MAGIC MIX

Vinyl Lockdown

Special Offers

OK so I know we said it was the final Vinyl Lockdown selection last week, but they decided to give us one last shot at the very best of these classic titles, so here they are. We also threw in a couple of extras ourselves. We have very limited quantities of each of these titles and once they're sold out, they'll revert to full price.
Reduced Cover of Silent Movie by Quiet Village.

Quiet Village

Silent Movie

    After three sought-after singles for the Whatever We Want label - plus remixes for the likes of Gorillaz, Fran Ois K, Mudd, Toby Tobias, James Yorkston, Grandada Bob, Black Devil and Cosmo Vitelli - Quiet Village step out of the shadows to present their much-anticipated debut album, 'Silent Movie'. Comprised of master crate-digger Joel Martin and rising dance-music star Matt Edwards (a man of many monikers including Radio Slave & Rekid), and borrowing their name from Martin Denny's exotica masterpiece, Quiet Village make the old sound new (and vice versa). Influenced by Italian film soundtracks, library music, disco edits, acid rock and vintage soul, they mix the unlikeliest elements - bluesy guitar, chamber strings, air-raid sirens, shuffling breakbeats, even flutes and seagull cries - into an hour-long, beautiful reverie. Often cinematic in feel - their sound is unique and will wash over you in a refreshing embrace. This reissue is pressed on orange vinyl exclusively for Record Store Day.

    STAFF COMMENTS

    Sil says: Joel Martin and Radio Slave produced this beautiful piece of music which is actually a collage of great samples. I say what is wrong with that when the result is as amazing as this. You do not have it? Get it now. Freshly repressed just for you!

    Reduced Cover of It Takes Two by Rob Base & DJ EZ Rock.

    Rob Base & DJ EZ Rock

    It Takes Two

      As hip-hop moved into the mainstream in 1988, Harlem duo Rob Base and DJ E-Z Rock changed the game with "It Takes Two", one of the undisputed classic singles of the genre. The group's debut album, It Takes Two, which featured the title track as well as the dance hits "Joy and Pain" and "Get On The Dance Floor" has been newly remastered in high definition from the original tapes and pressed on red opaque vinyl--its first appearance on the format since its original release thirty years ago.

      Reduced Cover of Fed - Vinyl Reissue by Plush.

      Plush

      Fed - Vinyl Reissue

        UNCUT: “The dazzling symphonic album he always threatened to produce. 5/5”

        ROLLING STONE: “A soulful symphonic masterpiece”

        Originally released in Japan only on CD in 2002, Plush's Fed lives up to the cult-like adulation it has garnered ever since. A stunning symphony of Bacharach-inspired pop, Toussaint-swing and Melody Nelson-era-Gainsbourg, it’s an album bound together by Liam Hayes' maverick genius; an uncompromising Brian Wilson-esque quest for sonic perfection. Positively indulgent in every way, this sumptuous record has long deserved to be treated to a deluxe vinyl edition. Lovingly overseen by Hayes and recent collaborator Pat Sansone (Wilco/The Autumn Defense), it will finally be available on the format it should’ve always been, this Record Store Day 2018. Remastered and presented as a double LP - cut specially at 45rpm – it comes housed in a beautiful gatefold jacket with expanded artwork throughout.

        Its expansive, singular vision infamously took years to realise, involving Earth Wind & Fire’s horn arranger (the legendary Tom Tom MMLXXXIV) amongst other elite personnel. Recorded with five different engineers (including Steve Albini and John McEntire), Hayes meticulously extracted every ounce of pop from each note. A long list of renowned studio ringers (including soul drummer Morris Jennings) and Chicago regulars (McEntire, Rizzo, Parker) among many others provide playing of demonstrably professional precision. As such, Hayes' complex, meandering melodies are rendered far more coherent and satisfying than they otherwise might have appeared, bringing his epic, anguished pop to a rarely seen level of perfection and depth. This unstinting dedication to the overarching vision was rewarded handsomely - artistically, at least.

        However, as might have been expected, his deluxe approach resulted in a bill too steep for any American or European label to ultimately support. It has since seemed unlikely that it would see the light of day on either side of the Atlantic. Yet we were determined not to allow Hayes' lifetime achievement to go unnoticed or let music fans across the world miss out on one of the finest albums of this century.

        A wide-eyed opus of stunning intensity, Fed oozes Hayes’ impeccable influences without ever becoming overwhelmed by them. Incredibly, it touches upon Blaxploitation soul, Boz Scaggs-soft-rock, hints of jazz and blues, timeless baroque and skewed pop. In one long minute, the stabbing, soulful "So Blind" moves through five different melodic segments; horns shift easily from haunting backdrop to explosive forefront, smoothly giving way to strings as Hayes' voice casts its bewitching spell. The ambitious soul of “Having It All” has been described as the diffident cousin of Marvin Gaye’s “Save The Children” whilst the breezy "Greyhound Bus Station" is pure 70s AM Gold, evoking the easy warmth of Jimmy Webb’s beloved Land’s End period. The sublime resignation of "No Education", a beautifully slow number that begins, "Never read a book in my life/ But I feel just fine" is post-rock ballad heaven. Arriving towards the end, the title track arrives as a majestic suite; moving from a horn-and-guitar-led instrumental via shifting melodies to Hayes’ compelling vocal bursts.

        An album of such brilliance, Fed can comfortably sit alongside such staggering statement pieces as David Bowie's Young Americans, Randy Newman's 12 Songs or Harry Nilsson's Nilsson Schmilsson. Indeed, for all the sprawling elements that went in - lengthy guitar builds, exploding horn sections, solemn strings, female backup chorus - it is a deeply personal and original record. Employing a distinct “more is more” aesthetic, he demonstrates remarkable restraint in producing an album of such intimacy. "My creation has drowned me," he memorably sings on languid opener "Whose Blues", yet he navigates the shifting styles and ideas with enviable ease.

        Cover of Amyl And The Sniffers by Amyl And The Sniffers.

        Amyl And The Sniffers

        Amyl And The Sniffers

        The debut album from Amyl and the Sniffers is the sound of 21st century Australia recorded in Sheffield with producer Ross Orton. It's primal and explosive with a love of glam, the 70's Sharpie movement and good time rock n roll backed with lyrics that somehow are simultaneously bleak and nihilistic, yet humorous and celebratory. The album is full of beefy riffs and stomping drums that rages and rolls and lives up to all the hype. It has attitude, sass and Amy's sore throat howl.

        Coming off the back of a hair raising gig at London's Moth Club (the band 'almost literally tore the roof off'), Amyl And The Sniffers are certainly one to watch if you like feisty, independent punk-n-roll.


        STAFF COMMENTS

        Mine says: Gnarly, energetic garage Aussie punk that demands to be played loud. Like a cross between GØGGS and Be Your Own Pet, this is their debut long player on Rough Trade! Thrashing guitars and an irreverent band name - what more could you ask for?

        Reduced Cover of The Center Won't Hold by Sleater-Kinney.
        The Center Won’t Hold is the tenth studio album by Sleater-Kinney. It addresses transformation as it relates to the corrosion and decomposition of forms. Fractured and frayed by age or by loss, by internecine politics, by trauma or depression, these eleven songs ask what remains of a body, a human spirit, a relationship, a city, a country. The narrators herein sing from the brink of madness, corruption, loss, or grief. And though they speak to us from the narrow, near desperate strands to which they are consigned by others, or upon which they’ve self-exiled—feeling small, fearing obsolescence—they ask to be heard on the most sprawling of canvasses. By couching these personal stories in a sonic palette that unabashedly takes up space, what remains is a tale of survival: a treatise on female friendship, inner strength, resilience, and community.

        If The Center Won’t Hold forces a reconsideration of a band people thought they knew, it’s due to the methodologies employed in the writing and making of the album. The tools upon which Sleater-Kinney had relied proved inadequate, both metaphorically and literally, so they sought new ones. They used the geographical distance between them, along with the larger uncertainty and brokenness swirling around them, as a means of inducing and exploring sonic change. Most concretely, they worked with producer Annie Clark (St. Vincent), who treated each song as its own world, letting them find a specific vernacular through careful construction and deliberation.

        The most succinct thing to say about The Center Won’t Hold is that Sleater-Kinney continue to challenge the idea of what three women sound like when they create music together over the course of twenty-five years.


        STAFF COMMENTS

        Barry says: Sleater-Kinney have been one of the most interesting outfits to have come out of the 90's post-grunge indie boom, and have remained a fierce musical force since then. Through a myriad of splits / reformations and stylistic turns they have returned with their beautifully crafted powerhouse, 'The Centre Won't Hold'. Huge stadium choruses and anthemic turns are infused with snapping percussion and echoing distorted guitar, all topped with those unmistakable vocals.

        FORMAT INFORMATION

        Deluxe LP Info: Heavyweight black vinyl, gatefold sleeve with inner bag + bonus black vinyl 7” of ‘Hurry On Home’.

        Cover of I See You by The XX.
        I See You marks a new era for the London trio of Romy Madley Croft, Oliver Sim and Jamie Smith, both sonically and in terms of process. For while xx and Coexist were both made in relative isolation in London, I See You was recorded between March 2014 and August 2016 in New York, Marfa TX, Reykjavik, Los Angeles and London, and is characterised by a more outward-looking, open and expansive approach. Produced by Jamie Smith and Rodaidh McDonald, I See You is The xx at their boldest yet, performing with more clarity and ambition than ever before.

        STAFF COMMENTS

        Andy says: After two perfect, and pretty similar albums of clipped, late-night minimalism, The XX ring the changes, tinkering with their template with a record showing some of the dynamism and richness of Jamie's smash-hit solo album of 2 years ago. It still has all their hallmarks intact, just warped and deepened to beautiful effect. Brilliant.

        FORMAT INFORMATION

        Deluxe LP Info: Silver mirri board debossed box containing the album on 180g heavyweight vinyl, with an extra 12” including 3 bonus tracks, album CD, enhanced CD featuring a live video of bonus track ‘Brave For You (Marfa Demo)’ and 3 exclusive prints by Alasdair McLellan.

        CD Info: CD comes in a debossed mirri board sleeve.

        Cover of The Libertines by The Libertines.
        I'd normally say 'ignore the hype, just listen to the music' but with this band you simply can't. Their story is everywhere. And it informs nearly every lyric, every slash of guitar, on this, their excellent second album. God knows who plays bass and drums on Libertines' records because this is the Pete And Carl Show, through and through. Love, betrayal, spirit, dreams and passion are set to their usual musical blend of The Jam and The Clash. Mick Jones produces again but this time the songs are better, the sound much bigger than on their debut. And that's all you need to know; that's where we came in; accept the hype, enjoy the music. It's great.

        Cover of Lush by Snail Mail.
        Snail Mail’s full-length debut album, Lush, is a debut for the record books — a refreshing marvel of songwriting and technical composition, that’s both cohesive and explosive — Her voice rises and falls with electricity throughout, spinning with bold excitement and new beginnings at every turn.

        Lush feels at times like an emotional rollercoaster, only fitting for Jordan’s explosive, dynamic personality. Growing up in Baltimore suburb Ellicot City, Jordan began her classical guitar training at age five, and a decade later wrote her first audacious songs as Snail Mail. Around that time, Jordan started frequenting local shows in Baltimore, where she formed close friendships within the local scene, the impetus for her to form a band. By the time she was sixteen, she had already released her debut EP, Habit, on local punk label Sister Polygon Records.

        Cover of Process by Sampha.
        Since bursting out of the UK's soulful electronic underground alongside SBTRKT and James Blake back in 2010, Sampha's worked at his craft with a quiet and assured confidence. Though he's steadily released a string of precise and poignant singles over the past few years, the London artist has managed to fly just under the radar, revelling in the creative freedom this lack of attention affords. Still just twenty seven years old, he has lent his vocal, production and songwriting talents to a range of standout releases, from UK contemporaries such as FKA twigs, Jessie Ware and SBTRKT to world-renowned superstars like Drake, Kanye West and, most recently this year, on Frank Ocean’s "Endless" and Solange’s "A Seat At The Table" albums. Now it’s time for Sampha to tell his own story and "Process", produced by Sampha himself and Rodaidh McDonald, is set to be his defining musical statement. To paraphrase the previously mentioned Yeezy, Sampha's kept all the best shit for himself here, topping those critically acclaimed songwriting credits with a set of experimental soul and futurist R&B which explores grief with sincerity and sensitivity. Overwhelmed by the loss of his mother to cancer, the London musician poured his heart into the piano, raising his game to treat us to ten existential, poetic and occasional cryptic studies of the human condition. In turns fragile, tense and terse, but always alive with pure melodic beauty, "Process" is a stunning debut from a future superstar.

        Cover of Historian by Lucy Dacus.
        Lucy Dacus is done thinking small. Two years after her 2016 debut, No Burden, won her unanimous acclaim as one of rock's most promising new voices, Dacus returns on March 2 with Historian, a remarkably assured 10-track statement of intent. "This is the album I needed to make," says Dacus, who views Historian as her definitive statement as a songwriter and musician. "Everything after this is a bonus."

        Dacus and her band recorded the album in Nashville last March, re-teaming with No Burden producer Collin Pastore, and mixed it a few months later with A-list studio wizard John Congleton. The sound they created, with substantial input from multi-instrumentalist and live guitarist Jacob Blizard, is far richer and fuller than the debut — an outward flowering of dynamic, living, breathing rock and roll. Dacus' remarkable sense of melody and composition are the driving force throughout, giving Historian the immersive feel of an album made by an artist in full command of her powers.

        STAFF COMMENTS

        Millie says: Dacus' light Americana leanings of the superb No Burden are sidelined slightly for her grander, more expansive new outing, Historian. Though her smouldering guitar work and unmistakable voice are ever present, they are skillfully woven into an intricate and all-encompassing web of orchestration, grandeur and beauty. This is a stunner, and every bit the successful follow-up.

        FORMAT INFORMATION

        Coloured LP Info: Indies exclusive clear vinyl.

        Cover of Marauder by Interpol.
        For the first time since 2007’s Our Love to Admire, Interpol have opened themselves up to the input of a producer. For two-week spells between December of 2017 to April of 2018, they travelled to upstate New York to work with Dave Fridmann – famed for recording with Mercury Rev, Flaming Lips, MGMT, Spoon, Mogwai, and countless more.

        In the run up to writing and recording, Sam found himself immersed in soul drummers such as Al Jackson Jr (Otis Redding’s drummer) and 80’s funk producers Jimmy Jam and Terry Lewis. “How can I make shit swing?” was the question Sam repeatedly asked himself, and the answer is in the striding gallop of opener “If You Really Love Nothing,” the embellished skip ‘n’ bounce of “Stay in Touch” and the R&B swagger of closer “It Probably Matters.” Interpol have always been world-beaters at creating a feeling, but Marauder is where the feel is just as crucial.

        Paul may have stepped out of the shadows as a bassist, but he’s stepping into an even brighter light as a songwriter. During Interpol’s previous albums, the singer largely kept himself out of his own work, preferring to fill his lyrics with detached thoughts, characters, and observations, often phrased in abstract. But more than 20 years on since forming at NYU, the frontman is finally allowing himself to play a role in his own stories.

        “This record is where I feel touching on real things that have happened to me are exciting and evocative to write about,” he explains. “I think in the past, I always felt autobiography was too small a thing for me to reference. I feel like now, I’m able to romanticize parts of my own life.”

        STAFF COMMENTS

        Barry says: FOUR YEARS! That's long enough to wait for a new Interpol album isn't it, if anything i'd say it was a little too long, but you'll be delighted to know (as I was) that it's every bit the Interpol album we all want and deserve. Brilliant hooks, snarling vox and heavy AF guitars. Thoroughly killer.

        Southport-raised, London-based 19 year old singer, songwriter and producer Holly ‘Låpsley’ Fletcher releases her debut album ‘Long Way Home’ on XL Recordings.

        The twelve track album features new versions of her previous acclaimed releases ‘Hurt Me’, ‘Falling Short’, ‘Painter’ and ‘Station’, as well as brand new single ‘Love Is Blind’. Sitting somewhere in the intersection of the Venn diagram that includes Adele, Rosie Lowe and James Blake in the outer circles.

        ‘Long Way Home’ documents a turbulent time in Låpsley’s life - a period in which she revelled in her new-found music career as it took her from Liverpool to London to Los Angeles and back again. “It’s an autobiography of my emotions and events over the past year,” she says. “Everything that’s happened, I’ve channelled in some way into a song - whether that’s the theme of a long distance relationship, or something that he’s said, or the way that I’ve felt, or an argument. I only revisit the memories of that relationship when I go into the studio. I think it’s helped me, to be able to collect everything for those moments when I’m writing. I think that’s what’s driven this album.”

        Låpsley’s determined views on her own production have ensured her involvement in every element of these songs, a fact that in the early days seemed to confuse many of the producers she met. “They didn’t want to listen to me,” she says, “or they think a girl’s just there to add a top line, or they come to the table with ideas already. Straight away if I come in to a studio and someone says ‘I’ve written something for you’, then I’ll just walk out. I don’t care. I’m not there for that.”

        For the bulk of ‘Long Way Home’ she worked with XL’s in-house producer Rodaidh McDonald. “This album wouldn’t be how it is if it wasn’t for Rodaidh,” she says. “He’s at the top of the thank yous.” There were two tracks recorded with Paul O’Duffy, a producer she admired because “the way that he thinks is different to anybody else. He’s not tainted by a commercial idea, it’s so creative and beautiful and what I aspire to be like in the future.”


        Latest Pre-Sales

        82 NEW ITEMS

        In other news we are now on @mixcloud and in the coming weeks we’ll be bringing you staff mixes and Friends of Picc… https://t.co/viyEbmOwAh
        Mon 25th - 11:04
        Happy Bank Holiday Monday everyone. A lot of you have been sharing pictures of the records you’ve received in the p… https://t.co/nfJxqaaKuG
        Mon 25th - 10:28
        Sunday Classics. The Fall, @WireHQ 13th Floor Elevators and @theblackryder https://t.co/KL1FeNcZ4F https://t.co/DfVXV2OO7O
        Sun 24th - 2:24
        They look exactly like the deliveries you want to receive from the postman on a Saturday. Thanks for ordering and s… https://t.co/wTB5JTKeQP
        Sat 23rd - 5:57
        The shutters might still be shut until 🤷‍♂️ but the orders online have been coming in thick and fast this week. Hea… https://t.co/2Z1eZLt63X
        Fri 22nd - 5:13
        E-newsletter —
        Sign up
        Back to top