line “there’s a fire all around” offers a kind of gallows humour. Cooper adds that recently they played the songs on a day that the news was showing footage of the Los Angeles fires. It occurred to him that it was perhaps an insensitive subject to be singing about but there again – in his words – he feels it’s “important not to turn away from these things.

” The same desire not to shy away might also be attributed to Source, which touches on the recent riots in the UK directed towards asylum seekers, inspired by misinformation spread online.

For all this wrestling with the grimmer realities of 2025, The Heat Warps is ultimately not a record entirely consumed by anxieties. Its frequently beautiful sounds offer consolation and a wide-eyed optimism amid all the upheaval. Nowhere is that more apparent than on the transcendent album closer, Totality. As Cooper explains: “It was fascinating spending time in America as the country geared up for the 2024 solar eclipse. The news stations covered the event in the same way they’d cover a big football game or the Oscars. Everywhere I went, people were talking about the eclipse and for a few days it really seemed to capture the public’s imagination.“My friend’s dad had organised a huge party and had obviously done his homework. When he was running us through his preparation and how the day was going to go down, he said, ‘We’re hoping for totality, ’ and it blew my mind.

“The day of the eclipse I was driving through New Mexico and we stopped by the side of the road with hundreds of other people gazing up to the heavens. It felt exciting to be part of something that clearly resonated with people on such a profound level. It’s a fitting album closer and somewhere in there is a philosophy; a romantic nihilism”. And at its heart, right there is the core of Modern Nature’s appeal. Never more so than on this new record.


STAFF COMMENTS

Barry says: I've always been a fan of everything Jack's done, since his time (and mine) and Trof all those years ago, through various monikers, but for me this is the highpoint. Gloriously textured, impeccably pitched harmonies, *perfect* textural changes and stunningly written songs. A real masterclass.

TRACK LISTING

Side A
Pharaoh
Radio
Glance
Source

Side B
Jetty
Alpenglow
Zoology
Takeover
Totality

The Royston Club

Songs For The Spine

Wrexham’s The Royston Club return in Summer 2025 with Songs For The Spine — a soaring, emotionally-charged second album that captures a band stepping up and standing tall. Opening track Shivers sets the tone immediately: a dark love song that channels the spirit of The Cure at their most euphoric, and signals a bold new era for the band. Recorded at Liverpool’s Kempston Street Studios with acclaimed producer Richard Turvey (Blossoms, The Courteeners), and released via Run On / Modern Sky Records, this is the sound of a group at the peak of their powers.

Following the success of their Top 20 debut Shaking Hips and Crashing Cars and a sold-out UK tour in 2024, The Royston Club have emerged tighter, louder, and more emotionally driven. Songs For The Spine builds on the band’s signature indie DNA while embracing something weightier and more expansive. The soul-baring The Patch Where Nothing Grows is already resonating as a fan anthem, while tracks like Crowbar shimmer with glad-but-sad disco nostalgia. Cariad wears its heart firmly on its sleeve, and The Ballad Of Glen Campbell brings the record to a cinematic close.

At its core, this is a collection of songs about the people and places that hold you up — the emotional backbone of everyday life. There’s love, loss, guilt, longing and joy in these ten tracks, delivered with a raw honesty and a more human, less polished sound than before. The band and Turvey purposely embraced imperfection in the studio, leaning into live takes and leaving in the edges that give these songs their pulse.

Songs For The Spine is the sound of The Royston Club turning a breakthrough into a mission statement — urgent, ambitious, and unafraid to evolve. If the first album was a sprinting start, this is a victory lap with the road wide open ahead.

STAFF COMMENTS

Barry says: The Royston Club bring us a beautifully relaxed mix of soaring 90's jangle and euphoric pop-indie, both wonderfully written and produced and a clear indication that they're here to stay. Lovely stuff.

TRACK LISTING

Shivers
The Patch Where Nothing Grows
Crowbar
Glued To The Bed
Cariad
30/20
Spinning
Through The Cracks
Curses & Spit
The Ballad Of Glen Campbell


Various Artists

Maybe I'm Dreaming

Maybe I’m Dreaming is the latest collection selected by Mikey Young (Total Control, Eddy Current Suppression Ring) and Keith Abrahamsson (Founder and Head of A&R at Anthology Recordings), the mangled minds behind the beloved Follow the Sun, Sad About the Times, and …Still Sad compilations. The twenty tracks of Dreaming make a conscious, and unconscious, detour from its predecessors, sourced entirely from private press releases, spanning new decades and production modes within homespun folk, soft rock, and otherwise 70s and 80s FM radio adjacent music. The magic of Dreaming is the untold story of the artists behind these songs; those who missed the big time, but whose song craft and unrequited care hit the right notes, both high and low.

Where Follow the Sun and Sad About the Times introduced us to the fame chasing, ambition crashing crooners who missed their shot in the mainstream, Dreaming delves deeper into the isolated wilds — a private world where production quirks, late-night tape hiss, and one-man studio dreams were not necessarily a choice but the hand that was dealt. With the parameters set to "private press only,” Young and Abrahamsson follow a circuitous trail of invention and emotion, documenting a spirit that’s more homespun, sometimes lonelier, and often a little weirder. The guitars still strum, but the keyboards’ hum is more prevalent and precious; wistful harmonies brush up against lo-fi drum machines; a bittersweet fog lingering over even the brightest melodies.

As with their previous collaborations, Young and Abrahamsson weren’t interested in constructing a museum or drafting a historical survey. Dreaming is a sentimental mixtape, assembled late at night when the mind wanders and old memories blur with imagined futures, those within reach and those far too mysterious to ever encounter. Songs were unearthed in personal collections, deep YouTube burrows, dilapidated web archives, and the dim corners of Discogs, with many selections tied not only to intuition but to personal connection. Some tracks arrived via friends — Kelley Stoltz, a frequent guide for Young, tipped him off to both Peter Kraemer’s lost gem “Let the Light Slip” and Awakening’s revelatory closer — adding an unseen but deeply felt thread of camaraderie to the compilation.

The journey takes in a wide, strange sweep: The Watson Brothers Band's “Just Whistle” opens the collection with a sigh and a shrug, a song that feels like it’s been waiting for decades to be heard again. Jim Huxley’s “Tessa on a Magazine,” rediscovered after a long and winding search by Young, shimmers with a distinctly Australian melancholia. The heartbreak of Rick Penta's “My Story Changes” and Twice As Nice’s delicate “Thoughts of You” float easily alongside the more buoyant, radio-dream sheen of Barracuda’s Baby “I Love You” and MAK’s sunshine-dappled “That's Life.”

Widening the aperture to the late 70s and early 80s allows for a deeper exploration into evolving production techniques and musical technologies. The Squad’s “D.L.M.H.I.M.A.” and Christoph Spendel Group’s “Forever” crackle with the kind of bedroom synth warmth that could only come from the analog age, while the soulful, yearning undercurrent of Awakening’s “Gotta Do Somethin / Might As Well Cultivate” caps the collection with a call for action — or maybe just acceptance – in an accidental Brian Eno Here Come the Warm Jets parroting.

While Dreaming moves away from the "sad man with guitar" archetype that hovered over its predecessors, it remains tethered to a familiar emotional gravity — a balance of longing and lightness that defines this corner of the musical universe. Each track shuffles gently between resignation and hope, sadness and serenity, as if the artists themselves were chasing a dream just beyond reach, recording not for fame but for the simple act of getting it, that primal, creative itch, out into the world.

The result is a collection that feels both ephemeral and eternal. A flicker caught in amber. A transmission from the other side of the night; a place where the angels and demons mingle, sharing shots and lines with those that enter their parlor. Dreaming is an invitation to drift a little while longer, eyes half-closed, into that liminal space between memory and imagination. Maybe you're dreaming. Maybe you're awake. Maybe it doesn’t matter.


STAFF COMMENTS

Barry says: Gorgeously evocative drifters that span the psychedelic spectrum, from saturated folk and woozy country to blipping synthpop and bold, bubbling minimalism, all perfectly slotted together. A proper melting pot of influence, brought together with clear respect for the source material, and a deep field of knowledge.

TRACK LISTING

Side A
A1. The Watson Brothers Band - Just Whistle
A2. Jim Huxley - Tessa On A Magazine
A3. Rick Penta - My Story Changes
A4. MAK - That's Life
A5. Palm Pizazz! - Silent Letter
A6. Twice As Nice - Thoughts Of You

Side B
B1. Barracuda - Baby I Love You
B2. Elderberry Jak - Forrest On The Mountain
B3. Dennis - Walk With Me
B4. Jim Ware - Green Eyed Gypsy
B5. John Lyle - Oh My Wind

Side C
C1. Peter Kraemer - Let The Light Slip
C2. Brian Freel - Nightrider
C3. Michael Moore - Holland
C4. Clete Stallbaumer - John's Song
C5. Ronnie White - The Jump

Side D
D1. David Owens - Take Off Your Armour
D2. The Squad - D.L.M.H.I.M.A.
D3. Christoph Spendel Group - Forever
D4. Awakening - Gotta Do Somethin / Might As Well Cultivate

Coach Party

Caramel

Coach Party return with their explosive second studio album, ‘Caramel’, set for release on September 26th via Chess Club Records.

Coach Party are poised to make their mark on 2025 and beyond with their new album ‘Caramel’, it is a melody packed, infectious record born from the shared experiences and unity of the band's four members: Jess Eastwood, Steph Norris, Guy Page and Joe Perry. Produced by the band’s own Guy Page, it channels the introspection and bite of bands like Hole, Sprints, Turnstile, and Amyl and the Sniffers. Clocking in at 33 minutes, it’s a sharp, melody-driven record that expands on the themes of their 2023 debut ‘Killjoy’ - heartbreak, identity, and finding your voice.

The band have built a reputation for intense, sweat-soaked live shows, touring with the likes of Queens of the Stone Age, Wet Leg and Royal Blood, and making festival appearances at Glastonbury and Rock en Seine.

With ‘Caramel’, they push their sound further than ever-hook-heavy, emotionally honest, and made for the big stage.


TRACK LISTING

Side A
A1. Do It For Love
A2. Girls!
A3. Georgina
A4. Control
A5. I Really Like You

Side B
B1. Disco Dream
B2. Fake It
B3. Medicate Yourself
B4. Do Yourself A Favour
B5. Still Hurts

Makeshift Art Bar

Lackluster Writing Makes Fundamental Reading

Makeshift Art Bar, the rising sonic powerhouse hailing from Belfast, released their highly anticipated debut EP, Lackluster Writing Makes Fundamental Reading, on the 3rd of January 2025. This EP solidifies their place as one of the most innovative voices in the underground music scene.

The four-track record captures the raw intensity and unapologetic experimentalism that have made Makeshift Art Bar a must-see act on stages across Europe. Each track on Lackluster Writing Makes Fundamental Reading takes listeners on a journey through jagged guitar riffs, pulsating rhythms, and lyrics that oscillate between the poetic and the provocative.

Their unique sound hurled them into the spotlight achieving a Radio 6 live session and playlisting, multiple festival slots including Borderline, Ypsingrock and All Together Now and sold out support slots with Chalk across the UK.

Press Quotes:
“The band unleash chaos with an instrumental so sick and evil that it’s massively enjoyable.” - Peter Martin, So Young Magazine.

“Each plectrum pluck shivers the ribcage and mangles the guts like a queue of ghosts drifting through your body, beat by tremulous beat.” - Elvis Thirwell, So Young Magazine.

“The noise rock quartet pitch into and lurch through this lively song, a Frankenstein’s monster of post-punk, grunge and––low-key––sludge metal. All sung with an unmistakable Belfast accent.” - Cyrus Larcombe Morre, Clunk Magazine.




TRACK LISTING

Side A
A1. Birthday Party
A2. Notice Me

Side B
B1. Sonic Shelf
B2. Bedwetter

Panic Shack

Panic Shack

If there's one thing Panic Shack know, it's how to have a good time. Comprised of Sarah Harvey (vocals), Meg Fretwell (guitar/backing vocals), Romi Lawrence (guitar/backing vocals), Em Smith (bass/backing vocals) and Nick Williams (drums), the band formed in 2018 as a middle-finger to the “members-only club” atmosphere of indie and punk scenes – not just because they’re male-dominated, but because they make playing music seem out of reach or, even worse, boring. “Boys make it look so hard,” Em says, rolling her eyes. “Whenever I see someone on the floor fiddling with their pedals with a face like a slapped arse I think, you're making this look so unattainable and it’s actually so fucking easy.”

This carefree approach gives Panic Shack’s music the same effect as popping a bottle of Prosecco – explosive, intoxicating, and delightfully chaotic. With barely any music available online, they built a word-of-mouth following off the back of their live shows, which have been praised for fusing “thrashy early LA-style punk with choreography that owes something to the Go-Go’s and Iron Maiden all at once” (The Guardian). That quickly snowballed into tours with the likes of Bob Vylan and Soft Play, and festival appearances at Glastonbury, Reading & Leeds, Green Man, End of the Road, SXSW and more. Released in 2022, their acclaimed Baby Shack EP bottled the lightning they have on stage, cementing their ability to blend killer hooks with a contagious sense of humour. The first vinyl pressing – splattered pink, obviously – sold out almost instantly.

Panic Shack’s self-titled debut album represents a serious level up. Linking up with producer Ali Chant (PJ Harvey, Perfume Genius, Yard Act), it finds the band expanding their gutsy punk sound into fuller territory, packed with vocal harmonies, synths, electronic experimentation, and even a trumpet at one point.

Over 11 breakneck tracks, Panic Shack never lets up or loses momentum. It opens with the rising sound of chatter, glass clinking and laughter, most of which was recorded in the beer garden at an Amyl & the Sniffers gig. Fizzing with the anticipation of walking into a club at the start of a night out, it feels like party-punk’s answer to the intro of Spice Girls’ ‘Wannabe’. From there, the bouncy bass line and blistering guitars of ‘Girl Band Starter Band’ kick in, and the band pulls you into their world the way a friend would grab your hand and drag you onto the dancefloor. “Four iced lattes / Sit outside / Smoke a rolly / Sun is shining / People watching / Things are moving / Got us talking…” Sarah chants, the pace ramping up like a heartbeat beginning to race.

Across the album, the lyrics are conversational, often stemming from in-jokes, while the subject matter spans the full range of the feminine experience. Whether it’s everyday stuff like browsing Hinge (‘Unhinged’) and remembering everything you need to stick in your bag because your dress has no pockets (‘Pockets’), or broader societal issues like the impact of toxic tabloid culture on body image (‘Gok Wan’) and sexual harassment (‘SMELLARAT’), no topic is too frivolous or too vast. There’s no point-scoring or political commentary to be made here, though. The songs spring naturally from the way they live their lives, which is, more often than not, with a great deal of enjoyment.

Irresistible because of their simplicity and charming because of their familiarity, Panic Shack are the answer to a question that, quite frankly, isn’t asked often enough: what if the funniest girls you know started a band? The sonic equivalent to a coming-of-age film unfolding over a single night, Panic Shack takes the shape of a bender, beginning by approaching a bar and ending with an impassioned speech at sunrise about how much you love your friends. Swerving the expected topics of sex and romance, the entire album revolves around the ionic bond between the four girls.

“This band has taken us on the most mental journey that nobody else will fully understand,” says Meg. It’s only right, then, that their debut marks a celebration of that as much as it does the start of a new journey entirely. “We've always wanted people to come in and be part of our world, and this album is every part of who Panic Shack are. The party side, the angry side… It’s a story about us, really,” Sarah explains. “That’s why we named it after the band. We can't help but be ourselves.”

STAFF COMMENTS

Barry says: Bouncy, punky dance music that's rooted in garage rock and the clattering mayhem of lo-fi but is shining with the sort of modern production and song structures that lean heavily into modern, wild party music. RIYL a good time.

TRACK LISTING

1. Girl Band Starter Pack
2. Gok Wan
3. Lazy
4. Tit School
5. We Need To Talk About Dennis
6. Do Something
7. Personal Best
8. Pockets
9. Unhinged
10. SMELLARAT
11. Thelma And Louise

Humour

Learning Greek

At the tail end of 2022, Glasgow's Humour put out their debut EP ‘Pure Misery’, a six-track fever dream that established the band as one of the most exciting new bands on the circuit, a record they called themselves "a montage of miserable things... a bit desperate and a bit grim, but also a bit ridiculous". Already known for the strength and raw unpredictability of their shows, 2023 saw more touring, their inclusion in the NME100 and the group taking further strides with A Small Crowd Gathered To Watch Me, a second collection of songs that showed a further progression towards capturing the powerful sound that emanates from their live stage - "something unique: vocals that veer wildly between extremes, sometimes a manic gibbering mess, others an emotive swagger, the instrumentals tightly wound and hard-hitting." (NME)

Humour live together in Glasgow and formed across the lockdowns, writing and recording their material at home, with the music intended as a backdrop to Andreas' narrative-driven and often surreal lyrics. Sometimes they’re about letting people down, sometimes they’re about pets dying, sometimes they’re about trying to say something when you don’t have anything worth saying.

The imagery of the lyrics is reflected in the illustrative designs Andreas makes for the single and album artworks, making drawings to go along with each of their songs, and the visuals behind the lyric videos for previous singles.


STAFF COMMENTS

Barry says: Snappy, soaring punk that's instantly reminiscent of the post-hardcore boom of the 00's but with a distinctly modern outlook on cross-genre pollination, sounding at times like a wonky Pavement, and at others like a wrong-speed Green Day record. A uniquely melodic, scathing blast of wild Glaswegian rock.

TRACK LISTING

Side A
1. Neighbours
2. Memorial
3. Plagiarist
4. Learning Greek
5. Dirty Bread
6. Die Rich

Side B
1. Knew We’d Talk About It One Day
2. Aphid
3. I Only Have Eyes (feat. Theo Bleak)
4. In The Paddies
5. It Happened In The Sun

Yoshika Colwell

On The Wing

‘On The Wing’ is the debut album from Yoshika Colwell - a captivating and sophisticated collection of eleven songs that traverse the outer regions of folk, it is a record of acceptance and self-discovery, rooted in solitude and personal healing, from one of the UK’s most exciting new singer-songwriters.

Life, for us all, comes in seasons: the bitter frosts and balmy awakenings that herald the literal passing of time, but also the periods of retreat and re-emergence that bookmark our own individual paths along this mortal coil. For Yoshika, the last decade has found her existing at both ends of the spectrum. Following a period of complete dislocation fuelled by a move to a new town, lockdown and a traumatic break-up all striking in quick succession, it would take a stretch of restorative isolation to bring her back to full creative and personal health. Now, however, all of that sadness and pain, acceptance and slow-dawning hope has been channeled into ‘On The Wing’. Speaking about the album, she says:

“This album is a bit of a shrine I suppose to all of the pivotal experiences that shaped me during my twenties and it’s also, I feel, a tentative lean towards hopefulness for the future.

It is, at its core, an album about acceptance and release, and freedom from old binds. It was an extremely emotional and cathartic record to make. It was a challenge to put all of the things I was scared to say into these songs, to finally let them out of my head without shying away from the ugly or unpalatable emotions, but it felt like the only thing to do.

The process felt quite ritualistic, akin to writing down the things you know you need to let go of on a piece of paper and burning it.”

Produced by Oli Bayston (Barry Can't Swim, Rachel Chinouriri), the album was recorded at Studio Orbb, where Yoshika recorded her critically acclaimed debut EP ‘There’s A Time’. Since then, a string of releases have seen support from The New Cue, BBC 6Music, Paste, The Line of Best Fit and Stereogum, to name a few, whilst Yoshika has played her first shows in the US at SXSW. This summer she plays The Great Escape, Moseley Folk Festival and End of the Road.


STAFF COMMENTS

Barry says: Beautiful flickering folky melodies and silky smooth vocals, rich in the folk tradition but also awash with non-traditional production and an uncharacteristic levity and easy joy. That's not to mention the more meditative pieces that could easily sit on the greatest Laura Marling albums, seamlessly sitting next to these joyful ballasts. It's stunning.

TRACK LISTING

Side A
On & On
Last Night
In Bloom
Turn My Face Away
It’ll Never Be Enough
Into The Water

Side B
There’s Got To Be A Loser Babe
Fighting On The Wing
A Poem About Walking
Once In A Blue Moon
Maybe

Kokoroko

Tuff Times Never Last

‘Tuff Times Never Last’ is a spirited and vibrant collection of songs serving as an optimistic reminder to tightly hold and embrace the many dualities that occur in life. Over the course of the 11-song suite, the album explores togetherness, community, sensuality, childhood, loss and above all perseverance.

Initially drawing inspiration from a viral social media meme, co-bandleader Onome Edgeworth said of the title’s origins and meaning: “It’s true! Although we’re reflecting on joy and celebration, you realize that a lot of that beauty comes out of challenges and difficulties. It felt like a natural truth that we discovered whilst writing”.

The accompanying artwork was painted by Luci Pina, the acclaimed illustrator whose work has been sought and commissioned by the likes of The Cut, Soho House, DICE, Apple Music and It’s Nice That. Embedded within the image is Kokoroko’s ode to London in the summer. Speaking on its design, co-bandleader Sheila Maurice-Grey said: “The remit was summer in London, family and sense of everyone being in a congregation-like audience, and us being the musicians”.

The artwork’s imagery and colour was inspired by feelings of innocence and nostalgia - coming of age in London and those rare summer nights where everything felt full of hope. The cityscape also pays homage to Spike Lee’s 1994 film ‘Crookyln’ and Rick Famuyiwa’s 1999 opus ‘The Wood’. The band saw these movies as heartwarming representations of black family, community and resilience that served as a balm for them as Londoners. Speaking further on this, co-bandleader Onome Edgeworth said: “‘Crooklyn’ is very emotional, but also very uplifting. It felt like how I grew up. This album is us sharing our own feelings, hopes and dreams. We didn’t always have those stories in the UK”

Three years on from their debut album ‘Could We Be More’ which peaked at No.30 on the UK Albums Chart and received acclaim from The Guardian, The Telegraph, Financial Times, Jazzwise, CRACK Magazine and Downbeat Magazine, ‘Tuff Times Never Last’ sees the London band with careless abandon expand their wide-ranging palette and influences.

While the afrobeat jazz of their previous work is still a core part of the record’s sonic design, the new album largely pulls from British R&B from the 80s, neo-soul, West African disco, bossa nova, lovers rock and funk. Sonically taking cues from the likes of Loose Ends, Don Blackman, Common, Sly & Robbie, William Onyeabor, Patrice Rushen, Ofori Amponsah and Cymande. Throughout this instinctive evolution, the septet's seasoned musicianship preserves the essence of who Kokoroko are as masterful jazz artisans.

Speaking on the band’s progression in sound, co-bandleader Sheila Maurice-Grey said: “Innately, we’re jazz musicians but we've tried not to kind of box ourselves into one sound. So there is a level of freedom we're starting to feel. We want to continue being as creative as possible without feeling any boundaries”.

STAFF COMMENTS

Millie says: Kokoroko’s second studio album ‘Tuff Times Never Last’ is a literal message, a beautiful dose of optimism, joy and that resilience with the help of music and community, it might just all be ok in the end - if not better.

You can really get the sense that the 8-piece band have grown their sound from more Afrobeat jazz, to being influenced by soul, R&B, bossa nova and quite a range more. The progression of their style feels like an organic movement into this new chapter and I’m all for it. Vibrant, emotive, almost as though a snapshot of Summer 2025.

“Never Lost” has got to be my favourite track from the album, the harmonies they reach, the emotions it evokes, it really encapsulates the feeling of golden sunshine on your face. The album holds the sentiment that, with the people closest to you held tightly, it’s true, good times are only around the corner.

TRACK LISTING

A1 Never Lost
A2 Sweetie
A3 Closer To Me
A4 My Father In Heaven
A5 Idea 5 (Call My Name) [feat. LULU.]
A6 Three Piece Suit (feat. Azekel)
B1 Time And Time (feat. Demae)
B2 Da Du Dah
B3 Together We Are
B4 Just Can’t Wait
B5 Over / Reprise

UNIVERSITY

McCartney, It'll Be OK

UNIVERSITY, the Crewe-based four-piece formed of Zak Bowker (vocals/guitar), Ewan Barton (bass), drummer Joel Smith and Eddie (mascot), announce their debut album, ‘McCartney, It’ll Be OK’, following last year's incredible debut EP and a slew of shows that have them firmly established as one of the best live bands in the UK right now.

With influences from the 80's DIY noise underground, emo-core, Burroughs and obscure arthouse cinema and the likes of 'Windmill' scenesters Black Midi they're the most exciting group to emerge from Crewe since, well, ever. The tightest of friendships thrust them together in a void of culture, where in-jokes, a fourth member who plays computer games on stage whiles they thrash out (and maybe writes all the songs!?!?!), these charismatic young upstarts invite you into their gang, where the riffs are melodic, the lyrics emotional yet humorous and the drums are set to eleven.

Recorded with producer Kwes Darko (Sampa The Great, Denzel Curry) at Damon Albarn’s Studio 13 in London, ‘McCartney, It’ll Be OK’ furthers the extremely exciting beginnings of UNIVERSITY’s 2023 debut EP, ‘Title Track’, with the hooks now brighter and more melodic, the breakdowns heavier and the lyrics more refined. The band recorded ‘McCartney, It’ll Be Alright’ totally live, and it retains the delightfully unhinged energy that’s defined their work so far, with everything thrillingly close to falling apart at any minute.

STAFF COMMENTS

Barry says: Frenetic, clattering noisy indie rock that's nestled nicely into blasts of punky drums and snappy distortion, athletic guitar shapes and screaming vocals. Fantastically weird, angular mayhem.

TRACK LISTING

1. Massive Twenty One Pilots Tattoo
2. Curwen
3. Gorilla Panic
4. Hustler’s Metamorphosis
5. GTA Online
6. Diamond Song
7. History Of Iron Maiden Pt. 1
8. History Of Iron Maiden Pt. 0.5

Jessica Winter

My First Album

Jessica Winter’s debut ‘My First Album’ is a fully realised bold, questioning album, full of personality sitting somewhere on the spectrum between therapy and the dancefloor. Musically there are shades of Kylie Minogue and the glitter of 80s Madonna, there’s the flamboyance of Prince and Queen, the energy and occasional snarl of punk and the dreamy arched eyebrow of psychedelia. In a world where maximalist pop is back and therapy memes rule supreme, My First Album is the perfect soundtrack.

Jessica Winter is a British singer, songwriter, and producer known for her experimental pop music that blends elements from various genres, including pop, industrial, and indie. To date, Jessica has released a series of EPs, including Limerence (2023), More Sad Music (2021), and Sad Music (2020), each showcasing her ability to infuse unconventional themes and introspective lyrics into pop song structures.

In addition to her solo project, Winter has an extensive list of credits as a co-writer and producer, having collaborated with artists like The Horrors, The Big Moon, Jazmin Bean, Phoebe Green, Lauren Auder, Pre Goblin, Sundara Karma, Walt Disco, and Brodka.


“a pure pop confection” – The New York Times.
“Jessica Winter is a pop-music obsessive whose sound and lyrics are high-concept experimentations that test how far she can take the genre” - Rolling Stone US
“The UK’s most exciting alt-pop oddball” - NME
“Moreish pop music that’ll be spinning around your head for days” - GQ
“Gothic, pop-centric cabaret” - The Guardian
“Weird, moreish pop music” - Dazed
“Rebellious alt-pop that feels both classic and utterly new” - CLASH
“The new face of outsider pop” - The Line Of Best Fit
“Vibrant, paradoxical, and all-in-all exuberant” - DIY
“Jessica Winter is an artist with an astounding talent” - So Young



STAFF COMMENTS

Barry says: Bright, bold synth pop that sounds as influenced by modern synthesis and production techniques as it is the classic synth era, and shows a songwriter who is unafraid to embrace pop sensibilities while taking things a little outside the comfort zone. Hefty in parts, sugary sweet in others and wonderfully written throughout.

TRACK LISTING

1. Nirvana
2. L.O.V.E.
3. Feels Good (For Tonight)
4. Aftersun
5. Big Star
6. Worst Person In The World
7. I See The Robin
8. All I Ever Really Wanted
9. Wannabe
10. Just Like That
11. Got Something Good
12. Only Lonely
13. To Know Her

Poor Creature

All Smiles Tonight

Poor Creature is comprised of Ruth Clinton, Cormac MacDiarmada and John Dermody, all three are members of other bands (Landless and Lankum respectively) who have built a large following on re-interpreting songs from the past. Songs that have existed for centuries can seem immutable and anchored to time. A new generation of Irish musicians are keen to acknowledge that musical legacy, while reimagining the songs within a contemporary context.

Poor Creature’s sound – particularly in the context of contemporary Irish folk – offers something unique. There’s the gauzy, underwater, almost psychedelic seams of ‘Bury Me Not’ and ‘Adieu Lovely Erin’. ‘All Smiles Tonight’ and ‘Hicks’ Farewell’ nod to the influence of American folk/bluegrass acts like Doc Watson and the Louvin Brothers. These shifting sounds are made possible by producer John ‘Spud’ Murphy, who has produced all of Lankum’s albums, and worked with Junior Brother, ØXN, Pretty Happy, Ye Vagabonds as as well as the final two albums by The Jimmy Cake, with whom John has played for over 20 years.

“There’s something about the everyday and the fantastical, being entangled, which I think Irish music does so well.” This also sums up All Smiles Tonight, moving through stories and loss and history to create an otherworldly and timeless album for the ages.


STAFF COMMENTS

Barry says: Members of Landless and Lankum, bringers of the biggest wave of folk appreciation i've known for some time come together for 'Poor Creature', a beautiful mix of the traditional with hints of ambient and drone peeking through in the more meditative parts. A beautiful mix of influences, and a beautiful counterfoil to the purely melodic instrumentation of trad. folk. Ace.

TRACK LISTING

Side A
Adieu Lovely Erin
Bury Me Not
The Whole Town Knows
Lorene

Side B
An Draighneán Donn
All Smiles Tonight
Hicks’ Farewell
Willie-o

Gwenno

Utopia

Having released three albums in Welsh and Cornish, 'Utopia' is Gwenno Saunders’ first album recorded predominantly in English, and presents a very different side to her life and songwriting.

Forty-three years into her life, Saunders has been many people. The disaffected Cardiff schoolgirl; the teenage Las Vegas dancer; the singer in indie pop group The Pipettes. There was a turn in a Bollywood film, a nightclub tour, a stint cleaning floors in an East London pub. Long before she would become an acclaimed solo songwriter in both Welsh and Cornish, a winner of the Welsh Music Prize, a nominee for the Mercury, a Bard of the Cornish Gorsedh, there were the days of Nevada, London, Brighton; of Irish dancing, techno clubs, messiness and chaos.

'Utopia', Saunders’ fourth solo album, is an extraordinary exploration of all of these selves. If the singer regards her first three solo records — 2014’s Y Dydd Olaf, 2018’s Le Kov and 2022’s Tresor as “childhood records”, rooted in her upbringing, her parents, her formative identity, then Utopia captures a time of self-determination and experimentation. These are songs of discovery, of the years between being someone’s daughter and becoming someone’s wife and someone’s mother. They range from floor-fillers to piano ballads, via contributions from Cate Le Bon and H. Hawkline, and encompass William Blake, a favourite Edrica Huws poem, and the Number 73 bus. It is her finest work to date.


STAFF COMMENTS

Barry says: The brilliant Gwenno returns for her latest LP, this time sees the multilinguist rendering her experiences in Vegas in English, and with it moving more towards her wistful 80's influenced indie sound we've not heard so much in the past few albums. Regardless of the language in which she writes, Gwenno's music is always endlessly evocative and beautifully conceived. It's stunning, a perfect development of her sound.

TRACK LISTING

1 London 1757
2 Dancing On Volcanoes
3 Utopia
4 Y Gath
5 War
6 73
7 The Devil
8 Ghost Of You
9 St Ives New School
10 Hireth

Youth Sector

Pop Couture

Hailing from Brighton, indie rock quintet Youth Sector expertly balance astute political observations with campy indie romps. Inspired by the art school greats DEVO and Talking Heads, their music is a coiled spring of urgency and unpredictable energy that offers a sense of catharsis for the confusion of modern adult life.

Across their critically acclaimed EPs, the Brighton quintet have never revelled in bleakness, managing to twist everyday narratives into music that is quite the opposite being upbeat, full of energy and with irresistible choruses you can’t help but sing along with.

Evidently Youth Sector are no strangers to weaving prescient issues of culture and politics into the warm embrace of strong grooves and sing-along choruses, but debut album ‘Pop Couture’ raises the bar considerably, marking their strongest statement to date. From grift culture to political corruption to the devolution of living standards, Youth Sector prove they can transform the weightiest subject matter into the most irresistible of choruses.

“'Pop Couture', our debut album, is a body of work which for a long time seemed out of our reach; it's the culmination of several years of development and is the vehicle for which we have been saving the best material we've ever written. The album explores prescient issues in our culture and politics such as grift culture, corruption and the devolution of standards in public life, but wraps these ideas in the warm embrace of strong grooves and sing-along choruses.”

“We've been more ambitious than ever on these recordings in terms of the scale of the songs we're writing, with the help of Richard Wilkinson (Bombay Bicycle Club, Spector, Kaiser Chiefs), this album includes our most expansive recordings to date. Woven throughout the record is a self-awareness and introspection from five individuals who have worked through the financial and personal burdens that come with being a small artist the modern music industry; the record is bookended by 'God's Work' and 'Not Coming Down' that explore the journey through different lenses.”

“Although the road to 'Pop Couture' has been long and arduous, Youth Sector can confidently confirm for any apprehensive listeners that it is certifiably all killer and no filler.”

TRACK LISTING

1. God's Work
2. Crime
3. Fit For Purpose
4. Buy For Less
5. Spitting Image
6. The Ball
7. House Proud And Bed Bound
8. Primetime
9. Here Comes The Fear
10. Break Something
11. Not Coming Down

Steve Queralt (Ride)

Swallow

The debut solo album from Ride bassist Steve Queralt is a beautifully brooding collection that combines the darkly textured soundscapes of early M83 or Sigur Rós with the post-punk of Joy Division and New Order, all with an electronic sheen reminiscent of Mark Pritchard or Boards Of Canada. It features guest vocals on several tracks from Sonic Cathedral labelmate Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrelane, MEMORIALS).

Swallow has been slowly but surely pieced together between Ride albums and tours over the past eight years and, perhaps as a result, has a slightly dystopian, almost Blade Runner feel that reflects the liminal spaces in which it was created.

There’s also an underlying anger and political slant. Despite the fact that the majority of the album is wordless, there is plenty of power and emotion, summed up by the few lines from Julie Sheldon’s poem ‘The Same Boat’ that appear on the closing track ‘Motor Boats’ (“We’re all in the same boat they say, but I would disagree”). According to Steve, they “capture the reality of our times perfectly”.

There are also other words on the album courtesy of the two guest vocalists. “There have been some amazing instrumental albums made over the last few years, especially in the nu-classical and post-rock worlds,” says Steve, who points out the influence of Mogwai, and even titled one of the album tracks ‘I Don’t Know How To Sing’, “but some of the tracks sounded like songs to me, just without any words.”

This led to the collaborations that, ultimately, tied the whole thing together and paved the way to the finished album. “One of the demos reminded me of Lush, who Ride had toured with in the ’90s, so I contacted Emma thinking her voice would be perfect. But she was confused and said she’d never sung lead vocals.”

“At the time I hadn’t even decided I was going to sing on my own records, so I told Steve I couldn’t do it,” explains Emma. “Then, a couple of years later, when I was singing on my own records and my debut album Pearlies was about to come out, I enquired about it, thinking he must have found someone else, but luckily he hadn’t.”

“After a few false starts, I started to doubt the project altogether. It was going nowhere,” says Steve. “Then, out of the darkness, Emma got back in touch to tell me that she’d found her voice and could I send her some tracks. A few files back and forth and an afternoon in the studio later and we had ‘Lonely Town’ and ‘Swiss Air’.”

In the meantime, Verity from Electrelane had added vocals to the song ‘Messengers’ and transformed the track. Matthew Simms, her then future bandmate in MEMORIALS, would go on to mix the finished album.


STAFF COMMENTS

Barry says: I've been a fan of Queralt's music for some time now, with his lovely album with Michael Smith getting a good amount of attention since I got it a few years ago. As brilliant as that was, this is a notable step up in cinematic intensity and songwriting skill. A profoundly superb debut album.

TRACK LISTING

Side A
Mission Creep
Lonely Town Feat. Emma Anderson
High Teens
A Porsche Shaped Hole

Side B
Swiss Air Feat. Emma Anderson
I Don’t Know How To Sing
Messengers Feat. Verity Susman
1988
Motor Boats

Frankie & The Witch Fingers

Trash Classic

Los Angeles psych-punk shapeshifters Frankie and the Witch Fingers have spent the last decade mutating their sound into bold, electrifying new forms. Their latest release, ‘Trash Classic’ (via Greenway Records and The Reverberation Appreciation Society), plunges into a sewer-slick fusion of proto-punk venom, fractured new wave, and industrial grime. Brimming with wiry synths, angular melodies, and grooves that squirm and bite, it’s all delivered with a sly, playful wink. Fueled by relentless global touring and a fierce DIY ethos, the band has shared stages with OFF!, Ty Segall, Oh Sees, Cheap Trick, and ZZ Top, cementing their place as one of the most unforgettable live acts around. Frankie and the Witch Fingers continue to morph, dragging listeners into whatever warped direction their experimental journey takes next.


STAFF COMMENTS

Barry says: A snapping blast of acerbic mid-heavy guitars and grimy distortion atop insistent percussion and syncopated garage-rock groove. Moving from scattered instrumental shards and atonal weirdness into a dynamic burst of momentous rock riffage in the blink of an eye. Ace.

TRACK LISTING

1. Channel Rot
2. T.V. Bab
3. Dead Silence
4. Fucksake
5. Economy
6. Eggs Laid Brain
7. Out Of The Flesh
8. Total Reset
9. Conducting Experiments
10. Gutter Priestess
11. Trash Classic

M(h)aol

Something Soft

Something Soft, the second full-length album by Irish post-punk firebrands M(h)aol, is anything but. From the first note of its propulsive opening track to the distorted cries of its last, Something Soft feels antagonistic to the very concept of softness—sonically and thematically—taking an unapologetic approach to intersectional feminism, animal welfare, consumerism, and the struggle to find a place in a world lacking empathy. What M(h)aol offers is catharsis in two forms: the kind you get from being open with others and the kind you get from righteously smashing some shit up.

Effectively channeling rage and empathy is an act of resilience, and to make Something Soft, M(h)aol had to become especially resilient. Following their acclaimed debut Attachment Styles, M(h)aol’s lineup changed, settling on the core trio of Constance Keane (drums/vocals, she/her), Jamie Hyland (bass/vocals, she/her), and Sean Nolan (guitar, he/him). That process changed the band’s approach to songwriting and performing, resulting in an unexpected breakthrough where many groups have folded.

Something Soft features a more urgent sound, wound tightly around Hyland and Keane’s rhythm. On songs like “Pursuit” and “Snare,” Keane’s vocals lock in on her drums, as if her words were stirred to life by her playing, issued directly from her body. Set against those respectively anxious and swaggering tracks, her voice occupies the space of an inner monologue—narrating a tense walk home and green room misogyny from a place of droll observance—a universal experience rendered in specific detail.

Like its predecessors Attachment Styles and the Gender Studies EP, Something Soft was recorded by Jamie Hyland. It is the most technically nimble of M(h)aol’s recordings to date, with the band—joined by Pixie Cut Rhythm Orchestra’s Sarah Deegan on bass—decamping to Dublin’s Ailfionn Studio, where they took advantage of the space and studio equipment to bring more nuance to their sound. The additional sessions and prowess behind the boards were a boon, but for a band used to operating under extreme time constraints, this presented an unexpected challenge: Could M(h)aol keep the sense of immediacy that had marked their music up to that point?

Songs like “DM:AM” quickly dispelled that worry, blooming into life in 20 minutes from a drone Nolan was playing while Hyland set up her recording equipment, racing to capture the song once Keane and Deegan joined in. One of Something Soft’s ghosting anthems, “1800-Call-Me-Back,” began as a joke that the band should write a football chant, but it became far more complex—the delicious balance of chaos and clarity they struck would have been impossible without time. “I Miss My Dog” is less off-the-cuff, but its meditation on grief builds up at a breakneck pace, from feedback to Keane’s drumming and singing to a spectacular conclusion that smothers that grief in bass and guitar—one of M(h)aol’s greatest technical achievements to date.

The polish serves to highlight M(h)aol’s roguish charms, making the intimate feel anthemic, using personal experience to detail the broader systems we live under. For those who’ve come to recognize themselves in M(h)aol’s songs, listening to Something Soft is like jumping into a long-running chat thread, full of fury and humor. For those who haven’t, the door is open—Something Soft’s thrills often turn on a dime towards introspection, as in “Snare” where Keane’s response to the question, “Why not play something soft like piano or violin?” resolves itself to one of her own: “Did you ask him too?” It’s not a lecture or a snide rebuke but something much more deft—an invitation to see the world for what it really is, starting with the listener.

TRACK LISTING

Side A:
1. Pursuit
2. I Miss My Dog
3. You Are Temporary, But The Internet Is Forever
4. DM:AM
5. E8/N16
6. Vin Diesel

Side B:
7. Clementine
8. Snare
9. IBS
10. 1800-Call-Me-Back
11. Coda

McKinley Dixon

Magic, Alive!

Magic, Alive! Began life when Dixon received an unexpected email from English producer Sam Yamaha. Dixon’s early beats had inspired Yamaha’s own nascent work, and he wanted Dixon to listen. Before long, Dixon rendezvoused with him in London, digging through his archive to find a wealth of beats that resonated with his own approach and with the burgeoning concept for Magic, Alive! In July 2024, Dixon returned to his native Richmond, Virginia, with a tranche of sounds from Sam Yamaha and Koff, with whom he’d worked before.

Alongside a cavalcade of guests and friends, from the mighty singer Anji mile and imaginative Alabama emcee Pink Siifuto trombonist Reggie Pace and harpist Eli Owens, Dixon split these beats wide open, adding hooks and horn lines and guest spots. He strung several songs together, too, so that Magic, Alive! moves like adream or, at the very least, an alternate reality where new rules reign.

For the better part of a decade, Dixon has been turning his experiences as a native Southerner sometimes living in Queens and an eager student of literature into vivid reflections on joy, pain, and perseverance. His breakthrough, though, began with2021’smuch-lovedFor My Mama and Anyone Who Look Like Herand continued with 2023’s Beloved! Paradise! Jazz!?, both instrumentally rich exercises in storytelling wrapped up in the trauma and grief of losing a young friend. Those albums were emotional expurgations, Dixon dumping his feelings into marathons of literary references where Toni Morrison and Greek mythology shared space with detailed personal reflections.

TRACK LISTING

Side A:
01. Watch My Hands
02. Sugar Water (feat. Quelle Chris And Anjimile)
03. Crooked Stick (feat. Ghais Guevera And Alfred.)
04. Recitatif (feat. Teller Bank$)
05. Run, Run, Run Pt. II
06. We're Outside, Rejoice!

Side B:
07. All The Loved Ones (What Would We Do???) (feat. ICECOLDBISHOP And Pink Siifu)
08. F.F.O.L. (feat. Teller Bank$)
09. Listen Gentle
10. Magic, Alive!
11. Could've Been Different

Lilo

Blood Ties

Friends since meeting in their first week at secondary school, Christie Gardner and Helen Dixon write songs that cut deep, reflecting the life of twenty-somethings, in and out of love and luck. While informed by a deep love of folk music, with references to Karen Dalton and Julie Collins a regular occurrence, their music is also in line with the likes of Julia Jacklin, Laura Marling and Mitski.

Signed to Dalliance Recordings (Francis of Delirium, HighSchool, Gia Margaret, Rowena Wise), their debut album, ‘Blood Ties’ as its title suggests reflects the pair’s enduring bond after years spent together.

Coupling feelings of numbness, break-ups and hardship with day dreams, an open heart and moments of happiness, ‘Blood Ties’ is a record of understated beauty.

You start to understand the significance of the album more when you hear them describe it as “a little window into our lives that we get to keep forever.” Such is their symbiosis that it’s often difficult to separate one voice from another; “We live intertwined lives and as a result, we write about each others’ experiences as much as our own.”

‘Blood Ties’ feels a moment, placing lilo firmly on the map, the band now living up to the potential shown in their earlier EPs and live shows.

TRACK LISTING

Side A
1. Crash The Car
2. Cycling
3. Blood Ties
4. Used To Be
5. It’s Not The Same In Winter

Side B
6. Leo
7. Better Conversation
8. Nevada
9. Step
10. Closing Time

7” Tracklisting
C1. Back On My Feet
D1. Addicted To Love

Cloth

Pink Silence

Cloth let go on ‘Pink Silence’, a bold reinvention that retains their enchanting pull.

Scottish twins Rachael and Paul Swinton sounded like few around them when they released their 2019 self-titled debut. Their appeal lived in tense guitar parts and Rachael’s signature close vocal. In the time since, they have worked to perfect that sound. The 2023 follow-up ‘Secret Measure’ expanded it in every direction, with more layers, more interplay, and gutsier writing. The record received critical acclaim from publications including The Guardian, Pitchfork, CLASH and Uncut, and was shortlisted for the Scottish Album of the Year (SAY) Award in 2023. Cloth have also been championed by 6 Music DJs Mary Anne Hobbs, Guy Garvey, Tom Robinson, and Matt Everitt, and played exciting live sessions for Marc Riley & Gideon Coe (6 Music), Roddy Hart (BBC Radio Scotland) and John Kennedy (Radio X).

Now, three records in, they embrace letting go of expectation. ‘Pink Silence’ is unafraid to go big in the quest to make something lasting. With Owen Pallett, Adrian Utley (Portishead), and Stuart Braithwaite (Mogwai) contributing, this mission is supported by some of their musical heroes.

“It was a conscious decision to go bigger, more muscular and less subtle,” says Paul. “There was a willingness to push ourselves as far as we could go in terms of how cinematic we could make things.”

The central prompt to ‘let go’ was given to Rachael by the band’s producer Ali Chant (Yard Act, Perfume Genius, PJ Harvey) when she asked him if he noticed any common threads when artists create their best work.

“He said ‘the artist always lets go’, and he didn't really expand on it”, Rachael says. “So I took this phrase away and just ruminated on it for ages, viewing letting go as something that could be helpful. I started applying it to different things, like the writing, not trying to get caught up in that feeling of ‘is this good enough? Do I need to work on this again?’ It was more instinctual.”

With ‘Pink Silence’, the band entered the studio to make the ten strongest songs they possibly could, and they left a stronger band.

STAFF COMMENTS

Barry says: I love Cloth. Their 2023 album, Secret Measure was my personal album of the year in 2023 and remains a favourite to this day. Obviously I was delighted then to hear they had a new one coming for favourite label, Rock Action but also delighted to hear that it's equally brilliant, angular post-rock indie business to that stunning debut. If anything it's even more tuneful and cathartic and inventive. Brilliant.

TRACK LISTING

Side A
1. Pink Silence
2. Polaroid
3. Stuck
4. Golden
5. The Cottage

Side B
6. It’s A Lot
7. I Don’t Think So
8. Stones
9. Burn
10. Write It Down

Loop

The World In Your Eyes - 2025 Reissue

Reissued to coincide with the vinyl – "Twelves" 3LP; the complete 3CD World In Your Eyes set, originally released in 2009, and out of print for over 12-13 years.

3 CDS containing all the all the band's 12-inches and compilation tracks in chronological order, with some demo tracks along the way, featuring tracks from the very first Loop demo, "16 Dreams" single, "Spinning", "Collision", "Black Sun" and "Arclite" as well as the Nick Drake tribute on Imaginary, the Neil Young tribute Comp on No. 6 Records, the "promo" Live 12", and even the Godflesh cover version from their split on Clawfist.

All remastered from Original tapes in 2008 by Kevin Metcalf and Robert Hampson.

TRACK LISTING

CD 1
16 Dreams
Head On
Burning World
Spinning (Parts 1&2)
Brittle Head Girl
Deep Hit
I'll Take You There

1st Loop Demo - House In The Woods:
Brittle Head Girl
Burning World

Spinning (Spun Out) Good Feeling Compilation

CD 2
Collision
Crawling Heart
Thief Of Fire
Thief (Motherfucker)
Black Sun
Circle Grave
Mother Sky

Nick Drake / Neil Young Covers Compilation Tracks
Pink Moon
Cinnamon Girl

CD 3
Arc-Lite (Sonar)
Arc-Lite (Radar) Daniel Miller Remix
Sunburst
Arc-Lite (Radiated) Daniel Miller Remix

Prisma Uber Europa Promo Live 12":
Afterglow
Got To Get It Over
Burning World

(Loop / Godflesh Split Single Comp)
Like Rats (Loopflesh)

Unrest

Perfect Teeth - 30th Anniversary Edition

Bowing out at their creative peak, Perfect Teeth is the wonderful final album by American 90s indie rock greats Unrest. Having just clocked 30 years, 4AD and the band are revisiting it to present the limited, celebratory double album of Perfect Teeth / Extra Teeth; the album remastered plus a bonus disc of EP tracks, singles and rarities.

Borrowing their name from a Henry Cow record, Unrest formed in 1983 at Wakefield High School in Arlington, Virginia (just outside of Washington, D.C.). Beginning as an improv instrumental band, they were soon perfecting genre-hopping eclecticism and issuing recordings (often in cassette form) via frontman Mark Robinson's DIY label TeenBeat, as well as on notable labels such as 4AD, Caroline and Matador.

Their last album, Perfect Teeth features the latter year classic line-up of founding members Mark Robinson and Phil Krauth plus bassist Bridget Cross (a one-time member of Velocity Girl) and was recorded in the Pachyderm Studio in Cannon Falls, MN, in early 1993, mere days after Nirvana completed In Utero in the very same space.

For this reissue, the album and bonus tracks have all been remastered – most from their original analogue tapes – and are sounding as great as ever. Working again with original designer Chris Bigg, he’s kept the original album art as is (complete with Robert Mapplethorpe’s portrait of former Miaow singer/songwriter Cath Carroll on the cover) and has created a brand-new sleeve for Extra Teeth that compliments the original release. This one-time release sees the two albums bundled together with an exclusive 16-page art booklet that includes liner notes by the band.

TRACK LISTING

A1 Angel I’ll Walk You Home
A2 Cath Carroll
A3 So Sick
A4 Light Command
A5 Food & Drink Synthesizer
A6 Soon It Is Going To Rain
B1 Make Out Club
B2 Breather X.O.X.O.
B3 West Coast Love Affair
B4 Six Layer Cake
B5 Stylized Ampersand

CD & Dinked Edition Bonus Disc:
Vibe Out!
So So Sick
Goodbye
Where Are All Those Puerto Rican Boys?
Capezio Bowler
Hey Hey Halifax
Folklore
Plastic Film
Isabel (re-recording)
Teenage Suicide (re-recording)
Love To Know
Nation Writer

Little Barrie & Malcolm Catto

Electric War

Electric War marks an electrifying collaboration between British power trio, Little Barrie, composed of Barrie Cadogan and Lewis Wharton and acclaimed producer/drummer,Malcolm Catto, fusing unique talents into a mesmerizing exploration of raw, experimental sound. And they are also the band behind the opening theme to Better Call Saul.

Electric War delivers a blend of sharp guitar lines, thunderous drums, and swirling textures that evoke a post-apocalyptic soundscape teetering between chaos and harmony. Tracks range from pulsating, fuzz-heavy anthems to moody, groove-centric pieces and are underscored by each musician’s seamless interplay. Channeling their shared love for analog warmth and raw, unfiltered sound, the album creates a visceral experience that invites listeners into a world where rock, funk, and psychedelia collide. For fans of boundary-pushing, instrumental-driven music, Electric War is a potent testament to the power of collaboration.


STAFF COMMENTS

Barry says: Intricate guitar work and skittering percussion loop around each-other before the soaring, spooky vocal effortlessly rides atop, tempering the frenetic chaos somewhat. It's not all intensely paced though, there are moments of relative calm scattered throughout. A beautifully produced, funky odyssey of an album.

TRACK LISTING

Side A
Electric War
Zero Sun
Spektator
Creaky

Side B
‘Said Soul
Sick 8
My Now
Count Of Four

Euphoric ‘gospel electronica’ underpins cautionary tales from rock and roll’s breakfast buffetas Das Koolies return with news of a second album with new single, Som Bom Magnífico.Extending the melodious and mad, three-decade story of Super Furry Animals projects by adding another bombastic and beautiful chapter, Huw Bunford, Cian Ciarán, Daf Ieuan and Guto Pryce reconvene to announce the release of their second album, Pando, and four, new UK Tour dates for May 2025.

Meeting every pummelling motorway mile with the beat of their psychedelic-soul-house blend since the release of their debut, Official UK Breakers Album Chart No.1 album, DK.01, in late 2023, Das Koolies’ energetic return to festival fields, intimate venues and service station shopping has affected no distraction from their mission. Committing to more time on the road at the same time as sharing rich spoils from the studio, Das Koolies include Newport, Nottingham, London and Manchester in their live plans.
Determinedly exploring capability and ambition, the band’s continued, restorative return to wired and wonderful, man-and-machine-based music, following years of psych-folk-rockexperimentation as four Furries, hasn’t meant forgetting the past. Som Bom Magnífico’s tour story, combining wistful and weary memory, rests the band’s case.

Taking on the lead lyrical and vocal role, Daf Ieuan, says: “Hindsight and rose-tintedglasses. It’s a song about a time when it was normal to order a veggie breakfast in hotels as a concession to a healthier life style, then following up by requesting to see the ‘Breakfast Wine Menu’. As Lou Reed sang: "Wine in the morning!". Everyone should live like that for a while. Could be for a couple of days or a couple of decades. We’ve never laughed so much, but never again.”

Where the band’s debut crash-landed as a 17-track double album, a varied and visceral eruption of passions revived from forgotten studio hard-drives and both ad hoc and uninhibited late-night writing sessions, Som Bom Magnífico’s smooth, soul-pop landing suggests serene waters lie ahead, cooling concurrent, superheated electronic terrain. Condensing a flood of head stretching ideas into a single album, Pando’s release is confirmed for Fri 9 May 2025 on Strangetown Records in association with Amplify Music.


TRACK LISTING

1. Umschalter
2. Som Bom Magnifico
3. Spider City
4. Music Machine
5. Responde A La Pregunta
6. Enjoy
7. Yeah!
8. Someone Call An Ambulance
9. Ogov Gôkh
10. White Star
11. Thoughtless
12. Undegun

Bonus Dinked Edition 7”
A. Pando
B. La Tôle

Circuit Des Yeux

Halo On The Inside

Experimental composer and world class vocalist Circuit des Yeux (Haley Fohr) will release ‘Halo on the Inside,’ her adventurous new album on March 14th, marking a thrilling new era for the celebrated artist. Less a departure than an evolution, ‘Halo on the Inside' finds Fohr channelling the dark orchestral folk of her previous work through the prismatic lens of dark-wave and industrial music, creating a sound that maintains the poetic heart of her songwriting while pulling it through new worlds & sonic textures.


STAFF COMMENTS

Barry says: Circuit des Yeux brings together beautifully the worlds of tentative, brittle acoustic guitar and anthemic gothic rock. It's wonderfully athletic, with Fohr's voice beautifully riding atop the underlying instrumental waves, and extremely impactful throughout. Hugely unique in both atmosphere and performance.

TRACK LISTING

1. Megaloner
2. Canopy Of Eden
3. Skeleton Key
4. Anthem Of Me
5. Cosmic Joke
6. Cathexis
7. Truth
8. Organ Bed
9. It Takes My Pain Away

Snapped Ankles

Hard Times Furious Dancing

“We can still hold the line of beauty, form, and beat. No small accomplishment in a world as challenging as this one... hard times require furious dancing. Each of us is proof” Alice Walker, Hard Times Require Furious Dancing (2010)

Snapped Ankles have given up trying to make sense of it all. The forest only offers so much protection. Feeding on a diet of fractured narratives, meme culture, viral moments and the very worst of human impulses weighs heavy. The woodwose hold up a mirror to the absurdity of modern life once again. The only sane response is to dance. Make your way to the clearing, gather around the megalith of speakers, drum machines, amps and synthesisers and dance like there’s no tomorrow.

Hard Times Furious Dancing is an invitation to all those lost in the unrelenting noise of the present, to leave it all behind and come together in the forest. Driven by the primitive thrust of their single-oscillator ‘log’ synths, high and low culture collide in a surreal, free flowing narrative - but the rhythm is universal. This is easily the closest Snapped Ankles have come to capturing their rapturous live energy in the studio. It’s everything you’ve come to know and love from a Snapped Ankles album, amped all the way up until the ground begins to shake.

The sound of Hard Times Furious Dancing evolved at Snapped Ankles’ South London ‘Forest Rayve’ club nights in 2024 in response to that age-old primal urge to bring people together and make them move. It’s the first time the woodwose have road tested new material to this extent before committing it to tape since debut album Come Play The Trees, and in doing so have harnessed that feral energy once again. This surreal human/woodwose connection is the very best release from an algorithm that knows you better than you know yourself. Dance it all loose. 


STAFF COMMENTS

Barry says: Snapped Ankles return for their most abrasive, dancefloor ready burst of cathartic noise and snappy garage rock yet. Though there are elements of punk-funk and IDM woven through the hammering maelstrom, this is still at heart an indie album with a BIG vibe. Incandescent, aggressive in parts and wholly immersive throughout.

TRACK LISTING

Side A
Pay The Rent
Personal Responsibilities
Raoul
Dancing In Transit

Side B
Where’s The Caganer?
Smart World
Hagen Im Garten
Ƒ

With NYX, the London-based vocal and electronic collective delivers a debut album that pulses with primal energy and delicate introspection, weaving together the ancient and the futuristic.

The result of six years of collaboration and transformation, this record reflects the collective’s signature blend of experimental vocal techniques and electronic alchemy. Co-produced by Marta Salogni and mastered by Heba Kadry, it’s a spellbinding journey through the human experience, crafted not just to be heard but deeply felt.

The album opens with “Mother”, an invocation inspired by the first chapter of Lao Tzu’s Tao Te Ching. This layered plainsong swells with synth drones, violin loops, and whispered ASMR textures, grounding the listener in a wordless essence while calling life into form. From there, NYX ignites with “Through Fire”, a feral anthem of awakening and upheaval featuring additional drum production by Memory Play, and added space and bass layers from Sebastian Gainsbourgh (Vessel). Metallic voices and machine elf harmonies erupt into a post-apocalyptic chorus of pounding bass and techno-driven chants: a sonic cleansing through chaos.

Tracks like “Bright Tongues” and “Awe” offer contrasting tones, showcasing NYX’s emotional breadth. “Bright Tongues” spirals through intimate synth pulses and bursts of golden noise, while “Awe” radiates pure wonderment, layering improvisational choir harmonies and lush harp arrangements by Miriam Adefris into a blissful sound bath. On “Truce”, plaintive vocals and violin trade calls across an imagined valley, weaving an acoustic plea for peace into a tapestry of shared humanity.

NYX plunges deeper into the underworld with “Silent Union”, an ode to hidden root systems and mycelial harmonies that sustain life unseen. Featuring field recordings from deep inside a Great Oak by sound artist James Bulley, the track’s low rumbles and choral drones evoke the primal rhythms of the Earth itself. “Undercurrent”, co-written by NYX artist Alicia Jane Turner, expands on this theme with a swirling loop of haunting voices and layered strings that come together like crashing waves until the final moment of release.

“Everything I Wanted For You” is an ode to love and hope, weaving heavenly vocals with cinematic strings in a euphoric resolve, while “Daughters” is a raw and visceral invocation of rage, resilience, and liberation. Blending kitchen-recorded vocals with the visceral drum work of Sebastian Gainsbourgh (Vessel) and additional bass and space production by Memory Play, the track opens and expands through its intensity, transforming pain into a re-wilding of the spirit and a celebration of untamed, collective power.

Women’s voices have traditionally been associated with spirituality and otherworldliness, but NYX reclaims the voice as the purest form of human expression. As its soaring harmonies dissolve into the reverberating echoes of “Dream Baby Dream”, a cover of Suicide’s 1979 song, NYX leaves an indelible mark, reminding us of the radical potential of healing and love. In NYX’s words: “We’re creating a place in which we want to live – connected, belonging, deeply embodied.” 


TRACK LISTING

Side A
Daughters
Bright Tongues
Truce
Silent Union

Side B
Awe
Through Fire
Everything I Wanted For You

Athlete

Tourist - 20th Anniversary Edition

Following the success of their Mercury-nominated debut album, ‘Vehicles & Animals’, Athlete reached new heights with ‘Tourist’, featuring the massive hit singles “Wires” and “Half Light.” The album was both a critical and commercial triumph, climbing charts around the world and earning a #1 spot on the UK album chart.

An evocative blend of atmospheric melodies and heartfelt lyricism, ‘Tourist’ is rich in emotional depth and sonic grandeur. With its lush instrumentation, anthemic choruses, and tender moments of introspection, ‘Tourist’ captures Athlete at their most expansive and vulnerable.

Long out of print on vinyl (and now highly collectable), this Dinked Archive Edition celebrates the album's 20th anniversary with new remastering by Phil Kinrade at AIR Mastering. Pressed on two 140g clear vinyl and housed in a gatefold sleeve with printed inner sleeves and an obi strip, accompanied by an exclusive black 7” single featuring ‘Lay Your Head’ and ‘Twenty Four Hours (Joshua Wong Remix). Strictly limited to 1,000 copies.

A deluxe 2CD edition is also available with sleeve notes plus B-sides and rarities, along with a standard 2LP black vinyl version. 


TRACK LISTING

Side A
1. Chances
2. Half Light
Side B
1. Tourist
2. Trading Air
3. Wires
Side C
1. If I Found Out
2. Yesterday Threw Everything At Me
3. Street Map
Side D
1. Modern Mafia
2. Twenty Four Hours
3. I Love

Bonus 7” Single
A. Lay Your Head
B. Twenty Four Hours (Joshua Wong Remix)

Knats

Knats

Knats is the band’s much anticipated self-titled debut album.

It comes on the heels of an incendiary year for the band including supporting Geordie Greep (black midi) and playing as the backing band for R&B legend Eddie Chacon on UK tours. They also played a sold out Jazz Refreshed headliner, supported Str4ta at a sold Jazz Cafe, and performed at the BBC Proms.

Led by two lifelong best friends from Newcastle, Stan Woodward (bass) and King David-Ike Elechi (drums), Knats pride themselves on making "Geordie Jazz", with sophisticated arrangements, strong melodies and danceable grooves. Their infectious energy has seen the band develop an enviable word-of-mouth ascent, earning Spotify playlist covers and plaudits from the likes of the Guardian, Jazzwise, and more.

In its entirety, this album is dedicated to Knats’ loved ones; Stan’s composition and recent single "Tortuga (For me Mam)" shows his love and appreciation of his Mam, while "Se7en", a darker tune, expresses his emotional relationship with his Dad, formerly "DJ Se7en". "Adaeze" is a tribute to King’s late sister, taken from a gospel folk tune, incorporating West African percussive breaks and instrumentation.

The Knats album represents many things, but most importantly that Newcastle is not to be overlooked.

“they gleefully rewire jazz with a hard-as-nails rhythm section, drum’n’bass energy and punk aggression.” - The Guardian.

“jaw-dropping brilliance” – Jazzwise.


TRACK LISTING

Side A
A1. One For Josh
A2. Miz (featuring Anatole Muster)
A3. 500 Fils (featuring Parthenope)
A4. Black Narcissus
A5. Rumba(r)

Side B
B1. Makina Thema (Interlude)
B2. Tortuga (For Me Mam)
B3. Se7en (featuring Tom Ford)
B4. In The Pitt
B5. Adaeze

Mandrake Handshake

Earth Sized Worlds

The concept tying together every last note and lyric of ‘Earth-Sized Worlds’ - the debut album from the London/Oxford self-dubbed ‘Flowerkraut’ collective Mandrake Handshake - is an awfully simple one: ‘Welcome to Space Beach’. A mantra to unite under one aesthetic roof the various creative compulsions of this complex, multi-limbed organism - varying at any one time between 7 to 10 members - it’s an album that conspires the alienating vastness of the cosmos against the warm nostalgias of home. Full of surprise, leftfield turns and closeted experimentations, tape-soaked Brazilian Sambas morphs into Kosmische Kraturock crusades, and shimmering avant-pop electronics melt into sweetened psychedelic bliss… “Welcome to the Spacebeach - the new era of the Mandrake. Here, where the sea joins the sky, and where the trees touch the stars and where we will have you stay a while”.

With news of their biggest UK headline show to date at London’s No90 (Hackney Wick) on February 28th next year, Mandrake Handshake are certainly firing on all cylinders as their debut album release draws ever closer. Having already showcased lead singles ‘Charlie’s Comet’, ‘King Cnut’ and ‘The Change And The Changing’ as they experiment further with their eccentric brand of ‘Flowerkraut’: a hedonistic, brain-frying feast of krautrock, art-pop and psychedelia.

Varying anywhere between 7-10 members - including a dedicated, flamboyant tambourine shaker - their pristine, multi-limbed spectacle of a live show has journeyed up and down the UK and EU in recent times. With multiple headline tours to their name, including a sold-out show at London’s iconic 100 Club and headline slot on the BBC Introducing stage at Truck Festival earlier this year, the group have already ticked off slots at the likes of Wide Awake, Green Man and Manchester Psych Fest, as well as shows with psych-figureheads W.H Lung, Pale Blue Eyes, Triptides and Sugar Candy Mountain, and will embark on a UK tour supporting Del Amitri in December as their profile continues to soar.

With two critically acclaimed EPs already to their name - ‘Shake The Hand That Feeds You’ (released via Nice Swan Records) and ‘The Triple Point of Water’ - Mandrake Handshake’s long list of press champions includes The Independent, The i, NME, Loud & Quiet, Dork, DIY, So Young, The Line Of Best Fit, Rough Trade, Clash, Crackand Guitar World, as well as extensive BBC 6 Music (Deb Grant, Don Letts, Gideon Coe), Radio X (John Kennedy) airplay, and being crowned BBC Introducing Oxford/Buckinghamshire's Band of the Year.


STAFF COMMENTS

Barry says: Full of surprise, leftfield turns and closeted experimentations, tape-soaked Brazilian Sambas morphs into Kosmische Kraturock crusades, and shimmering avant-pop electronics melt into sweetened psychedelic bliss

TRACK LISTING

Side A
Time Goes Up
Hypsersonic Super-Asterid

Side B
Charlie’s Comet
The Change And The Changing
Lorenzo’s Desk

Side C
King Cnut
Barranmode

Side D
Find The Tree And Dig (Deep)!
Earth Sized Worlds




Jim Ghedi

Wasteland

On his new album Wasteland, Jim Ghedi has created something huge. Intense, brooding, bold, at times apocalyptic, and remarkably vast. A profoundly bold sonic statement that is some of the most rich, far-reaching and ambitious work that Ghedi has created to date - pushing the boundaries of what folk music can be in 2025.

Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.

“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”

Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.

The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”
Recorded over 2 years at Tesla Studios in Sheffield, with David Glover engineering and producing, it also features a wide cast of musicians such as David Grubb (fiddle), Daniel Bridgwood-Hill (fiddle), Neal Heppleston (bass), Joe Danks (drums), Dean Honer from I Monster (synths), Cormac MacDiarmada from Lankum (vocals), Ruth Clinton from Landless (vocals) and Amelia Baker from Cinder Well (vocals).

What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.

STAFF COMMENTS

Barry says: A beautifully evocative, bucolic album that's as grand as it is intricate. Wisps of melody and slow building crescendos break into barely audible water droplets or a toppling, powerful waterfall. Constantly surprising, endlessly enthralling and unsurprisingly beautiful.

TRACK LISTING

Side A
1. Old Stones
2. What Will Become Of England
3. Newtondale / Blue John
4. Wasteland
5. Just A Note

Side B
1. Sheaf & Feld
2. Hester
3. The Seasons
4. Wishing Tree
5. Trafford Road Ballad

KEG

Fun's Over

Showcasing whip-smart spikiness remains, and a gorgeous weirdness matched by very few others, it's easy to see why wonk pop 7-piece KEG are one of the most talked about bands of 2024. Soon they'll be THE band of 2025.

Their debut album Fun’s Over represents the culmination of KEG's initial forays into life, and as such leaps all over—from the melodic to the demented with all the enthusiasm of a very lively bean salad. Sharp angling guitarwork that would be at home both on a Fugazi or a Wilco record. Cascading synths and drums, pepperings of trombone and lyrics which invite you into a baffled man's brain full of joy and anxiety.

Contrary to the previous releases the album takes its time, allowing Keg to showcase the orchestral leanings of the band, melding textures and battering-ram rhythms, whilst all the time managing to hone their carefully manipulated balance of chaos and order.

Recorded between the studio and home, Keg have refined their DIY approach this time around, producing the record themselves with engineering help from Pozi’s Toby Burroughs and mixed by Connor Simpkins.

Offsetting the braggadocious shredding and bombastic instrumentation the lyrics on the album take a much less cocksure approach—beckoning you into a yearning for suburban living, slightly embarrassing admissions of inadequacy, the feeling of creative failure freeing the imagination, taking pleasure in the mundanity of an unsure mind, bathing for freedom, and just a couple simple love songs. 


Kneecap

Fine Art

When Mo Chara, Moglaí Bap and DJ Provaí - aka Belfast’s finest Kneecap - entered the studio with producer Toddla T in the summer of 2023, they quickly decided to scrap everything they had already prepared for the album they were about to record. Instead, they decided to build a pub together.

Built on a West Belfast side street, The Rutz is a community boozer, in that the entire community uses it. All human life is inside, either thriving, striving or skiving. There’s people just trying to get served at the bar or up on the stage performing; others are slumped in darkened corners or emerging bleary eyed and coke smeared from the toilets. Religious affiliations are irrelevant and the chatter is a intoxicating blur of English and Irish.

Although the pub is currently just a figment of the band’s imagination, all of the action on Kneecap’s exhilarating first album - Fine Art - takes place in The Rutz. Like the band themselves, Fine Art is fiercely intelligent, consistently hilarious and genuinely thought provoking. It’s genius is to immerse you in a world thus far unrepresented in modern music.

Across the record’s twelve tracks and the interconnecting moments between them (recorded by the band and friends including DJ Annie Mac), the pub comes to life vividly, providing the perfect backdrop for the cast of characters that join the dots throughout the album. From the moment the idea was born back in Toddla T’s studio, it was the obvious location to base the world of Kneecap in.


STAFF COMMENTS

Millie says: The curveball, not-what-you’d-expect from a Piccadilly Records chart, Kneecap. Belfast’s newest rising stars that made an absolutely belting debut album ‘Fine Art’. If you’re not already acquainted with the trio, Kneecap have taken the world by storm with their Irish Hip Hop. Recognisable from their iconic Irish flag adorned bally, streetwear, and hoodies. In fact, it’s not too dissimilar to Andy’s Manchester weather appropriate cycling-gear, for those who haven’t had the pleasure - it consists of a bucket hat, waterproofs and plastic shop bags over his shoes tucked into trousers. Anyway, back on track, Kneecap have a strong look and an impactful sound, their music is political and rife with anarchy.

Fine Art is bursting with quick wit, the peppered language interchangeable lyrics between English and Gaeilge is what makes this album come alive. The standout track for me has to be ‘Parful’, they touch on how rave culture goes beyond the divide of communities within Ireland, showing how music in general goes beyond sectarian divide. And also getting on it with your mates of course, the bass hits hard on this one taking it to euphoric levels.

Also to note, the album is set in a fictional pub, my favourite interlude being ‘Last Orders’ is the epitome of pub atmosphere at the end of a long night, this then segues into ‘Way Too Much’ which I’d argue is the gateway into becoming a fully fledged Kneecap fan, it’s the summertime anthem that you least expected. It’s probably time you entered the Kneecap hype if you weren’t already.

TRACK LISTING

1. 3CAG Feat. Radie Peat
2. Fine Art
3. I BhFiacha Linne
4. I'm Flush
5. Better Way To Live Feat. Grian Chatten
6. Sick In The Head
7. Love Making
8. Drug Dealin Pagans
9. Harrow Road Feat. JELANI BLACKMAN
10. Parful
11. Rhino Ket
12. Way Too Much 

One of the UK’s most exciting new singer-songwriters and multidisciplinary artists, Clara’s evocative debut album ‘Rift’ navigates the fractured environment of the in-between - those liminal spaces exposed between light and dark, growth and remorse, loss and reclamation. It is a record that makes a strong case for hope, those luminescent silver linings in the dark.

Mann’s music reflects the people and places that have shaped and held her - physically, emotionally, and creatively. Raised in the Lot Valley in rural France before moving to the UK for her teens, these formative years provided her with a deep sense of belonging, identity, and growth. Yet, it is in motion, in placelessness, that Mann feels most at home: “Just the sun above me and my keys and my car.” Her new record is a testament to this state of in-betweenness, inviting you to step into a place that has always existed within yourself.

After releasing her second EP ‘Stay Open’ in 2022, the time and space between then and now has culminated in ‘Rift’, Mann’s first album, which vividly gestures toward the fractures and ruptures that define our lives. Yet, it is more than just an album; it captures the journey and strength it takes to look inward and to move forwards through the pain of it all. Its first track, ‘It Only Hurts’, begins in a place of hopelessness, stemming from the loss of a relationship and, in turn, a future. It is a blank space that stretches out before you, where the landscape is torn apart like icebergs cracking and drifting. But hope remains a beacon of light throughout the album, a lighthouse guiding you across tumultuous waters.

Influenced by artists like Jacques Brel, Edith Piaf, Judee Sill, and Tom Waits, Mann has a deep love and care for songwriting. Her lyrics are vivid and visceral, and her approach to songwriting is not one of purging emotions but rather of composting them—digesting life’s experiences and cultivating them into something meaningful, tangible, hopeful. She is also a talented visual artist, and this often plays an integral role in her songwriting process. Using the intricate and sweeping motion of illustrating with ink, charcoal, and sometimes watercolour, she can evoke thoughts and poetry onto the page, offering a way of making sense of things and to communicate in a way that words alone cannot.

For Mann, the album is a tangible expression of her entire world—a snow globe raised in her palms for the world to see, in all its layers and complexities, containing all her love, relationships, memories, and experiences. It is this sheer transparency that has allowed her to relinquish and accept all parts of herself—the guilt, pain, and beauty of it all—like “swallows in the morning air, circling the dam.” Its truthfulness is its strength, not shying away from the painful experiences of life but embracing them as essential to the human experience and as part of our tapestry.

With ‘Rift’, Clara Mann acknowledges the cracks through which both despair and hope can seep. It is a deeply personal record, yet it is universally resonant, holding the mirror up to herself and to the world around her. It is a record that reflects on embracing our fault lines, navigating the ruptures that can erupt from them and moving forwards, in motion, with a renewed sense of self and aliveness. Mann’s debut album, ‘Rift’ is all of her - her past, her present, her emotions, her experiences - and now, it is for you.


TRACK LISTING

Side A:
It Only Hurts 3:14
'Til I Come Around 3:04
Driving Home The Long Way 2:49
Stadiums 3:56
Reasons 2:32

Side B:
Remember Me (Train Song) 3:08
Doubled Over 2:32
Rift 3:15
Oranges 2:52
The Dream 3:37

The Lathums

Matter Does Not Define

Defiance, vulnerability, pride and the excuse to let loose are all promised by The Lathums. Under no influence yet emerging into long shadows cast by comparisons to The Smiths and Arctic Monkeys, The Lathums brought light with debut album, How Beautiful Life Can Be in 2021 and shone brighter still on follow-up, From Nothing To A Little Bit More in 2023. The arrival of ‘Matter Does Not Define’, sees the opening credits roll on the four-piece’s third, thrilling season.

‘Matter Does Not Define’ was written by the band, comprised of Moore, Scott Concepcion (guitars, piano and vocals) Ryan Durrans (drums) and Matty Murphy (bass and vocals), in their native Wigan before recording at Kempston Street Studios, Liverpool in the company of long-term creative guide, John Kettle and producer, Chris Taylor. Proving prolific with a 12-song track listing, ‘Matter Does Not Define’ not only follows the band’s chart-topping second album, but their classic indie debut, 2021’s ‘How Beautiful Life Can Be’.

Honesty, hope and heartbreak feature in the poetry-laced music of The Lathums. Everything sung from the heart, four young men from an overlooked town in England’s north gathered as teenagers without ego or expectation and set about changing the lives of the people that gathered round them. From the earliest strains of ‘Fight On’ to the closing chord of ‘How Beautiful Life Can Be’, the words of shy indie icon, Alex Moore, coupled with the chiming riffs of guitarist, Scott Concepcion and restrained rhythmic back bone of drummer, Ryan Durrans and bassist, Matty Murphy, have sought to bring fervor to Saturday nights as much as soothe Sunday mornings. The Lathums have proved themselves to be a band for all times and all people.


STAFF COMMENTS

Barry says: A step outside the comfortable indie-adjacent melodic business we've come to know from The Lathums. While we retain the obvious melodicism and anthemic drive of the earlier works, it's great to hear a band step into more off-piste sounds and ideas.

TRACK LISTING

1. Leave No Stone Unturned
2. Reflections Of Lessons Left
3. Stellar Cast
4. Heartbreaker
5. Dynamite
6. Unrequited Love
7. No Direction
8. Bitter End
9. Knocking At Your Door
10. The Jester
11. Surrounded By Your Beauty
12. Long Shadows

Richard Dawson

End Of The Middle

The title of Richard Dawson's new album End of the Middle is a suitably slippery contradiction, one that invites multiple interpretations: Middle-aging? Middle-class? The middle-point of Dawson's career? The centre of a record? Centrism in general? Polarisation? The possibility of having a balanced discussion about anything? Stuck in the middle with you? Middle England? Middling songwriting?

End of the Middle is a wonkily beautiful peer into the workings of the family unit, perhaps several generations of the same family: "I wanted this record to be small-scale and very domestic", Dawson explains, "to be stripped back, stark and naked, and let the lyrics and melodies speak for themselves and for the people in the songs". By paring things right back what is revealed is a suite of remarkably poised, oddly elegant, beautiful music.

STAFF COMMENTS

Barry says: There is no predicting what Dawson will do next, a collaboration with a Finnish metal band? A 45-minute one-song gig? It's all fair game in Dawsonland (Newcastle), as is going back to his roots a little and crafting something that's as mundane as it is beautiful. Small scale stories of working class life, karaoke and love drenched in his unique sensibilities. Brilliant.

TRACK LISTING

1. Bolt
2. Gondola
3. Bullies
4. The Question
5. Boxing Day Sales
6. Knot
7. Polytunnel
8. Removals Van
9. More Than Real

The Tubs

Cotton Crown

RIYL: Richard Thompson, The La’s, The Charlatans, Aztec Camera, Superchunk, The Chills, Felt, The Smiths, Pentangle.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territory while continuing to hone their highly addictive brand of songcraft. It’s a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a ‘vast world of moods and muses’ and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process.

This is in no small part down to Owen ‘O’ Williams’ vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there’s a palpable sense of risk in his self assessments / confessions. No more so in the track’s closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.)  As Williams says: “I’d tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled.” The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.)

The essential trick Cotton Crown plays is to offset Williams’ lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you’ve got yourself a recipe for indie rock greatness.

The band’s debut ‘Dead Meat’ was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their “Round the Bend” single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a “shot in the arm for indie rock”. 

STAFF COMMENTS

Barry says: Though there is a darker undertone to the lyrics here, the music itself oscillates from their bombastic punk-adjacent throb and driving distorted power chord groove to nuanced, jangling indie melodicism and soaring, memorable harmonies. Wonderfully dynamic, packed with moments of surprising juxtaposition and every bit the progression of a band who will stay on our radar for as long as they keep making music.

TRACK LISTING

1. The Thing Is
2. Freak Mode
3. Illusion
4. Narcissist
5. Chain Reaction
6. Embarassing
7. One More Day
8. Fair Enough
9. Strange

DITZ

Never Exhale

‘Never Exhale’ is the sound of a band that hasn’t stopped for a breath. DITZ have toured relentlessly since the release of their first album ‘The Great Regression’. The songs that form their newest offering were written across Europe, often on off days and in borrowed rehearsal rooms.

It could be said that the band treat recording and release of music as an afterthought. Often playing songs live years before their release, tweaking them as they go. The songs on the final record may change before they are ever heard as part of the album.

‘Never Exhale’ was largely recorded at Holy Mountain studios in London during a freezing cold January. The process was frought with obstacles, the original plan, to go and record in Rhode Island, was abandoned when DITZ were offered a support tour with IDLES, although the album was still mixed by the originally intended engineer, Seth Manchester (Model/Actriz, Lingua Ignota, Big Brave). The result is an album hardened by the pressure of its own making. Laboured but not loved.

The album themes reveal themselves more on further listens. The opening gambit taxi man is an exploration into what it would be like to weigh up your impact of the world. The eponymous taxi man could be seen as a St Peter type figure.

Further on the album explores themes of unnecessary hatred and division, Space/Smile and It smells like something died in here, aging, Senor Siniestro and the separation of the physical from reality, The Body As A Structure. It’s political, but ultimately personal. More Genet or Kafka than Orwell or Huxley.

Sonically the album has its roots in the usual DITZ influences, classic noise rock such as The Jesus Lizard or Shellac, or the obtuse post punk of the Fall, but also brings in fresh influences. The closing track Britney, could be compared to Radiohead or Mogwai. Overall the album is a clear development from their first effort. A sign of things to come.


STAFF COMMENTS

Barry says: Ditz' second record is an incendiary slab of distorted guitars, pummelling percussion and roaring vocals. There's a post-punk groove and militaristic stomp to proceedings, but the instrumentation and timbres lean more towards post-hardcore (Fugazi come to mind in places) and claustrophobic industrial metal.

TRACK LISTING

V70
Taxi Man
Space/Smile
Senor Siniestro
Four
God On A Speed Dial
Smells Like Something Died In Here
18 Wheeler
The Body As A Structure
Britney

Nadia Reid

Enter Now Brightness

Enter Now Brightness feels different for Nadia. It is an album, she says, of departure and questioning, that has reminded her how songwriting can be “the most useful thing to do with pain and joy and thoughts and feelings and anger.” That through music we can find great change. “I’m so much better off now that it exists,” she says. “Now feels like a new time.” On this record, Reid moves ever further from her earlier folk inclinations, establishing a sound that is distinctly her own. Enter Now Brightness is a record of poise and great beauty, the sound of a cellular shift, of pain giving way to tenderness and joy. It takes its title from a passage in a book Reid was reading from a line that seemed to call out to her from the page: ‘Brightness entered the study.’ “It was the image of opening the curtain, or turning the light on, or of standing in the wings of a theatre and waiting to go on stage. It’s the idea of life beginning now.”

STAFF COMMENTS

Barry says: Gorgeous, sonically rich ballads that have almost entirely eschewed the tender folky minimalism that we've come to know from Reid. Both wonderfully immersive and endlessly melodic, her pieces shine with jubilance and keep the superb songwriting we've come to know from her. Beautiful.

TRACK LISTING

SIDE A:
1. Emmanuelle
2. Cry On Cue
3. Baby Bright
4. Hold It Up
5. Changed Unchained

SIDE B:
1. Second Nature
2. Even Now
3. Hotel Santa Cruz
4. Woman Apart
5. Send It Down The Line

Melin Melyn

Mill On The Hill

On their debut album Mill On The Hill, Melin Melyn move effortlessly between surf-rock, country, prog-rock and psychedelia with the grace and skill of a band with numerous records under their belt, held together by an efficacious and fantastical thematic principle. Melin Melyn translates to ‘Yellow Mill’ in Welsh, and on this album the Welsh six-piece invite the audience into the world they have quite literally built around them. Mill On The Hill transports the listeners to the utopian ‘Melin Village’, a Seussian world where townsfolk “bask in the beauty of song.”

“Croeso! Welcome, one and all to the magical world of the Mill On The Hill. The yellow mill that sits on top of a hill, looking down on Melin Village and all of its wonderful occupants. Everyone is welcome here.” says Chief Miller Gruff. “Don’t be deceived, this is no ordinary mill. Our duty is to create music inside the mill for all the occupants of Melin Village, and anyone else who’d like to listen. Because, after all, who could imagine a world without music?”

Melin Melyn are more than just a band. They’re world-builders; storytellers absorbing various elements of the increasingly strange times around us and using them to create fables that ruminate on grief, love, and hope.


TRACK LISTING

Side A:
Mill On The Hill (Intro)
Vitamin D
Promised Land
Fantastic Food
Dail
Derek

Side B:
Mill On The Hill (Reprise)
The Pigeon And The Golden Egg
18-30
Masterplan
Running On MT
Mill On The Hill (Outro)

Bartees Strange

Horror

Bartees Strange was raised on fear. His family used scary stories to teach life lessons, and at an early age, Strange started using scary movies to practice being strong. The world can be a terrifying place, and for a young, queer, black person in rural America, that terror can be visceral. Horror is an album about facing those fears and growing to become someone to be feared. Throughout the record, Strange lays down one difficult truth after another, all over a sonic pastiche of music he loved as a kid. His dad hipped him to Parliament Funkadelic, Fleetwood Mac, Teddy Pendergrass, and Neil Young. Those influences merged with Strange’s interest in hip-hop, country, indie rock, and house, culminating in a record that feels completely original.

STAFF COMMENTS

Barry says: Huge, anthemic choruses and deeply funky breakdowns punctuate deep, wonderfully written lyrics and a bafflingly diverse range of audible influence. There's soulful sections smashed into with distorted guitars and pumelling percussion, much like a soaring breakdown can suddenly flip into groovy hip-hop territory without sounding disjointed. Lovely stuff.

TRACK LISTING

Side A:
Too Much
Hit It Quit It
Sober
Baltimore
Lie 95
Wants Needs
Side B:
Lovers
Doomsday Buttercup
17
Loop Defenders
Norf Gun
Backseat Banton

Dinked Edition Bonus 7":
Side A:
Like This
Side B:
Pigs Fly

The Lottery Winners

KOKO

Welcome to ‘KOKO’, Lottery Winners’ most adventurous album, while also home to their most infectious songs yet.

Short for Keep On Keeping On, ‘KOKO’’s 12 captivating tracks include a beautiful ode to friendship, a deliriously catchy duet with Reverend And The Makers’ Jon McClure about being unhealthily obsessed with your ex, a literally escapist chantalong funk anthem, a power ballad featuring Nickelback’s Chad Kroeger, a tender song of regret, plus the most uplifting, celebratory songs about panic attacks, ADHD and being expelled from school you’ll ever hear. There’s even a dance routine.

Following on from The Lottery Winners’ third album ART (Anxiety Replacement Therapy) reached No 1 in May 2023, this is set to be another big release.

TRACK LISTING

Side A
Superpower
You Again (Feat. Reverend And The Makers)
Panic Attack
UFO
Ragdoll (Feat. Chad Kroger)
Struggling

Side B

Turn Around
Monaco
Three Wishes
Dirt And Gold (Feat. Frank Turner)
The Ceiling (Feat. Shed Seven
Keep On Keeping On

Bonus 7” - Dinked Edition Only
Side A // Letter To Myself (Again)
Side B // Belong (Demo)

Hot Chip

Coming On Strongerer - 20th Anniversary Deluxe Edition

Hot Chip celebrate 20 years since the release of their seminal debut album, originally released in 2004 via Moshi Moshi Records.

“Restlessly inventive, Hot Chip have crafted a genuinely organic, proper album, and the relaxed enthusiasm that drives this debut is absurdly infectious” Uncut.

“An oddly beautiful record” Time Out “.

A dazzling debut” NME.

“Hot and very strong” Dazed. 

TRACK LISTING

Side A
Take Care
The Beach Party
Keep Fallin

Side B
Playboy
Crap Kraft Dinner

Side C
Down With Prince
Bad Luck
You Ride, We Ride, In My Ride

Side D
Shining Escalade
Baby Said
One One One

Side E
Hittin Skittles
Marrow
My PC
From Drummer To Driver

Side F
Defeated By Technology
Back To The Future
A-B-C

The Bonus Tracks Are:
“Hittin Skittles” *
“From Drummer To Driver” *
“Marrow”
“My PC (20th Anniversary Deluxe Edition)”
“Defeated By Technology”
“Back To The Future”
“A-B-C”

* These Two Have Been Available Digitally In The Past But This Is The First And Only Time They Will Be Available On A Physical Format.

Brooke Combe

Dancing At The Edge Of The World

Brooke Combe, a rising Scottish singer-songwriter, delves deep into her soulful roots with her new album Dancing at the Edge of the World. This album, produced by The Coral’s James Skelley, marks her most authentic work yet, blending rich, emotive vocals with contemporary soul sounds. Brooke’s music captures the essence of heartbreak, empowerment, and self-discovery, resonating with a broad audience. Dancing at the Edge of the World is a powerful showcase of Brooke's artistry, highlighting her evolution as a leading voice in modern soul music.

STAFF COMMENTS

Barry says: Simmering, modern soul grooves and swooning orchestration sit beneath Combe's intoxicating, powerful vocals. Rolling bass licks, saturated synth stabs and sweetly overdriven guitar round out the instrumental side, a perfect vehicle for the entrancing vocals that sit atop. Beautiful.

TRACK LISTING

Side A
1. Prelude
2. This Town
3. Guilt
4. Shaken By The Wind
5. L.M.T.F.A
6. The Last Time

Side B
1. Pieces
2. If I Could Only Be Yours
3. Lanewood Pines
4. Butterfly
5. Dancing At The Edge Of The World

Moin

You Never End

‘You Never End’ is the third album from Moin, a London trio made up of Joe Andrews and Tom Halstead (Raime / Blackest Ever Black) as well as long time collaborator and percussionist visionary Valentina Magaletti. Its title alone expresses the teetering and shifting nature of both the album and band. This record marks the Moin’s shift into a new phase with vocal collaborations across the album from Olan Monk, james K, Coby Sey and Sophia Al-Maria.

The album’s collaborators all have voices that are alluring in their own right whilst hard to pin down: from james K’s ethereal, reverb drenched vocals, Coby Sey’s words that bounce and echo across London’s concrete streets and Olan Monk’s emotive songwriting, while artist Sophie Al-Maria’s voice and thoughts are known to stretch across her multidisciplinary practice as an artist, filmmaker and writer. The unique mystique of each collaborator is maintained throughout the record while simultaneously opening Moin up to new possibilities, in a gentle shifting alchemy.

Continuing their enigmatic re-configuring of the traditional band, Moin use a mix of conventional and unique production and compositional techniques. Subtly re-framing the current conversation about what band in 2024 needs to be, Moin walk the line between what's reassuringly familiar and what's unsettling and inquisitive. ‘You Never End’ is a more sensitive record in sentiment, it re-contextualises grunge, shoegaze and indie rock with a weirdly comforting melancholy while still sounding direct and alive.

Showing Moin at their most accessible, the vocal collaborations bring the most articulate moments and lucid emotion while still remaining uniquely within Moin's established world. Alongside this, the record fine tunes the elements of electronic production that have always been a feature of the band's unique sound in a deeply subtle way. Elements are simpler and more direct, offering robust functional support as well as textural and emotional resonance. Together they show the potential for both practices to intertwine.

‘You Never End’ is both produced and mixed by Tom and Joe, demonstrating the extended range of control the pair have over the band's sound, and their ability to truly hold together Moin’s intricate world.


STAFF COMMENTS

Liam says: This new one from Moin is an absolute must! Bursting with proper interesting mathy and angular textures, the atmosphere on this thing is mega! For fans of Slint, Sonic Youth or anything slowcore/no-wavey, you need to get all over this!

TRACK LISTING

Side A
A1. Guess It's Wrecked Feat. Olan Monk
A2. Cubby
A3. Family Way Feat. Sophia Al-Maria
A4. What If You Didn't Need A Reason Feat. James K
A5. Lift You Feat. Sophia Al-Maria
A6. It's Messy Coping

Side B
B1. We Know What Gives Feat. Coby Sey
B2. C’Mon Dive
B3. Anything But Sopo
B4. Happy In The Wrong Way
B5. Just Married

Bananagun

Why Is The Colour Of The Sky?

To say that the intervening 4 years since the arrival of their debut album had been tumultuous for Melbourne/Naarm’s Bananagun would be an understatement. Released during the height of lockdown in the summer of 2020, the group were forcibly “scattered” following the release of The True Story of Bananagun. Australia’s ultra-strict lockdown rules - declaring it illegal to travel beyond a 5km radius - made it nigh on impossible for the band to get together at all, with the only rehearsals requiring them to sneak past military checkpoints undetected.

Coinciding with this too was a great period of personal change for the band’s guitarist/vocalist/flautist, and songwriter Nick van Bakel.“ "I had a myriad of mountains to be crossed which was pretty challenging” he explains. “so I just cocooned into lots of spiritual side quests and soul seeking. Band members were travelling etc so it was ages before we got through the stop-start stop-start phase and regained some band momentum…”

This climate of upheaval does not go unheard on the band’s long-awaited follow-up, ‘Why is the colour of the Sky?’. While it’s by no means a pessimistic work - far from it - it’s an album that departs from the ultra-slick bursts of sunshine-pop and afrobeat that defined ‘True Story… ‘, and muddies the waters with a heavy blend of incendiary jazz and freak-beat experimentation. It’s Bananagun alright, but braver, bolder and more mysterious than ever…

With the only conscious musical dictum being that percussion and groove was brought “to the fore” - and, boy, is this album groovy - the band decamped to a Button Pusher studio Preston, Melbourne with equipment “on par with any 60's studio”, tracking with minimal takes - ‘warts’ n’ all’ - battling through the temperaments of analogue mixing equipment late into the night under the assertion that these more traditional methods provided “the most, organic pure way to record”. Also imperative was to manipulate the social conditions in which the takes were performed and nail the ‘vibe’ during recording: “It was all “attitude towards life and esoteric stuff, natural law, how energy transfers, sounds, chemistry between people”, explains van Bakel, “trying to foster an environment together where we can make some magic, capture the phenomena of energy and soundwaves interacting with each other in the room. And that was definitely what we wanted it to sound like - pro human”.

In many ways, “pro-human” captures the radical quintessence that Why Is the Colour of the Sky? is fulsomely jazz-shuffling towards. For a record that recognises, in it’s every breath and sinew the humbling, restorative and life-affirming power of collective creative endeavour - it’s also a work that resists an ever more technologically-driven and isolating world that can feel ever more dehumanising in its quests for ‘perfection’. A theme directly addressed in ‘Children of the Man’ with it’s “Robo-sapien” lyric, it’s a thread that runs across the entire record:
“I feel like a lot of human nature and tradition is worth preserving because we've probably evolved to be this way.”, van Bakel notes, “[Why is the Colour…] is all just about not losing your head and being over stimulated by the ‘goggle box’; the need for spirituality and nature; the need to be able to communicate and share ideas and adapt in a rapidly changing world without being judged and profiled. The preservation of human needs, so we don't all get homogenised and isolated and poisoned to stupidity and obedience. “
And what better way is there to feel human than by laying down a dynamite groove, or nine?


STAFF COMMENTS

Barry says: Woozy, dreamy psychedelic business here from Melbourne's Bananagun. Channelling the spirit of early Floyd / Syd Barrett into a modern distillation of folk, rock and folk. there are moments here that feel disorganised and loose, only to come together perfectly into a perfectly formed patchwork of emotion. Wonderfully loose, low-slung psychedelic rock.

TRACK LISTING

Side A
Brave Child Of A New World
Children Of The Man
Those Who Came Before
Feeding The Moon
Gift Of The Open Hand

Side B
With The Night
Hippopotamusic
Free Energy
Wonder Part I
Wonder Part II


Du Blonde

Sniff More Gritty

Sniff More Gritty’ is an album of many faces, some belonging to Du Blonde, others belonging to a host of characters from past loves, to record industry executives, each played with humour and heartbreak in a one-man pantomime of glam-rock, punk, and a single, acrylic nail adorned middle finger. The glimmers of pop teased on 2021’s acclaimed ‘Homecoming’ LP become firework displays that illuminate stories of missed connections, anxiety, controlling relationships and hard earned peace. In spite of darkness, Du Blonde is choosing fun.

Having self-produced her third album, after years of working relationships with record labels and industry producers, Du Blonde found herself able to finally express herself musically in a way that her previous situation would not allow. The freedom that came with her move to production and engineering opened up a new sonic world for Du Blonde, one that is arguably catchier, more colourful and more exciting than anything she had been allowed to bring forth previously.

‘Sniff More Gritty’ is entirely performed (drums aside!), engineered and produced by Du Blonde, and also features unique collaborations with Skunk Anansie’s Skin, Against Me!’s Laura Jane Grace, Maximo Park’s Paul Smith and The Futureheads’ Ross Millard, with additional mixing by Sam Grant of Pigs Pigs Pigs Pigs Pigs Pigs Pigs.


TRACK LISTING

1. Perfect
2. Dollar Coffee
3. Solitary Individual
4. TV Star
5. Out Of A Million
6. ICU
7. Blame
8. Lucky
9. Yesterday
10. Next Big Thing
11. Radio Jesus
12. Metal Detector

Kelly Finnigan

A Lover Was Born

Distance as a measure of time and place informs Kelly Finnigan’s, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope.

The journey Finnigan takes listeners on over Lover’s eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). “There’s nothing like making records,” says Finnigan. “It feels like that’s my purpose — the reason I was put on this earth.”

Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. “I enjoy working alone but it’s not how you want to make a record…almost everybody I brought in for this album I’ve worked with, toured with or spent a great deal of time with.” Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born.

Dramatic influences like Isaac Hayes (check out the piano on “Be Your Own Shelter”) and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like “Get a Hold of Yourself” or “Chosen Few”. Finnigan’s take on Deep Soul is captured brilliantly on “Walk Away from Me” and “Love (Your Pain Goes Deep)”, while Boom Bap pervades on hard hitters “His Love Ain’t Real” & “Cold World”. Slower songs such as “Let Me Count the Reasons”, the emotional “All That’s Left”, and the soul-stirring album closer “Count Me Out” show the honest and tender side that has become Finnigan’s calling card. All the while, the voice is raw and earthy — in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin.

The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan’s sound.

STAFF COMMENTS

Barry says: A bright, soulful suite of rippling guitar stabs, rolling bass guitar and Finnigan's unendingly powerful vocals. Smooth as silk.

TRACK LISTING

Prove My Love
Be Your Own Shelter
Cold World
His Love Ain't Real
Get A Hold Of Yourself
All That's Left
Love (Your Pain Goes Deep)
Let Me Count The Reasons
Chosen Few
Walk Away From Me
Count Me Out

Suede

Dog Man Star - 30th Anniversary Edition

“Suede's second album is still truly extraordinary – who would dare make it today?” Alexis Petridis (The Guardian).

Suede’s era-defining second album from 1994 celebrates its 30th anniversary this year with this brand-new, very limited UK Dinked retail exclusive on 2LP yellow gatefold packaging with an exclusive 7” single. The package is limited to 1200 copies and the 2-sided bonus 7” includes ’The Living Dead (Piano Version)’ and ‘La Puissance (The Power)’ on vinyl for the first time.

‘Dog Man Star’ is seen by many as Suede’s most musically adventurous album – sweeping strings sit next to orchestral ballads, epic widescreen pieces, indie anthems and trashy glam rock. It was the last album to feature the band’s guitarist and co-songwriter Bernard Butler. It includes the classic hit singles ‘We Are The Pigs’, ‘The Wild Ones’, and ‘New Generation’. Art and design for this new format has been undertaken for Suede by official designer and photographer Paul Khera and includes new sleeve notes by Cure / Manic Street Preachers biographer Simon Price.

Also available for the 30th anniversary are 2LP black vinyl halfspeed master, and a 3CD in Deluxe 7” packaging containing the original album, B-sides, bonus tracks from the ‘Dog Man Star’ era and booklet.


TRACK LISTING

LP Tracklist:
1. Introducing The Band
2. We Are The Pigs
3. Heroine
4. The Wild Ones
5. Daddy’s Speeding
6. The Power
7. New Generation
8. This Hollywood Life
9. The 2 Of Us
10. Black Or Blue
11. The Asphalt World
12. Still Life

CD Tracklist:
CD1 - Dog Man Star:
1. Introducing The Band
2. We Are The Pigs
3. Heroine
4. The Wild Ones
5. Daddy’s Speeding
6. The Power
7. New Generation
8. This Hollywood Life
9. The 2 Of Us
10. Black Or Blue
11. The Asphalt World
12. Still Life

CD2 - B-sides:
1. My Dark Star
2. The Living Dead
3. Stay Together (Long Version)
4. Killing Of A Flash Boy
5. Whipsnade
6. This World Needs A Father
7. Modern Boys
8. Eno’s Introducing The Band

CD3 - Bonus Tracks & Rarities:
1. La Puissance (The Power)
2. The Living Dead (piano Version)
3. We Believe In Showbiz (unreleased At Time Of Recording)
4. Still Life (orchestral Version)
5. The Wild Ones (original Unedited Version)
6. The Asphalt World (original Unedited Version)
7. Stay Together (Single Version)
8. NME Flexi

Field Music

Limits Of Language

Field Music announce ‘Limits of Language’, their first album of new music for almost four years. Back in 2022, the touring cycle for the ‘Flat White Moon’ album ended with a sense of finality. For the first time since the Mercury-nominated ‘Plumb’ ten years earlier, Peter and David had no plan for what, if anything, would come next. However, after six years of continuation, they were clear that if Field Music was to carry on then it would have to be different, in both sound and scope.

Solo projects followed with 2023 seeing the arrival of David’s quietly-jazzy ‘Soft Struggles’, the playful of electronica of Peter’s ‘Blowdry Colossus’ alongside a limited-issue brass collaboration LP ‘Binding Time’ and the vault-raiding ‘John Monroe EP’, made with original Field Music keyboard player Andrew Moore.

It was these albums that provided fresh impetus for what was to become the new Field Music record. Whilst Peter amassed the instrumental compositions which become ‘Blowdry Colossus’, he was also tinkering with a batch of songs which would form the basis of ‘Limits of Language’, songs which mixed synthesised textures with off-the-cuff flickers of guitar and layers of disorientating found-sound percussion.

These fleshed-out demos included ‘The Waitress of St Louis’, an ode to the now-closed Sunderland café ’Louis’, which featured on the cover of their 2007 album ‘Tones of Town’, and to the Maggiore family who ran this cherished institution.

David’s songs came from a different angle but leant into the same sonic palette and shared the same sense of a past becoming granulated. Album opener, ‘Six Weeks, Nine Wells’ pits the hazy ecstasies of school summer holidays against the fear and foreboding of a child peeking through into an adult world.

‘Limits of Language’ sees Field Music continue with their astonishing, bloody-minded run of releases. A run which equates to an impressive twenty-one “Field Music Productions” in nineteen years as a band. 

STAFF COMMENTS

Barry says: Field Music return with a hugely anticipated, and tremendously ambitious new album that is reminiscent of their earlier albums but with a renewed vigour, and bold sonic outlook. There are bright swathes of guitar and pummeling percussion, chugging industrial bass riffs and jagged 80's synthpop strokes. A hugely welcome, wonderfully conceived return.

TRACK LISTING

Side A
1. Six Weeks, Nine Wells
2. The Guardian Of Sleep
3. The Limits Of Language
4. Sounds About Right
5. Absolutely Negative

Side B
1. Curfew In The Square
2. Turn The Hours Away
3. On The Other Side
4. The Waitress Of St Louis’
5. I Might Have Been Wrong
6. Between The Bridges

W.H. Lung

Every Inch Of Earth Pulsates

“A huge thing for this record was to make it feel as close to our live show as possible,” says Tom Sharkett of W.H. Lung’s latest album. “We didn’t want it to sound live but we wanted to capture the excitement of the live performances.”

This is something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country. “The reason I’m in a band is to play live music,” says singer Joe Evans. “For me, music is live music. That’s what it’s for, to be played with people.”

The five-piece band, also featuring Chris Mulligan, Hannah Peace, and Alex Mercer-Main, decided to try something new on their third album after two incredibly successful collaborations with previous producer Matt Peel. In order to capture the energy, spirit and dynamism of their live shows, they relocated to Sheffield to work with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club) who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face and that’s exactly what we wanted.”

However, while this album is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. “It was a really big thing for me to realise what made us sound like us on this record,” says Sharkett. “I think the album sounds a lot more confident and self assured because of it. Some songs sound just so much like Lung and I’m really proud of that. I’m not sure we’ve done that as consistently across the other records.”

While the band have drilled deeper into finding their own singular identity, it’s not a record resting on its laurels. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground. “The big difference with this record is its directness in every sense,” says Sharkett. “The songwriting is more upfront. Previously we’d focused a lot on vibe and production as opposed to just writing songs. The overall mission here was to revert to a classic songwriting structure and for the production to come afterwards.”

And so what you have on this record are deeply considered and well-crafted songs, then recorded with blistering intensity in the moment, and then given a touch of experimentation afterwards. Then throw in Orton’s contributions to the band and it’s proven to be a real winning formula. “He brought a real dose of magic to the songs we’d written,” says Sharkett. “And brought an extra bit of wonk and quirkiness each time.”

Such quirkiness is apparent from the opening ‘Lilac Sky’ which very briefly samples a learn to speak Spanish 12” before whirring atmospherics, hypnotic bass, and shimmering synths began to propel the song for launch. “I like it when there’s really clear punctuation at the start of a record,” says Sharkett. “It’s almost like a statement of intent and I wanted something like that, where if people knew the tune they could identify it within the first second.”

It’s also the perfect album opener in more than one way, setting the tone for an album rooted in exploration. “I went out onto Hampstead Heath one day when it was dusk and the sky was mad and I’d just taken some mushrooms,” recalls Evans. “I was thinking: just remember this, this is how things really are. So maybe this track acts like an invocation or a calling for the rest of the album. It’s about listening closely, paying attention, and being overwhelmed with an open heart.”

On ‘Bliss Bliss’ the band almost veer into anthemic indie territory, with its rousing chorus, euphoric lashes of synths and a vocal delivery that is festival headline worthy. “I sang it like I was singing a song I’d forgotten from when I was a teenager,” says Evans of his impassioned performance. It was a fresh approach for the band. “I thought the guitars felt too college rock at first but I just went with it,” says Sharkett. “It’s a completely different style of guitar playing for me and something much more traditional in the indie world but I was enjoying that.”
In many ways this was another foundational song for the LP. “This was the first instance of us writing more traditional songs for the album,” says Sharkett. “It kind of embodies our balance between being a live conventional guitar band and the shiny, synthy side of Lung to me. It feels like the perfect culmination of our experience as a band so far.”

The band’s ability to write more traditional and conventional songs is clearly a skill they’ve taken to with ease, at times there’s an almost Springsteen-like quality – but if he'd ever had an ecstasy period – to tracks such as ‘Thinner Wine’ and ‘Bloom and Fade’. While ‘How to Walk’ was constructed with one thing only in mind: that it would absolutely slay on stage. “I can’t wait to play this live,” says Evans. “We wanted a song to represent our live set, a new big one, and this is it.” Once again it leans towards the anthemic, with its driving, propulsive charge complete with incandescent synths and vocal melodies so irresistible you can already hear them being sung in unison by a crowd.
It’s an incredibly difficult feat to pull off a record that is more rooted in traditional songcraft while also capturing the power of a live performance, as well as pushing sonics into experimental new directions while working with a brand new collaborator. But here the band has managed to do just that.

And the album’s closing song ‘I Will Set Fire To The House’ is a perfect example of such a thing. It’s a song that feels immaculately constructed but also very much alive and of the moment as its radiating synths engulf from the off, and Evans’ vocal is silky but powerful and in perfect symbiosis with Peace’s. It’s a song that captures the endless joys of music playing long into the night. “It may be a bit of a bloody bombastic way to end an album saying ‘and we’ll dance into the sunrise’,” says Evans. “But fuck it.” 


STAFF COMMENTS

Barry says: For those of you that haven't already heard of W.H. Lung, their Piccadilly lauded albums ‘Incidental Music’ (2019) and ‘Vanities’ (2021) were impeccably forged slabs of driven Krautrock percussion and soaring hooky indie vocals. While 'Every Inch Of Earth Pulsates' doesn't steer away from the oft-instrumental drive of those earlier efforts, it's imbued with a vigorously optimistic edge. Those always-present throbbing basses and snappy, rock-solid percussive tethers work gradually into bright, stadium ready hands-in-the-air anthems and soaring, jangling shoegaze. While there are moments of post-punk minimalism or thoughtful, rippling unease it is always tastefully offset with a burst of neon shine or change of direction. W.H. Lung's discography has always veered towards the big stage sound, but it's never been more perfectly fitting for the summer festival circuit. A refreshingly uplifting, sunny day of an album.

TRACK LISTING

Side A
Lilac Sky
Bliss Bliss
Thinner Wine
Bloom And Fade

Side B
How To Walk
Flowers In The Rain
I Can’t Lie
The Painting Of The Bay
I Will Set Fire To The House

Our Girl

The Good Kind

The expression of hard-fought optimism encapsulates The Good Kind, an album exploring themes of sexuality, relationships, community, and illness. Our Girl’s trademark dynamics permeate the record, from heavy guitars and soaring lead lines to ear worm choruses and intimate vocal moments. Filled with warmth and honesty, The Good Kind is a celebration of determination – of choosing to recommit to what matters, against all opposition. “A lot of the songs are about taking setbacks and turning them into superpowers” says drummer Lauren Wilson.

“I only realised then, when I thought it out loud,” begins singer/guitarist Soph Nathan on ‘Relief’, the first single released from the album, “And I feel better now”. This song is aptly named, invoking a long-awaited exhale – the feeling of finally emerging from a long and lonely period of uncertainty and self-doubt. Beginning with a single airy strum, Nathan’s reverb-drenched guitar attaches itself to Joshua Tyler’s grounding bass chords, as Wilson’s quietly insistent drum beat throws its weight behind Nathan’s words of reassurance: “You’ve gotta see it to believe it/ Well, I see it in you already.”

This song speaks honestly to the life-giving importance of queer community. From the warmth and immediacy of her delivery, Nathan could be comforting a friend. But as ‘Relief’ builds from that cautious opening to a determinedly, driving force, it becomes clear: these aren’t empty platitudes. Nathan believes in you, because she’s learned to believe in herself.

This sentiment is at the heart of The Good Kind, recorded at Rockfield Studios and produced by alt-rock legend John Parish (PJ Harvey, Sparklehorse), Fern Ford (The Big Moon, Prima Queen) and Soph Nathan herself. For Our Girl, it mirrors the long and winding road to their sophomore release, and the lasting rewards of trusting in the process.

All three members recall moments of magic in the studio with Parish and engineer Joe Jones, who embraced the band’s spirit of experimentation and helped them to channel their electrifying live character onto tape. But despite these propelling creative moments, Our Girl struggled to fully realise the album exactly the way they wanted. “The way we work best is so based on feeling, and an instinct when we’re together,” says Wilson. “We see ourselves as a live band: that’s how we began, and where we feel fully realised,” says Nathan. Having not had an opportunity to play the songs live yet, the trio poured hours into making demos and rehearsing the songs, eventually arriving at Rockfield Studios almost “over-prepared”, says Josh. However, having recorded it under time pressure, all three members concluded the two-week session feeling as though some essential component had escaped them.

After hearing the recordings back, “It was the first time that we’ve all been on such different pages,” Nathan says, admitting that she even entertained painful thoughts of abandoning the project. Instead, Our Girl dug deep to reconnect with what had kept them together. It was a conscious decision to recommit to making the music they knew themselves to be capable of. “We all had to rediscover our connection – to the album, and to each other,” Wilson says.

Newly determined, the band spent six weeks with Fern Ford of The Big Moon at her home studio, pulling apart the Rockfield takes and recording more. Nathan recalls her bodily feeling of relief as they reopened and recommitted to the project “I couldn’t quite believe it” says Nathan “I felt a freedom I hadn’t experienced before. Fern really made that space for us and it was a real relief to be able to take the reins together”. With Ford’s help, Nathan took to the production, striving after the warm, comforting sound she’d envisaged. It was new territory for Nathan – but the attempt felt true to Our Girl’s shared ambition and commitment to breaking new ground.

This collaborative process speaks to a wider theme - when choosing to carve out their own creative path, the band leant more on each other, and on friends and other musicians: Warpaint’s Stella Mozgawa helped bring the title track ‘The Good Kind’ to life in its early stages, whilst Nathan’s partner and friends including Marika Hackman and Art School Girlfriend joined the rallying cry at the end of Relief. There’s evidently real joy to be found in taking ownership of your own creative vision, and also trusting friends to share that vision with you.

Using songwriting as a processing tool, many of the songs reflect Nathan’s own experiences, expressed with her trademark precision and lyricism. ‘Absences’ is about the frightening “absence seizures” she suffered through childhood, culminating in an epileptic fit at age 17. Such private, often lonely struggles with chronic health issues are a theme of The Good Kind, as well as the moments of solace within them; ‘What You Told Me’ evokes the relief of feeling that weight lift, however briefly.

Through the process of making The Good Kind, Our Girl learned to trust themselves, persevere with the harder path and recognise it as the only one worth travelling. Deciding to chase after the sound they wanted ended up being the most empowering moment of their career thus far, and it paid off: The Good Kind is their most confident, moving and fully realised work yet.

STAFF COMMENTS

Barry says: Gorgeously intertwined guitar and bass lines, perfectly measured, grounding percussion and those athletic vocals. While there are moments of relative calm and melodic stasis, the noisy ambient breaks soon make way for unforgettable riffs and stunningly effective melodic progressions.

TRACK LISTING

Side A
A1. It’ll Be Fine
A2. What You Told Me
A3. Who Do You Love
A4. The Good Kind
A5. Something About Me Being A Woman

Side B
B1. Relief
B2. Unlike Anything
B3. Something Exciting
B4. I Don’t Mind
B5. Sister
B6. Absences

Crows

Reason Enough

Crows have arrived. ‘Reason Enough’, their third studio album, is the one the band have taken the longest to write. Partly because they had to fit the exercise around working full-time jobs, but also because of the freedom that was afforded to them around this specific project, which takes the post-punk four piece’s historically adrenaline-fuelled sound into fresh territory. Though the band’s punk spirit remains intact, sonically, they’re more refined and cohesive than ever; it’s the most mature Crows have ever sounded, without compromising any of their intrinsic grit. Following 2022's 'Beware Believers' and their 2019 debut 'Silver Tongues', 'Reason Enough' lands September 27th 2024 via Bad Vibrations.

For the occasion, James Cox (vocals), Steve Goddard (guitar), Jith Amarasinghe (bass) and Sam Lister (drums), swapped their usual rehearsal space, a small studio in Homerton, East London, for the cavernous walls of a “weird little studio” – as Goddard puts it – in Stroud, Gloucestershire. More specifically, a former Catholic church and convent where the band parked themselves up in the crypt, which was more conducive to inspiring the foundations for ‘Reason Enough’. “Having a more relaxed approach this time around meant we could explore different stuff,” Goddard says. “We don’t want to sound the same as we did before – this is our third album, we have to move on. And so we fucked around a bit more.”

Armed with dozens of ideas, they returned to London in a bid to finesse them all alongside Mercury Prize-nominated producer and master of the polished indie record Andy Savours (Black County, New Road, My Bloody Valentine). The result: a concise, 10-track album which goes a long way to show Crows’ sonic versatility. It’s more melodic work than what Crows have previously done, “rather than being all-out punk”, as Goddard puts it. “It feels less lo-fi, cleaner and more well-rounded as a result,” Cox adds.

Lyrically, Cox drew heavily from a difficult year, both personally and in terms of facing up to a heavy-going news cycle. “I went pretty unhappy with the lyrics and vocals,” he says. “I wanted to moan a bit. If the last album was angrier, this one is definitely sadder.” Indeed, a general sense of malaise, isolation, unease and a desire for growth in spite of it all permeate ‘Reason Enough’ – an album which strikes a satisfying balance between existentialism, soul-searching, and a discerning brand of indie-rock: “We’re doing the same thing, but a lot better. This is Crows in high definition.”


TRACK LISTING

Side A
1) Reason Enough
2) Bored
3) Is It Better?
4) Vision Of Me
5) Land Of The Rose

Side B
6) Every Day Of Every Year
7) Lie To Me
8) Living On My Knees
9) Silhouettes
10) D-Gent

Thee Sacred Souls

Got A Story To Tell

The highly anticipated follow-up to Thee Sacred Souls's breakout 2022 self-titled debut, ‘Got A Story To Tell’, features 12 all original new songs, a soaring statement of exquisite craftsmanship from this young band from San Diego whose story grows bigger by the day. Recorded and produced by Gabriel Roth at Penrose Recorders, in Daptone’s Riverside, CA studio, and written in the throes of supporting their 2022 album, which was met with significant excitement and major touring that brought them across the world.

What swirls together on ‘Got A Story To Tell’ is an appreciation of decades of soul music, and beyond - a sound and feel that is timeless, lived in, and very much in the now. Album opener “Lucid Girl” champions independent women, set to some of the toughest sounding drums and bass the band has yet to put to tape. “Waiting On The Right Time” slinks with a touch of slow-burning psychedelia. A plea for empathy punctuates “One and the Same,” with Lane singing: “We’re one and the same, I feel one day / We learn to live with each other / In love, not fear / Just for a moment, why can’t we be together.” “On My Mind” is a sweeping orchestration, with Lane navigating the complexities of finding happiness while balancing the good with the bad. The album is punctuated with strings and squelching guitar, trundling piano, pops of conga, horns - it makes for a thrilling, layered listen that rewards with multiple spins. 


STAFF COMMENTS

Barry says: We've had a couple years now of people asking for the last Sacred Souls album (and for good reason) so there's definitely some excitement surrounding the new one. It absolutely does not disappoint either, beautifully rich soulful melodies and perfectly produced grooves from this San Diego trio. A perfect home on Daptone too. Brilliant.

TRACK LISTING

Side A
1. Lucid Girl
2. Price I’ll Pay
3. Live For You
4. On My Mind
5. Waiting On The Right Time
6. Losing Side Of Love
Side B
7. Somebody Knew
8. My Heart Is Drowning
9. Stuck In The Mud
10. In The Mirror
11. One And The Same
12. I’m So Glad I Found You, Baby

Mercury Rev

Born Horses

In upstate New York, deep in the seam between the Catskill Mountains and the Hudson Valley, a richly swelling, spellbound sound emerges, eddying and flowing like the local Esopus Creek, or in the slipstream of the grander Hudson river, carrying the flotsam and jetsam of our hopes, dreams, fears. A sound composed of organic and electronic; guitars, keys, brass, strings, woodwind, drums - and a voice of incantations, tapping streams of consciousness that similarly eddy and flow.

Spiritually, literally, psycho-geographically: where else does Mercury Rev’s ninth album ’Born Horses’ spring from? This cascade of gleaming, glistening psych-jazz-folk-baroque-ambient quest that searches its soul but can never truly know the answer? A sound and vision begun with skeletal chords and surges of self-reflection, alive to the notions and motions of time and reality somehow both linked to their exalted past whilst quite unlike anything they have created before?’’

Grasshopper:
“When Jonathan and I first met, one thing we bonded over was Blade Runner, both Ridley Scott’s film and Vangelis’ soundtrack: that feel of the past and the future, the haunting noir mood and the romance of the future…Born Horses taps into some of that. Looking back to childhood, to Broadway tunes, to lonesome blues, Chet Baker, Miles Davis’ Sketches Of Spain, records that our parents listened to, but we put a twist into the future. From the beginning, Mercury Rev were on a cusp, between analogue and digital, hi-fi and lo-fi at the same time. It was like Brecht or Weill, the words suggesting visuals, and the visuals suggesting moods. We also thought a lot about the desert on this record, and the urban desert.”

The album title, named after the majestically rippling sixth track ‘Born Horses’, was chosen because its words resonate through the entire record, encompassing the idea of flight (“I dreamed we were born horses waiting for wings”) and the phrase “You and I” that appears at different junctures on the album. This is not the concept of two separate people, but two parts of one self.

Jonathan:
“When I opened my voice to sing on this record, this was the bird that sang: a lower, whiskery voice, which surprised me as much as it may others. I don’t know where the bird came from, but it’s there now, and I don’t question it. It’s just the bird that wants to sing.”

‘Born Horses’ opens with ‘Mood Swings’. A Trumpet, evoking bohemian mariachi and the windswept terrain of the desert prairie, opens up to a dynamic panorama of sound, wandering through and enveloping Jonathan’s intimate recitation, conflating memories and confessions of feelings trapped and unwrapped: “My mood swings come and go as they like / rebellious fickle teenagers, unable to decide.” It establishes ’Born Horses’’ tone of vulnerability and awe, and a little frisson of fear, testifying to the frailty of human experience, buffeted by the currents all around us. The flightiness of feelings is further explored by the metaphor of a bird, most clearly in ‘Bird Of No Address’ and the album’s pulsating finale ‘There Has Always Been A Bird In Me’.

More inspiration was provided by the spirits of the art minimalist Tony Conrad and beat poet Robert Creeley, acolytes of progressive thought and action who both taught at the University at Buffalo, the city where the band was formed.. Amongst other credentials, Conrad was a member of LaMonte Young’s Dream Syndicate along with John Cale and a close friend to The Velvet Underground. Creeley was one of the most important and influential American poets of the 20th century as well as an associate of Jack Kerouac, Allen Ginsberg and the Black Mountain poets.

Grasshopper:
“Tony was a trickster, who loved to shake things up. He knew how to put things together that might not inherently fit but then became something completely new. Robert- the beauty of his sparseness with words, but playful too, and a sense of romanticism. For me, there is also some subconscious echo in ‘Born Horses’ of Patti Smith’s Horses, the nomadic recitations that incorporate poetry into music…. it’s like a tip of the hat.”

Jonathan:
“There are a few unquestionable watermarks of Grasshopper’s studying with Tony Conrad and my own time spent with Robert Creeley. Distilling down lyric and song. Heating up during intense bursts of recording followed closely by long periods of cooling down/ listening to the work and then… un-listening to it. Leaning in to the uncertainty of what is being created. Not by us, but for us. Psychological ‘letting go of the balloon’ distance as perspective. Something we both inherited from Tony and Robert… Stepping in and stepping out of frame.”

“Since our beginning in the mid 1980’s with David Baker through the recording of Born Horses with new permanent members, Woodstock native (pianist) Jesse Chandler and Austrian born (keyboardist) Marion Genser, we’ve celebrated this unspoken trust in the ‘statue already inside the marble’. We didn’t make ‘Born Horses’ by throwing clay on top of clay; we allowed Time to reveal what was always there.”

STAFF COMMENTS

Barry says: There is a wealth of musical influence that Mercury Rev seem to soak into their general being, and 'Born Horses' is an album that is full of those, from grand progressive rock and symphonic classical suites to shimmering jazzy vignettes. What sets this outing aside though is Jonathan Donahue's bracing, wonderfully delivered spoken word throughout the whole LP. It's the perfect application for his voice, honestly and for me makes the whole Rev experience much more transcendent.

TRACK LISTING

Mood Swings
Ancient Love
Your Hammer, My Heart
Patterns
A Bird Of No Address
Born Horses
Everything I Thought
There's Always Been A Bird In Me

Sufjan Stevens

Seven Swans - 20th Anniversary Edition

The follow-up to 2003’s ‘Michigan’, Sufjan Stevens’ ‘Seven Swans’ was released originally in 2004. The Guardian dubbed it “a record of remarkable delicacy,” and Billboard called it a “consistently moving, subtly beautiful experience.”

The folk songs of Sufjan’s ‘Seven Swans’ occupy a singular space in his catalogue. The quiet, psalm-like music arrived less than a year after his 2003 breakthrough album, ‘Michigan’ and his much-publicized announcement to write an album for each of the 50 states. Just as wider audiences were becoming acquainted with the ever-evolving artist—who had, by this point, released a lo-fi folk-pop collage (2000’s ‘A Sun Came’), a Zodiac-inspired electronic suite (2001’s ‘Enjoy Your Rabbit’), and a grand, orchestral epic to kickstart his exploration of the country (‘Michigan’)—he re-introduced himself in hushed tones.

Despite cultivating a vast influence that spans genres, ‘Seven Swans’ is defined by its sense of intimacy. Think of it as Stevens’ self-penned book of prayer, a talisman that’s never been far from reach. This was a time in his career when his songwriting dealt explicitly with themes of Christianity, and his stark performances helped bring the celestial down to earth. Staples of his songbook like “The Dress Looks Nice on You” and “To Be Alone With You” are disarming in their gentleness, and for every gesture toward a divine presence, Stevens knew how to balance it with a vulnerable expression of humanity, using the language of love songs to outline the shadow of uncertainty in devoting ourselves to something bigger. Listening to ‘Seven Swans’ leaves us with enough hope, mystery, and wisdom to make it feel alive and exalting whenever we return.

To celebrate the 20th anniversary of this now-beloved piece of Sufjan’s catalogue, AKR is releasing a Dinked Edition exclusive. Pressed on cream-in-black corona vinyl and housed in a matte jacket with embossing and a spot gloss finish, the LP package will include a flexi disc featuring two bonus tracks, “I Went Dancing With My Sister” and “Waste of What Your Kids Won't Have.” The Dinked edition also comes with seven sheets of origami paper, in order to craft seven origami swans.


TRACK LISTING

Side A
All The Trees Of The Field Will Clap Their Hands
The Dress Looks Nice On You
In The Devil’s Territory
To Be Alone With You
Abraham
Sister

Side B
1. Size Too Small
2. We Won’t Need Legs To Stand
3. A Good Man Is Hard To Find
4. He Woke Me Up Again
5. Seven Swans
6. The Transfiguration

Flexi Disc
I Went Dancing With My Sister
Waste Of What Your Kids Won’t Have

LICE

Third Time At The Beach

Formed in Bristol, 4-piece LICE have become one of UK experimental rock’s most inventive and ambitious outliers. Their second album ‘Third Time At The Beach’ – a three-part epic exploring our struggle to better understand the world around us – arrives via AD 93. Darting between minimalism, rock, techno and more, it sends us hurtling us through time and space: featuring a cast of astronauts, cavemen and dinosaurs.

This follows LICE’s internationally acclaimed debut album ‘WASTELAND: What Ails Our People Is Clear’ (2021). Praised as “exciting, alive, packed with musical ideas” by Financial Times and “a welcome lease of life for British avant-rock that plays with expectation at every turn” by CRACK, it also gained radio support across BBC 6Music, BBC Radio 1 and KEXP. The album led LICE to perform at major festivals including Reading & Leeds, Green Man and End Of The Road, embark on an extensive EU tour supporting Sleaford Mods, and tour across the UK & EU.

‘Third Time At The Beach’’s concept is expressed through three movements. The first (‘Unscrewed’, ‘White Tubes’, ‘Red Fibres’) presents the child being introduced to the world, hammered into shape through prevailing culture, and realising they have reached adulthood with a blinkered understanding of the world. The second (‘To The Basket’, ‘Wrapped In A Sheet’, ‘Scenes From The Desert’, ‘Mown In Circles’) is a disorientating, alien sequence: reevaluating fundamental concepts including money, time, nationhood and language. In the third (‘Fatigued, Confused’, ‘Third Time At The Beach’, ‘The Dance’), the individual embraces these new ideas – granting them a changed understanding of the world, and more agency in the path they take through it.

Everything is always changing in ‘Third Time At The Beach’. The album shifts from lush piano balladry to crushing industrial, and from swampy avant-garde compositions to triumphant rock freakouts. Employing vocal manipulation and field recordings, as well as cutting together studio recordings and home demos, the band produces a spatially elastic, collage-like effect. The album, like the ideas being reached within it, presents a work-in-progress. Lyrically, the record employs a scattershot style to present the experience of learning (or ‘unlearning’). The listener visits ancient civilisations, the Industrial Revolution, outer space and the land of the dinosaurs: encountering mediaeval farmers, silver miners, cavemen, Napoleon and Satan.

Speaking on the record, the band say: “This album’s about trying to understand the world and everything in it: history, science and the way we explain it all to each other. It’s a celebration of feeling confused or intimidated by the processes that shape our lives.”

Of the album’s muscular, agitated lead single ‘Red Fibres’, LICE explain: “This song is about realising you’ve reached adulthood with a blinkered understanding of the world, and feeling confused and frustrated. After visiting some key moments in the history of language, science and the human eye, we arrive at a campsite: where two shipwreck survivors are about to have a fight.”


STAFF COMMENTS

Barry says: The UK has a bit of a burgeoning avant-rock scene at the moment, and Lice are (for me) the most immediately appealing of the whole bunch. We get the weird noises and syncopated industrial scree of Black Midi or the hardcore thump of Fat Dog, but with a keen sense of melody and most importantly, songs that flow beautifully, weirdness or no.

TRACK LISTING

Side A:
A1. Unscrewed
A2. White Tubes
A3. Red Fibres
A4. To The Basket
A5. Wrapped In A Sheet

Side B:
B1. Scenes From The Desert
B2. Mown In Circles
B3. Fatigued, Confused
B4. Third Time At The Beach
B5. The Dance

Personal Trainer

Still Willing

If you like pop music to keep you on your toes, Amsterdam’s Personal Trainer provide that service fulsomely on their second album. Essentially the project of Willem Smit (working with co-producer/collaborator Casper van der Lans) on record and a band live, Personal Trainer showed a facility for DIY indie-pop exuberance and experiment in sync with 2022’s debut, Big Love Blanket. Now signed to Bella Union, Willem returns re-energised with Still Willing, a multi-faceted album of shining contrasts and spry melodies, bursting arrangements and subliminal sounds, playful lyrics and self-reflection: in short, a pop album executed with dynamism, vim and charm.

As Willem says, this is a record fuelled by its extremes: sometimes energetic and loud, sometimes quiet and thoughtful, always full of hidden pleasures. “When I listen to the records I make, the main thing I hope is that every time something happens on them, you’re like, ‘Wow.’ I like to be taken by surprise like that on a record, to kind of be thrown around.”

Those surprises start at the beginning, where ‘Upper Ferntree Gully’ shows a dreamy side to Personal Trainer before choppy, chunky riffs and electronics take over. Meanwhile, Willem’s anchoring imprint is ever-present: he prefers not to dissect his lyrics, but the title nod to his mother’s birthplace in Australia and opening recording of her voice seed a spirit of warmth and intimacy in the record – the personal in Personal Trainer, perhaps.

In a sharp left-turn, ‘I Can be Your Personal Trainer’ follows with a buoyant swing. The album proceeds with that duality in mind, always Smit’s work yet always fresh, always seeking. In Willem’s description, ‘Cyan’ is “a weird, happy pop track”, chivvied onwards by contributor Nick Bolland’s sax and leavened by vocal contributions from Dutch alt-pop singer Lena Hessels. “With most of this one I was trying to make myself laugh or at least smile,” says Willem. “And then I started to really like it. Somewhere along the process I found something like honesty or something beautiful in it.”

Elsewhere, there’s strutting rock in ‘Round’ and vulnerability in ‘New Bad Feeling’. ‘Intangible’ issues another gearshift, erupting from a rising synth line into spry indie-funk pop, where Willem’s innate melodic instincts light the way into uncharted territory for Personal Trainer. As Willem explains, “I tried to make a song that is something I wouldn’t normally do and experiment with that. I like how it turned out because it’s also probably one of the first instances where I had the chorus first and the other parts later, which rarely happens.”

The plangent sensitivity of ‘Testing the Alarm’ adds playful wordplay (“lallygag in shrubbery”) before live favourite ‘You Better Start Scrubbing’ arrives on album in a joyously abrasive blast of no-wave vigour, its glorious shout-along chorus aided by guest vocals from three members of Dutch alt-rock quintet The Klittens. Finally, ‘What Am I Supposed to Say about the People and their Ways’ signs the album off on a wryly humble note, Willem upholding an inquisitive mindset over the modern bleat of “bleeping know-it-alls”.

Witty, welcoming and winningly melodic, Still Willing is the sound of an instinctive DIY-pop musician favouring think-on-your-feet exploration and intuition over know-it-all premeditation. Willem’s initial intent was to record the album as if live, but he realised that his chemistry with Casper would not be denied. “I felt that we had grown and built a language together. We don’t have to say a lot, but we understand each other well. There was a lot less like trying out stuff and taking stuff away compared to the last one, because it felt like we were on the same wavelength.”

As for how they work together, says Willem, the songs and sounds are assembled in detailed increments. “I write the songs and record most of the stuff, like kind of the skeleton, and then we record drums together. That’s the first step, most of the time. From there, we build. I don’t know much about compressors or weird effects. But Casper knows a lot about that and is really enthusiastic. If I want some part to work better, he’s like, ‘Oh, yeah, I have an idea for that.’ And there were times when I would say, ‘Do you feel like playing this part?’ And he just plays it.”

Recorded between home and – says Willem – “places that don’t cost much to record at”, the result is a DIY pop album brimming with ideas and colour. Whereas Big Love Blanket’s experimental sounds included a celery stick snapping, Still Willing features floorboards, doors closing and “no-input mixing”. Alongside Hessels and The Klittens, contributors include drummer Kick Kluiving and (for half of the songs) bassist Ruben van Weegberg, also Willem’s bandmate in the band Canshaker Pi, who numbered Stephen Malkmus among their producers. Most of the percussion comes from Kilian Kayser, and discreet sounds are served by Abel Tuinstra and Otto de Jong.

Willem is the epicentre of the band, which originated from impromptu and exhilarating live shows featuring ever-shifting members of different local bands sharing a bustling stage. The live line-up has solidified somewhat but Willem still welcomes the contrast with his recorded work: “When I make the record, it’s me calling the shots. But I can’t tell everyone exactly what to do every second when we’re on stage. There’s, like, shakers flying around or instruments being thrown all over the place, so I don’t have the capacity to control that. And that’s really exciting to me.”

Big Love Blanket harnessed that energy in 10 excitable pop songs, bright and bracing. Acclaim from Steve Lamacq, Marc Riley, Mojo, Clash, DIY Mag and others followed. Support slots with BC Camplight in 2023 were joyfully received, as was a tour for Independent Venues Week with The Klittens and Real Farmer. Personal Trainer have notched up many festival visits, too, including stop-offs at the End of the Road, Wilderness and The Great Escape. In December 2023, an EP featuring the tracks ‘The Feeling’ (all nine minutes of it) and ‘Babyolifantjes’ (translated: baby elephants) also emerged, recorded with a view to capturing the band’s live form. Soon, Smit and his bandmates will showcase that form with summer festivals including Green Man, Deershed, Truck Festival and Lowlands.

Meanwhile, Still Willing arrives as a fervid expression of Willem’s home-recording and studio methods, tethered to inviting pop instincts and rich with the fertile promise of more to come. Willem doesn’t want to tell you what or how to think about the album but, he says, “It would be awesome if people like it and buy the record, so that I can make another one.” On the strength of Still Willing, he’s fit for the long distance.


STAFF COMMENTS

Barry says: Jagged art-rock guitars and sycopated percussion with off-kilter melodies and blippy arps, all working beneath the athletic, expressive vocals. Part way between the electronica, funk and indie-pop, Personal Trainer are a wild, incredibly European pop band. Great stuff.

TRACK LISTING

Side A:
1. Upper Ferntree Gully
2. I Can Be Your Personal Trainer
3. Cyan
4. Round
5. New Bad Feeling

Side B:
1. Intangible
2. Testing The Alarm
3. Still Willing
4. You Better Start Scrubbing
5. What Am I Supposed To Say And Their Ways

Wunderhorse

Midas

“I want it to feel like you’re right there in the room with us.” And in 10 songs and 40 minutes, Wunderhorse capture the raw power and energy that has set them apart as one of the most formidable live acts of recent years. With rugged hooks, unfiltered noise, and fierce melodic sensitivity, ‘Midas’ rips up the script of traditional second albums and establishes the band as an endlessly addictive and rousing generational talent.

In late 2022, the release of their debut album ‘Cub’ saw singles ‘Purple’ and ‘Leader of the Pack’ dominate radio airwaves. Landmark performances filling Glastonbury’s Woodsies Tent (FKA John Peel Stage) and selling out London’s Kentish Town Forum months in advance were followed by tours with Pixies and Fontaines D.C., signalling the band’s arrival as one of the most prominent and exciting new guitar acts in the UK.

With Grammy Award-winning producer Craig Silvey (The Rolling Stones, The National, Florence + The Machine) on board for their sophomore record, the band looked to do something different. Their goal – in the very same studio that Nirvana put ‘In Utero’ to tape and PJ Harvey recorded the Mercury Prize-nominated ‘Rid of Me’ – was to push themselves outside of their comfort zones.

“There’s absolutely no faking on this record,” ends Slater, “it's not supposed to be perfect; it’s supposed to be a snapshot, even if it is a bit of an ugly portrait. That's how it was then, and that's how you're gonna see it.” And it sounds like you’re right there in the room with them.


TRACK LISTING

1. Midas
2. Rain
3. Emily
4. Silver
5. Arizona
6. Superman
7. July 
8. Cathedrals
9. Girl
10. Aeroplane

Crack Cloud

Red Mile

Crack Cloud has always been something beyond a rock band: both profound and grand, vaporous and elusive.

The first iteration of Crack Cloud was formed nearly a decade ago as a proxy-rehab outlet on the fringes of Calgary. Over time, two EPs and accompanying visual pieces were produced out of the residence known as Red Mile. By 2017, several members had relocated to Vancouver, working out of harm reduction centers and low-barrier shelters. Sobriety, self-reformation and the idealism of their work further formed an ethos for Crack Cloud. It was during these years that the band produced their astounding 2020 album ‘Pain Olympics’. At once, their vision became expansive, cinematic.

Now, ‘Red Mile’ is a bit of a homecoming. Members have returned to Calgary. But Calgary/home has become a liminal space, a place of flux. After a decade of personal and collective growth, what does home even mean? ‘Red Mile’ is, for them, something like samsara: a return and a rebirth.

‘Red Mile’’s sound breathes expansive energy into the circuitous, street bound sonics of Crack Cloud’s prior material. Fizzling synths intertwine with chiming pianos. Songs layer like Russian nesting dolls; one may find a Ramones chorus set within a desolate Western prog soundtrack only to watch it erupt into a joyous anthem. Real-ass guitars — alternately lilting, scuzzy and soaring — ring out across wide sun-bleached spaces. In 2024, the cumulative effect is (in rock instrumentation terms) naturalistic. Any whiff of embalmed nostalgia is absent. Even the close of the album – a winding, alllllmost Jerry Garcia guitar noodle that leads us out of ‘Red Mile’ – is delivered without sentimentality.

Principal songwriter Zach Choy’s lyrics are cutting but merciful, with a sharp self awareness that never slides into self-satisfaction. Crack Cloud as artists are critical — and ultimately as forgiving — of themselves as they are the melting world around them. The songs balance an easy charm and cathartic power: affirming life without denying death.

Recorded predominantly between the outskirts of Joshua Tree California, and Calgary, Alberta, this record is informed by a bittersweet mélange of old and new. The sprawling, novelistic structures of their previous albums are condensed and sharpened, while maintaining their refusal to delve into superficiality. Through playful melodies and elliptical guitar soliloquy, they deliver a final product of exceptional depth and distinctly unprecious warmth. Crack Cloud have produced a mature, vital work that interrogates the platitudes of the rock-n-roll lifestyle, but ultimately exalts its sacredness.

‘Red Mile’’s de facto thesis statement “The Medium” is itself a rock song meditation: an ode to the form and its practitioners. This genre that — typical, repeatable, corporatized as it can be — somehow still has the power to help us live through life. We see the dusty sentiment of “I love rock and roll” exhumed, taken apart, and stitched back together. It’s a song guided by faith — if the medium helps us proclaim our love today, it’s worth protecting from derision tomorrow. We live in an era where music seems to love hitting its head against the wall. Crack Cloud’s ‘Red Mile’ is the sound — the feeling! — of the bricks giving way.


STAFF COMMENTS

Barry says: Though there are little nods here to the musical greats of the 70's and 80's, that Cure Guitar tone for example, or The Ramones' vocal snarl, it's never anything but classic Crack Cloud. They've got an uncanny ability to make you think you know where it's going and then drastically veer into the weird and wonderful. Never was that more evident than on the brilliant Red Mile.

TRACK LISTING

SIDE A
1. Crack Of Life
2. The Medium
3. Blue Kite
4. Lack Of Lack

SIDE B
5. Epitaph
6. I Am (I Was)
7. Ballad Of Billy
8. Lost On The Red Mile

Dinked Edition Bonus CD:
1. Wretched Ways - US38Y2446309
2. Down The Drain - US38Y2446310

Los Campesinos!

All Hell

The UK’s first and only emo band Los Campesinos! return with their highly-anticipated seventh album, ‘All Hell’. It is perhaps their most ambitious and assured album yet, whilst simultaneously recalling everything we’ve come to love about LC! over their faultless discography. Recorded between October 2023 and February 2024, it is the first album to be wholly self-produced by band member Tom Bromley (having co-produced previous albums ‘Sick Scenes’ and ‘NO BLUES’). The album is also self-released on the band’s own Heart Swells record label.

In the band’s words ‘All Hell’ is an album about…
Drinking for fun and drinking for misery // adult acne // adult friendship // football // death and dying // love and sex // late-stage capitalism // Orpheus // day dreaming // night terrors // the heart as an organ and as a burden // Tears of the Kingdom // the punks on the playlist // increments of time // climate apocalypse // the moon the moon the moon///

Los Campesinos! have become one of the most important and influential cult acts in the UK since they formed in the mid-2000s. Starting out in the Cardiff indie scene and soundtracking Budweiser adverts, the seven-piece’s musical evolution since then has been slow, steady and remarkable. From the frenzied chaos of debut album ‘Hold On Now, Youngster…’ (2008) through 2010 breakthrough ‘Romance is Boring’ and the self-mythologising of latter day highlights ‘NO BLUES’ (2013) and ‘Sick Scenes’ (2017), their discography is an interconnected web of niche references, big swings and unflinching honesty.

Making self-professed sleeper hits for weeping dipshits, they’re as influenced by The Beautiful South as they are US emo, with emotional intensity and connection always at the core. Their lyrics are a treasure trove of football references, tales of romantic woe and painfully frank exorcisms, which have been tattooed across hundreds of fans’ bodies and served as comfort and insight during that break-up you had (there’s a reason the band’s tagline is “your ex-girlfriend’s favourite band”).

Now with the release of ‘All Hell’, Los Camp! approach their third decade as a band more brilliant, more potent and more vital than ever.


STAFF COMMENTS

Barry says: Another blast of Los Camps' unique brand of emo-adjacent indie pop, brimming with huge vocal harmonies and beautifully rendered orchestral flourishes. It's wonderfully produced too, with plenty of room for this seasoned collection of musicians to shine. It's a beautiful looking thing too, with the red LP being a particular favourite.

TRACK LISTING

Side A:
A1 The Coin-Op Guillotine 04:19
A2 Holy Smoke (2005) 02:56
A3 A Psychic Wound 04:02
A4 I. Spit; Or, A Bite Mark In The Shape Of The Sunflower State 01:24

Side B:
B1 Long Throes 04:19
B2 Feast Of Tongues 05:02
B3 The Order Of The Seasons 03:57
B4 II. Music For Aerial Toll House 00:52

Side C:
C1 To Hell In A Handjob 04:11
C2 Clown Blood/Orpheus’ Bobbing Head 03:57
C3 Kms 02:35
C4 III. Surfing A Contrail 00:39

Side D:
D1 Moonstruck 03:28
D2 0898 HEARTACHE 05:16
D3 Adult Acne Stigmata 02:54

The Dream Machine

Small Time Monsters

‘Small Time Monsters’, the second full-length album from The Dream Machine, is set to be released this April on Run On Records/ Modern Sky.

If 2022’s critically-acclaimed debut album ‘Thank God! It’s The Dream Machine…’ was their first and most wild child, then ‘Small Time Monsters’ is its refined younger sibling. The psychedelia, euphoric choruses, flashes of surf guitar and B-movie references are all there, amongst the familiar reflections of life in their beloved and faded seaside town of New Brighton, but this time the wilder elements are controlled, the songs packed into three-minute pocket symphonies.

Lead single Frankenstein is an anthem for the sugar-rush generation, an infectious, rattling earworm that recalls everything from haunted rockabilly to the sun-drenched melodies of Blossoms. Elsewhere on the album, the pulsating surf-stomp of ‘Cindy’s Eyes’, a small-town story of unrequited love, has a chorus to fill the most cavernous arena.

Produced by The Coral’s James Skelly, the album was partially recorded at The Dream Machine’s rehearsal space, then stitched together in Skelly’s
Kempston Street Studios. There’s a refined, more literary quality to singer and primary songwriter Zak McDonnell’s lyrics; explorations of everyday life, teenage doom, B-movie monsters, family turmoil, and coming-of-age tales in the familiar backdrop of life in modern Britain. ‘Small Time Monsters’ is the sound of a band breaking free from the small town into the big world.


STAFF COMMENTS

Barry says: Bold, inventive psychedelic indie that clearly draws influence from the North West's rich musical heritage, and displays that influence without ever sounding like a pastiche. Crisp, full of warmly familiar melodies and brilliantly conceived harmonies.

TRACK LISTING

Side A
1. Frankenstein
2. Cindy’s Eyes
3. My Father’s Son
4. Holding On
5. Cathedral
Side B
6. Tonight, I’ve Got Heaven In My Arms
7. Posters Of You
8. Wind-Up Bird
9. The Horse
10. Wolfman
11. Bring Back The Wonder

Pixey

Million Dollar Baby

‘Million Dollar Baby’ is Pixey’s most accomplished and ambitious pop project to date, written between her bedroom in Liverpool and studios in London over the course of a year and a half. Self-produced by Pixey herself, alongside Tom McFarland (Jungle, Olivia Dean, Alfie Templeman) and Rich Turvey (Rachel Chinouriri, Blossoms, The Coral), the record follows her journey of self-discovery as an artist and shedding the illusions surrounding it. Combining her love for 90s breakbeats with her pop prowess and skill as a producer, ‘Million Dollar Baby’ samples and interpolates some of her favourite tracks to not only bridge the gap between old sounds and new, but to craft an entirely new sound altogether.

“This album is more than just music to me,” she says, “it’s the final form of years of trying to prove myself. I’ve always felt as if I’m so close to something but never quite there. This is the story the album tells; navigating the perception of myself through the male gaze, whilst also trying to take some power back and form my truest identity. The sentiment of the album is this: the path to fulfilment isn’t a performance for others but instead, is a journey of becoming your authentic self.”

Across her career to date, Pixey has picked up acclaim from The Times, The Sunday Times Culture, Notion, The Forty Five, NME, The Independent, DIY, Dork, The Line Of Best Fit, CLASH and more. She has also received swathes of tastemaker support across national radio at the likes of BBC Radio 1, where she has received a plethora of accolades including Best New Pop, Poppest Record, Future Bop, two Tune Of The Week nods and over 100 plays and 20M impressions across her entire catalogue.


STAFF COMMENTS

Barry says: Snapping poppy hooks, soaring lyrical phrases and triumphant breakdowns, on top of Pixey's already impeccably manicured productions. It's full of surprises too, with pop hooks giving way to crystalline ambience and thoughtful unease.

TRACK LISTING

Side A
1. Man Power
2. Million Dollar Baby
3. The Thrill Of It
4. Best Friend
5. Damage
Side B
6. Give A Little Of Your Love
7. Love Like Heaven
8. Bring Back The Beat
9. Oxygen
10. The War In My Mind

Dinked Edition Bonus 7":
SIDE A: MILLION DOLLAR BABY (PIANO VERSION)
SIDE B: OXYGEN (PIANO VERSION)

Orlando Weeks

Loja

Orlando Weeks’  new album ‘LOJA’ (Portuguese for ‘store’) was written in both London and Lisbon. Recording began in earnest in January 2023 at the beautiful Chale Abbey Studios with longtime live collaborator Sergio Maschetzko as producer, supported by co-producer and engineer David Granshaw. In its latter stages, Nathan Jerkins (BULLION) contributed additional production and mixing.

Lead single ‘Dig’, featuring Rhian Teasdale (Wet Leg), is 3 minutes of half argument, long worn-out promises being remade and road weary offences being retaken.

The record features a number of other key collaborators including Katy J Pearson, Tony Njoku, Oliver Hamilton (Caroline) and Alejandro Aranda (Scary Pool Party).

The core musical contributions come from long standing live collaborators Sami El-Enany, Luca Caruso, William Doyle and Alexander Painter.
A love letter to his new home, lyrically ‘Loja’ toys with both the fantastical and stark realism. There are sleeping giants in Track 2's 'Best Night' and the final song on the album, ‘Beautiful Place’, tells the story of a beach death.

The novelty of a new city afforded Weeks the opportunity to romanticise his present and reevaluate his past.

The first live performances in over a year will be at Copeland Gallery this June. During a 4 day/night residency, Weeks will preview music from 'Loja' alongside an exhibition of the prints and drawings that are the accompanying visual aspect of the album.


STAFF COMMENTS

Barry says: Insistent Kosmische percussion, whimsical fantastical imagery and beautifully constructed vocal harmonies, including a host of guest musicians to boot. Orlando Weeks' newest builds beautifully on 2022's brilliant 'Hop Up'. Particular mention to the brilliant single 'Dig' featuring Rhian Teasdale of Wet Leg.

TRACK LISTING

Side A
1. Longing
2. Best Night
3. Wake Up
4. Dig Feat. Rhian Teasdale
5. You & The Packhorse Blues
6. Good To See You

Side B
1. My Love Is (Daylight Saving)
2. Please Hold
3. Sorry
4. Tomorrow
5. Beautiful Place

Fat Dog

WOOF.

Fat Dog are the most exciting breakthrough band of the past few years, conjurers of the sort of frenzied and wild live shows not seen in the capital for years and now the creators of ‘WOOF’., a brilliant and mind-bending debut album. A thrilling blend of electro-punk, rock’n’roll snarling, techno soundscapes, industrial-pop and rave euphoria, ‘WOOF’. is music for letting go to or, in the words of frontman Joe Love, “screaming-into-a-pillow music”.


STAFF COMMENTS

Barry says: A wild and uncompromising mix of electroclash, industrial and rave aesthetics wrapped around indie instrumentation and garage rock production. Effortlessly fleeting from soaring synth atmospherics into snarling, driving mayhem. Wildly brilliant.

TRACK LISTING

Side A
Vigilante
Closer To God
Wither
Clowns

Side B
King Of The Slugs
All The Same
I Am The King
Running
And So It Came To Pass

Dirty Three

Love Changes Everything

Emerging once again from the unending waves crashing upon our fragile time-craft (adrift on the eternal ocean, and taking on water), Dirty Three are (a) back, (b) tangled in seaweed, rank with saltwater and possessed of three rather ominous thousand-mile stares (at least!), and (c) not wasting another minute – as nothing is guaranteed.

For their first album in over a decade – yep, it’s been since 2012’s ‘Toward the Low Sun’ – they flew in, got together and started playing. End of story. What else is there to say or do but that? Music’s their language, their true love; they never stop listening to that. And like the label says, ‘Love Changes Everything’.

The Dirty Three – Warren Ellis, Mick Turner and Jim White – formed up in Melbourne in 1992, to play with guitar drums and violin or viola, and within a couple years, they’d broken out – out of Australia, out of anything else they might have been inside of, to boot – and got worldwide. Over the next ten years, they toured over and over the planet, ceaseless like, and cut seven albums out along the way. After this, their unique style of play, fitted together like puzzle pieces, was decoupled, more often than not, and pieced together in many other, fruitful collaborations with many other esteemed talents. Over the past 20 years, they’ve gotten together a few times, renewed the vow, revved the engines and played some shows, or made an album. Like now –

These are the sounds of Dirty Three getting up to speed again:
- the original fury of their drums/guitar/violin-or-viola power trio, cutting three unique paths through the wild into sudden convergence –
- piano-plucked melodies ringing sweetly out over an undulating landscape flowing with guitar, drums, violin or viola, and synths! And broken hills, forests, lakes and deserts. And mountains rising in the distance...
- mercurial shifts in mood; sudden descent from tumult of flights and heights into deep canyons of heart-struck adagio.

Equally sudden second-winds, feisty activity in their extremities never really ceasing. Opening depths. Wariness and patience allowing them to get caught up in loops, become ambient, transcend, and then fight their way back in again. Their wild and wandering heart not simply a spry derivative of collective sea legs; a telepathy already old as time evidenced way back in the beginning of their thirty-years-and-some run.
- such mood! Once desolate fields pouring full of emotion, wandered into, come upon as if by happenstance (but actually sourced by the divining rods in their hands).

- all of it – everything changed by love and bubbling up with the clarity of just-struck spring water; translucence giving way to muddy gushes of distortion – dirty guitar, smears of violin, drums at times pounded upon beyond the microphones’ ability to receive...

And when received, and committed to “tape”, or whatever they used – the master could well be carved in plates of amphibole – this music has been untethered from its streams of consciousness and reconsidered as a recording; brought to bear through edits, overdubs and mixes, re-sequenced and made suite-like. Made into this album. These lot were born to be as weathered as they are today. Time doesn’t matter. They make their gathered wisdom of the ages sing like something new every time. It renews. And Love Changes Everything. 


STAFF COMMENTS

Barry says: I've long been a fan of Dirty Three's unique brand of cataclysmic, free-wheeling post-rock / experimental chamber music, and their latest is a brilliant summary of their sound in one grand statement. Sweeping waves of guitar and soaring violin arpeggios break upon the shore into brittle streams of flickering pizzicato and droplets of tentative piano. Stunner.

TRACK LISTING

Side A
Love Changes Everything I
Love Changes Everything II
Love Changes Everything III
Side B
Love Changes Everything IV
Love Changes Everything V
Love Changes Everything VI

Fink

Beauty In Your Wake

FINK, Long-established alt-folk trio, return with Fin Greenall’s eighth studio album under the genre-hopping moniker. Coalescing around the emergent urgency in each of the album’s ten tracks and intimate, closed-door sessions in picturesque Cornwall, the soul-reaching ‘Beauty In Your Wake’ is released on the band’s R’COUP’D label.

Now resident in Berlin, native Cornishman Greenall, one time collaborator with John Legend, Amy Winehouse, Colin Stetson and more, sought the solitude and back-to-earth atmosphere of the small village of Zennor, on the county’s picturesque Atlantic coast for the agenda-free, organic recording sessions. The band were invited to record at producer Sam Okell’s newly built studio and were the first band to create there. Okell is the Grammy Award-winning engineer and mixer of The Beatles’ Get Back and Sgt. Pepper's Lonely Hearts Club Band 50th Anniversary Release.

Imagining that those conditions could percolate a lo-fi, classic English folk album, the joint creative restlessness of the band and Okell instead pushed ‘Beauty In Your Wake’ into the expansive realms of FINK’s commercially and critically successful albums of the noughties and 2010’s, and is a triumphant return to self. FINK’s music has always been woven into a broader global tapestry, not least because the band’s music has featured on countless film and TV soundtracks such as Better Call Saul, The Walking Dead, and most recently on the latest series of True Detective.

Going ‘overground’ in the music world for the first time in 1997 as a dance-orientated signee to Ninja Tunes’ sister label N-Tone, Greenall’s life in music has travelled diverse roads and lit numerous corners of the international music business. The reformed, classic FINK line-up is the same as that which first recorded the band’s breakthrough album, Biscuits For Breakfast (2006), a release that proved to be a springboard for widespread international touring.


STAFF COMMENTS

Barry says: Airy post-rock guitar harmonies and woozy acoustic refrains break into soaring crescendos that are both rich in the folk tradition and completely outside what people would consider 'folk'. A wholly enticing, magnificent journey of an album.

TRACK LISTING

A1. What Would You Call Yourself
A2. The Only Thing That Matters
A3. Be Forever Like A Curse
A4. It's Like You Ain't Mine No More
A5. Follow You Down
B1. I Don't See You As The Others Do
B2. One Last Gift
B3. Don't Forget To Leave
B4. So We Find Ourselves
B5. When I Turn This Corner

Billy Mahonie

Field Of Heads

Formed in the first wave of British post-rock alongside the likes of Mogwai in the late 90s, John Peel favourites Billy Mahonie return with the first new music from their original line-up in some twenty-four years. Whilst their debut album ‘The Big Dig’, released in 1999 on Too Pure Records, is considered a classic of the post rock genre, Billy Mahonie always crafted their intricate music with memorable hooks and melodies and performed it with energy and gusto. Theirs was not an aimless, meandering sound, instead the songs and attitude were rooted in punk rock, and still are. Billy Mahonie put the rock into post-rock.

 ‘Field Of Heads’ sees the band returning with their classic original line-up of Gavin Baker (guitar), Howard Monk (drums), Hywell Dinsdale (bass and guitar) and Kevin Penney (bass and guitar). Whilst this line-up has been semi active for a few years, no new material came to fruition. After their last gig in 2017, however, the band decided it was time to get back into the studio, but with two members living abroad new challenges were faced, but ideas were shared, old ones were resurrected and finally in October of 2019, Billy Mahonie were back in the studio.

Recorded over two long weekends on either side of the Covid 19 lockdowns, the band tracked at The Church studios, owned by their former collaborator and front of house engineer Paul Epworth, with senior engineer Luke Pickering at the controls, allowing ‘Field Of Heads’ to quickly take shape.

New single ‘Kaiju’ gives the music world the first taste of ‘Field Of Heads’ and right from the off, it’s classic Billy Mahonie. Immediately bursting into life with the energy and melody that is so unique to their sound, Howard’s driving drums thrust the music ahead as the guitars and synths weave their way around them. Intricate and shifting, but never at the expense of a tune that sticks in your head.

“This one came from a chord progression myself and Gav first tried out jamming in 2010,” explains drummer Howard. “Needless to say, when Hywell and Kev got their hands on it, it became something no-one ever envisaged. Kev's great title is, of course, the Japanese name for the subgenre of monster-based science fiction. A frenetic riff opens the song and for a counter guitar part only two options remain, play in the minimal gaps or find an overarching theme. We chose both. Kaiju films influence the additional Synths, echoes of those early Japanese movie themes. Some people we have played this to in advance have suggested this track is one we should lead with, as it is kind of where we left off. We agree. It rocks pretty hard. And is a bit funky too. What’s not to like?!”

After nearly quarter of a century, Billy Mahonie are very much back. 


STAFF COMMENTS

Barry says: A bracing stab of noise infused post-rock from the legendary Billy Mahonie. There are elements here of math-rock and post-hardcore but it's essentially a slab of frantic, perfectly paced instrumental rock. Right up my street.

TRACK LISTING

Side A
Atomic Clock
Kaiju
Hearts Vs Minds
Spy Guy
Side B
The More I Know You
Impossible Sky
Tributer
Dry Season

Kate Nash

9 Sad Symphonies

Kate Nash’s new album ‘9 Sad Symphonies’ is her first signed to the legendary Kill Rock Stars label. The album was produced and mixed by Grammy winning Danish producer Frederik Thaae (K Flay, Jada, Crown The Empire).

Marking a new chapter in Kate’s illustrious career, the album’s lyrical scope is both deeply personal and achingly relatable, whilst its orchestral arrangements and melodies draw from Kate’s experience in the world of musical theatre.

Kate Nash is a BRIT Award-winning singer-songwriter, musician and actress known for her fearless approach to music and unapologetic storytelling. A platinum selling artist with a career spanning over a decade, she has garnered critical acclaim for her chart-topping hits and electrifying live performances. From her debut album ‘Made of Bricks’, to her latest releases, Kate’s artistry continues to resonate with audiences and has earned her a dedicated fanbase. She also captivated audiences as Rhonda in Netflix’s Emmy-nominated GLOW.


TRACK LISTING

Side A
Millions Of Heartbeats
Misery
Wasteman
Abandoned
Horsie

Side B
My Bile
Those Feelings
Space Odyssey 2001
Ray
Vampyre

The Oscillation

The Start Of The End

Following a series of meditative explorations in the form of the Singularity Zone series of releases, The Oscillation have returned with a new sense of vigour and purpose. Refreshed and re-energized, the result is ‘The Start Of The End’, an album that casts more light and shade than ever before to create a mood of hope and re-birth. Be it the celestial majesty of the title track, the melodic infusions that drive opening track ‘War On The Mind’ or the pulsing grooves underpinning ‘Faraway’ and ‘Body Electric’ or even hypnotic repetition at the heart of ‘Mantra’ and ‘The Eternal’, this music brimming with zeal and confidence. And to crown it all, closer ‘Sovereign’ is akin to communing with angels.

At once warm and welcoming, ‘The Start Of The End’ is an album quite unlike anything that The Oscillation have ever released before. Fuelled by optimism and taking stock of what’s good about life and what needs to be jettisoned, the record is a result of spiritual and physical re-charging and cleansing.

Leaving the claustrophobic environs of the big city for a more bucolic backdrop, the change in location has left a profound mark on Demian Castellanos, the creative force behind The Oscillation. Where the exorcism of dark emotions of previous album ‘Untold Futures’ left Castellanos wondering if he’d ever make music again, his new surroundings stirred something within him.

“When I made my new home, I allowed myself time to do nothing for a while,” says Castellanos, “and I then started some new songs without worrying about them being on an album. I just wrote with the mindset to put out something positive.”

He continues: “I did a lot of reflecting on the past and really wanted to change something in myself, but not knowing how and thinking that a lot of people must be feeling the same way.”

Recalling the creation of ‘The Start Of The End’, Castellanos says, “Writing and recording in an environment where I had little contact with people, no hanging out or partying or even having conversations was very interesting.”

The result is an album that’s recognisably the work of The Oscillation while pointing to a variety of new directions. ‘The Start Of The End’ is a line in the sand and one that points to a better tomorrow.

For fans of : Spectrum / Recurring Era Spacemen 3, Loop, AR Kane, MBV, bdrmm, Cocteau Twins , Telescopes and early 90s Creation records..


STAFF COMMENTS

Barry says: Lysergic, drifting guitar melodies and woozy organ, airy otherworldly vocals and meditative improvisational tangents. The Oscillation return with their most focused outing for quite a while, showing us the perfect balance of otherworldly freewheeling and concise, perfectly measured melodies and counter-melodies.

TRACK LISTING

Side A
War On The Mind
Far Away
The Start Of The End
The Eternal
Side B
Body Electric
Mantra
Sovereign

Bonus Dinked Edition CD Tracklisting:
Sovereign (Celestial Mix) 26.53
The Eternal (Unseen Mix) 09.17
Body Electric (Magnetic Mix) 08.26
The Start Of The End (Around And Around Mix) 07.38
Aftermath (Fade In) 04.03


Adult Jazz

So Sorry So Slow

London-based four-piece Adult Jazz announce their first full-length album in a decade, So Sorry So Slow, out 26 April 2024 via Spare Thought. Alongside the announcement comes lovesick new single ‘Suffer One’ featuring Owen Pallett, a cautious excavation of self and sexuality, clambering across a gorgeously shapeshifting, filmic five-minutes.

Containing some of the band’s most abrasive but gentle, beautiful and melismatic work to date, So Sorry So Slow has many defining characteristics: romance, panic, devotion and remorse, threaded together by an intentionally laser-focused love. It’s deeply personal, bruised and candid in its expressions of tenderness, and deeply pained in its concurrent reflections of ecological regret. Across its hour-long runtime, a delicate, frenetic energy and glacial heaviness coexist, the band pitting those paces against one another. In their richly experimental timbre, dancing strings and fluttering falsettos prang against a bed of brass drones like a wounded bird.

“We started writing in 2017 and began recording in 2018,” says vocalist Harry Burgess. “We genuinely thought it might be finished in 2018! But things kept developing and, having resolutely not struck while the iron was hot, there was no real external push to rush things after that, so we just kept letting things shift and unfold until it felt right. Listening back to my voice notes it’s nice to notice that there are fragments of ideas from the whole period 2017-2023 which have shaped the record.”

Recorded in bursts at studios across London and in the band members’ flats, at Konk, on the Isle of Wight and in Sussex, So Sorry is unambiguous in its evolution. Sonically, there are sparks of the arrhythmic brightness that afforded the band’s critically acclaimed debut album Gist Is its cult adoration, for fans of Arthur Russell and Meredith Monk, but with a blossoming, melancholic darkness often overhead. Piano sprees and luscious string sections appear like low-hanging stars on a night-time drive, whilst plunging vocal distortions and humming brass loops resurrect heavy limbs in a bad dream.

“I usually have objects as kind of totems for ideas,” explains Burgess. “The album initially started out to do with performance… [the totem] was a head mic, one of the subtle skin-tone ones, discreet on the forehead of a West End star. A number of the first songs in their original forms were almost musical theatre piano ballads. I think that was really a device to write about my life as the ‘main character’ (pre internet-speak reframing): regrets about romance, relationships - unsustainable relationships with the self and others.”

“However, once we started writing, the ideas about unsustainable personal relationships, loving unevenly and heartbreak conflated with a more expressly ecological regret. Like contending with big feelings of loss, endings, beauty, desolation, and with how much joy the earth contains in it. Feeling so much gratitude bound up in waves of sadness. Maybe witnessing a slow-motion goodbye to all that, or its last gasps. I love the earth and the life it supports so much. I love how ecosystems fit together - even the brutal stuff. It may be basic to say, but now is the time to be laser focused on that love. I was thinking about human centrality on earth, us as the ‘main character’, the way that is served by faith and romanticism, and the subsequent disingenuous understandings of our position in the ecosystem, as only stewards somehow, rather than subjects. The totems at this point: a herald’s horn, lorry inner tubes, archaeological tools. I guess from doom, industry, history respectively.”

“Now I would say the record is about gripping. Totems being: crampons, rope, drips, desalination equipment, accruing various survival tech. I think gripping sums up both of the threads. There’s the emotionally correct clinging to the earth that is the substrate of everything we value, or the delusional clinging to our imagined dominant position. But also the practical, technological aspects of creating a sustainable relationship, of remaining here. Then I think of romance again.”

So Sorry So Slow comes out 26th April 2024 on Spare Thought, mixed by Fabian Prynn at 4AD Studios and mastered by Alex Wharton at Abbey Road.

Adult Jazz is Harry Burgess, Tim Slater, Steven Wells and Tom Howe.


STAFF COMMENTS

Barry says: It always surprises me when a band can inoffensively arrhythmically skip between themes and motifs in their music, because It never strikes me as something that should be doable without a noticeable thematic shift. There's something about the staggered determination and swaying dreamlike haze of Adult Jazz's music that has always been seamless and so organic, and remains in abundance here.

TRACK LISTING

Side A
Bleat Melisma
Suffer One
Y-rod

Side B
No Relief
Plenary
Marquee

Side C
Dusk Song
Earth Of Worms
No Sentry

Side D
Bend
I Was Surprised
Windfarm

King Hannah

Big Swimmer

King Hannah crafts a musical tapestry that seamlessly weaves between the serene depths of meditative pop and the expansive, sonorous landscapes brimming with darkness, wit, and wry humor. Merrick’s vocals, a smoky delight, imbue her words with profound weight and potency, complemented by the bluesy canvases Whittle masterfully paints beneath them. Their sound effortlessly transitions from moments of post-rock expansiveness to evoking the sensation of Springsteen straying onto a gritty side-street off his highway to freedom.

In recent times, the duo has graced stages alongside esteemed artists such as Kurt Vile, Thurston Moore, Kevin Morby, and DIIV, captivating audiences at festivals across Europe and North America including End of the Road, Green Man, Primavera Sound, and Fusion, among others. King Hannah’s accolades include being hailed as Stereogum’s Band to Watch, The Guardian’s Ones to Watch, Paste’s Best of What’s Next, and featured in DIY Magazine’s NEU segment, SPIN’s rising artists, and many more.


STAFF COMMENTS

Barry says: Absolutely stunning melodic, soaring indie-rock with rich vocal harmonies and crescentic arm-raising rock breakdowns. Brittle in parts, but swimming in melody and perfectly paced throughout, growing and retracting organically like the sea. A beautifully endearing listen.

TRACK LISTING

A1 Big Swimmer
A2 New York, Let's Do Nothing
A3 The Mattress
A4 Milk Boy (I Love You)
A5 Suddenly, Your Hand
B6 Somewhere Near El Paso
B7 Lily Pad
B8 Davey Says
B9 Scully
B10 This Wasn't Intentional
B11 John Prine On The Radio

Machinedrum

3FOR82

Travis Stewart aka Machinedrum reasserts his GOAT status with another brilliantly innovative album effortlessly traversing tempos and musical styles as only he can. “3FOR82” comprises 12 high-intensity, ruminative tracks that thread the needle between his past, present and future selves. His first studio album since 2020’s “A View of U”, “3FOR82” features an incredible cast of collaborators including Tinashe, Duckwrth, Mick Jenkins, Jesse Boykins III, KUČKA, AKTHESAVIOR, Tanerélle, deem spencer, Deniro Farrar and Topaz Jones.

Between drum & bass, hip-hop, jazz, R&B, dazzling beat switches and a singular ear for sonics, Machinedrum adopts a rich, prismatic approach to collaboration, building on the uptempo vocal manipulations that won him acclaim in electronic communities, notably on 2011’s breakout LP Room(s) and 2013 opus Vapor City.

Recommended if you like… Flume, Mura Masa, Four Tet, Jamie xx, Nia Archives


TRACK LISTING

Side A
A1. ORACLE (feat. Aja Monet)
A2. RESPEK (feat. Topaz Jones & Ezri)
A3. WEARY (feat. Mick Jenkins & Jesse Boykins III)
A4. H0N3Y
A5. HEAL (feat. AKTHESAVIOR & Deniro Farrar)
A6. ILIKEU (feat. Duckwrth)
Side B
B1. U_WANT (feat. KUČKA)
B2. BLESSD (feat. Deem Spencer)
B3. RISE (feat. ROZET)
B4. ZOOM (feat. Tinashe)
B5. KILL_U (feat. Tanerélle)
B6. GODOWN (feat. Jesse Boykins III)

Keeley Forsyth

The Hollow

Keeley Forsyth is a singer, composer and actress from Oldham, UK. A frequent presence on primetime TV since the mid-'90s, over the past few years she has forged an unusual parallel career as a unique and uncompromising new presence in contemporary music. Described by Pitchfork as “arid and beautiful”, by Uncut as "astonishing" and The Sunday Times as "one of the most remarkable in years”, Keeley's debut LP 'Debris' (2020) and follow-up 'Limbs' (2022) drew unanimous critical praise, prompting comparisons with Nico, Beth Gibbons, Aldous Harding, Nick Cave, Anohni and even Scott Walker. It's often stated that no one else is making music quite like this.

The bleak and foreboding landscape surrounding Keeley's North Yorkshire home seems to inhabit her third LP, 'The Hollow'. The moors, visible from her studio window, impact upon a music that feels made of these places: windswept, rain-soaked and blinking through the low-lit landscape. The album's title derives from discovering a long-abandoned mining shaft whilst out walking - the past lurking within and haunting the present we now occupy. A connection to time that places us within it, facing what is gone and what may come. But also, perhaps that time has no concern as to whether we're here or not.

Keeley's unique elemental voice again sits centrally within this world-building. Her cathartic reflections are exorcisms in song. We hear an artist making sense of her life, willing to expose vulnerability without ever appearing weak. Working again with producer Ross Downes, the LP features Matthew Bourne and Colin Stetson, Forsyth sought to expand both her voice and music. Taking aspects of sacred music, minimalist post-classical, dark ambient, film and theatre soundtracks, she layers her vocals into chamber choirs, applies pitch shifts and other digital processing, moves from clear articulate intention to mumbled numb utterances.

Composer Mihály Vig's score to Bela Tarr’s film 'The Turin Horse' is reimagined as a pressurised outpouring, recasting the everyday within a mythical light of survival and hope. On ‘A Shift’, Mal Finch's protest song ‘We Are Women, We Are Strong ‘, originally sung by wives and daughters in support of the '80s miner’s strikes, is recontextualised in solidarity for an experience of creative labour.

A sought-after collaborator, Keeley is currently working towards new projects with Ben Frost, Teho Teardo, and Matthew Bourne. She has provided vocals for Louis Carnell; remixed both Gazelle Twin and Quin Quis; has soundtracked Maxine Peake’s directorial debut; and is currently developing a stage and studio project with Ben Frost and writer Robert MacFarlane.

A magnetic live performer able to create an immersive almost ritualistic experience, Keeley recently received a standing ovation at Unsound and supports the LP with shows at Bristol New Music, Rewire festival and London's ICA.


STAFF COMMENTS

Barry says: A monolithic slab of otherworldly cascading vocals and foreboding postclassical heft, Keeley Forsyth has crafted a terrifying and hugely moving LP that falls somewhere between ambient soundtrack business, gothic folk and drone, and honestly I couldn't be any more on board. Stunning.

TRACK LISTING

Side A
1. The Answer
2. The Hollow
3. Come And See
4. Eve
5. Turning
6. A Shift
Side B
1. Slush
2. Drag Me Down
3. Do I Breathe
4. In The Corner
5. Horse
6. Creature


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