Search Results for:


LA Priest


    GENE arrives five years after the iconoclast variously known as Sam Eastgate, Sam Dust and LA Priest thrilled the world with the cosmic pop of his debut album Inji, his first LP for Domino and his first solo output following the disbanding of former outfit, Late Of The Pier. GENE also follows the 2016 project Soft Hair in which Sam teamed up with Connan Mockasin for an instant cult-classic album.

    GENE, the album, is named after a brand-new analogue drum machine Sam dreamt up and built alone. Working in isolation for more than two years in California, Wales and England’s south coast, soldering iron in hand, Sam developed the inners of GENE using dozens of electrical circuits he made up himself. The creation came after a search for an alternative to the structure and rigor of standard drum machines. Its unique rhythmic patterns are the focal point for the album, which is coloured by lush, pastoral tones, paired with the influence of his environmental changes.

    The product of clear-eyed focus, the record offers a one-way ticket into a dimension entirely of Sam’s own making.

    GENE is the most complete realisation of his vision yet. These songs are on a quest for meaning, exploring the limits of their maker’s abilities.

    Coaxed into life with the juicy groove of “Beginning”, the record struts and sparkles through “Rubber Sky” and “What Moves” towards the melancholic interlude of “Sudden Thing” and the gigantic noise of centerpiece “Monochrome”, taking a sharp turn in the final third towards something darker and more mystical.

    GENE was produced alongside London based artist, producer, DJ and founder of Phantasy records, Erol Alkan.


    Rubber Sky
    What Moves
    Peace Lily
    Open My Eyes
    Sudden Thing
    What Do You See
    Kissing Of The Weeds
    Black Smoke
    Ain’t No Love Affair


    Never Let You Go

      Hot on the heels of her recent critically acclaimed album ‘Seeking Thrills’, Georgia is releasing the 12’’ of her hit single ‘Never Let You Go’ with an additional remix by legendary UK DJ and producer Skream. Heavily inspired by Chicago house and Detroit techno of the early 80s, ‘Never Let You Go’ fuses analogue club sounds with solid pop songwriting and showcases Georgia’s lifelong love affair with the drums, whereas Skream delivers a driving Kraut-inspired workout of this track.


      Never Let You Go
      Never Let You Go (Skream Remix)



        Being in a toxic relationship can sometimes feel like being lost in a maze. Every attempt to turn a corner lands you back where you started. Austra aka Katie Austra Stelmanis’ fourth album, HiRUDiN is both a bold acknowledgement of such patterns of behaviour and a testament to the power of breaking them.

        Katie Austra Stelmanis has been better known by her middle name for three albums, ten years, and countless tours. She wrote, produced, and performed all her own records, occasionally sharing the spotlight with a band to tour live. From the outside, things were going really well for a while: she built a devoted fan base and sold out shows all around the world. However, on the inside, Stelmanis was beginning to feel stagnant and uninspired. “I was losing faith in my own ideas,” she explains. Without realising it, she’d got caught up in a toxic relationship that was tearing her apart.

        It wasn’t until Stelmanis was ready to face her insecurities that she was able to see a way forward: “My creative and personal relationships were heavily intertwined, and I knew the only answer was to part ways with all of the people and comforts that I’d known for the better part of a decade and start again.” Alongside making changes in her personal life, HiRUDiN saw Austra taking an entirely different, free-spirited approach to making a record. Seeking out all new collaborators, she booked three days of sessions in Toronto with improv musicians she’d never met before. They included two thirds of contemporary classical improv group c_RL, the cellist and kamanche duo Kamancello, kulintang ensemble Pantayo, and a children’s choir.

        Accumulating a vast and vibrant mass of source material, Austra then holed up in a studio in the Spanish countryside and took a collage approach to sampling, arranging, writing and producing to reveal the songs that would form the album.

        HiRUDiN traces a deeply personal journey towards regeneration, dealing with the fallout of toxic relationships, queer shame, and insecurity along the way.


        1. Anywayz
        2. All I Wanted
        3. How Did You Know?
        4. Your Family
        5. Risk It
        6. Interlude I
        7. It’s Amazing
        8. Mountain Baby Feat. Cecile Believe
        9. I Am Not Waiting
        10. Interlude Ii
        11. Messiah

        Animal Collective

        Ballet Slippers

          Animal Collective’s live album ‘Ballet Slippers’, set for release via Domino, is an homage to the 10- Year Anniversary of their modern classic, ‘Merriweather Post Pavilion’. Recorded in the midst of the band’s extensive and acclaimed nine-month tour in 2009, the album features ‘Merriweather Post Pavilion’’s greatest hits alongside favourites from ‘Strawberry Jam’, ‘Sung Tongs’, ‘Feels’ and ‘Danse Manatee’. Mixed by Ajay Saggar and edited by Noah Lennox (Panda Bear), the release is culled from several shows from that album’s North American tour and sequenced to reflect a full concert experience, complete with song transitions and interludes, creating a captivating document of the genre- defying group


          In The Flowers (Live June 2, 2009 Boulder, CO)
          Who Could Win A Rabbit (Live June 9, 2009 Ft. Lauderdale, FL)
          Summertime Clothes (Live June 9, 2009 Ft. Lauderdale, FL)
          Bleed (Live May 30, 2009 Las Vegas, NV)
          Guys Eyes (Live June 9, 2009 Ft. Lauderdale, FL)
          My Girls (Live May 30, 2009 Las Vegas, NV)
          Banshee Beat (Live June 2, 2009 Boulder, CO)
          Lion In A Coma (Live June 9, 2009 Ft. Lauderdale, FL)
          No More Runnin’ (Live May 29, 2009 Los Angeles, CA)
          Lablakely Dress/Fireworks (Live June 9, 2009 Ft. Lauderdale, FL)
          Daily Routine (Live May 30, 2009 Las Vegas, NV)
          Brothersport (Live June 2, 2009 Boulder, CO)

          Devonté Hynes

          Queen & Slim: Original Motion Picture Score

            Songwriter, composer, director and visual artist Dev Hynes - best known under his moniker Blood Orange - releases the original motion picture score for the highly accoladed ‘Queen & Slim. ‘Queen & Slim’ is a 2019 American romantic crime drama film that follows two African-Americans on the run after killing a police officer in self-defence during a traffic stop. Directed by Melina Matsoukas (Beyonce’s Formation) and written by Lena Waithe (Master of None and Ready Player One), the film stars Daniel Kaluuya (Get Out), Jodie Turner- Smith, Bokeem Woodbine, Chloë Sevigny, Flea, Sturgill Simpson and Indya Moore.

            The release of the ‘Queen & Slim’ score marks an incredible couple of years for Hynes, who recently wrapped up a tour opening for Tyler, The Creator in arenas across America. As Blood Orange, he released the mixtape Angel’s Pulse this past summer, in addition to directing a video for Beck, writing a collection of classical music with Third Coast Percussion, directing and releasing a series of his own videos and being called one of the Fast Company’s 100 Most Creative People For 2019

            TRACK LISTING

            Slim Lets Go
            This Is A Safe Place
            A Couple Deer
            Slim’s Haircut
            What’s Next
            Love Theme (Dance)
            Slim’s Horse
            Slim Calls Home
            Uncle’s House
            Love Theme
            Get Upstairs
            The Sheriff
            Start The Car
            Sneak Out
            Kissed All Your Scars



              Together with co-producer James Dring (Gorillaz, Jamie T, Nilüfer Yanya), best friends Lorenz and Louis O’Bryen have woven 925 like a dreamscape in which idyllic and hellish scenes intermingle, forcing the question of what is real and what is make believe. Inspired by everything from Hermann Hesse to Aphex Twin and old-school crooner Tony Bennett, their experimental and holistic approach marks them out as a thoroughly 21st century band; from their open-minded approach to genre to their creativity allowing them to self-produce the music and direct accompanying videos.

              Joined by drummer Lincoln Barrett and Campbell Baum on bass, Sorry emerged from a thriving scene of bands in London, and though 925 is their debut album, it is by no means their first statement. It follows a series of mixtapes, released sporadically and used as a way to experiment with the disparate influences and sounds that give 925 its distinctively modern and apocalyptic sound.

              Where previous singles and mixtapes earned the band their status as one of the most vital and relentlessly creative new British bands of the moment, 925 is a record which will undoubtedly cement their status as true originals and cross-genre innovators in 2020 and beyond.

              TRACK LISTING

              1. Right Round The Clock
              2. In Unison
              3. Snakes
              4. Starstruck
              5. Rosie
              6. Perfect
              7. As The Sun Sets
              8. Wolf
              9. Rock 'n' Roll Star
              10. Heather
              11. More
              12. Ode To Boy
              13. Lies (Refix)

              Rustin Man


                Having waited 17 years for Drift Code, some may be surprised at Clockdust’s swift arrival, but the album’s roots can be found in the same extended sessions. “Early on I realised I had two albums worth of material,” Webb explains. “The first tunes I wrote were electric guitar based, with long arrangements that built up in layers to something sonically quite dense. These became the bulk of Drift Code. As a reaction, I wrote a batch of songs that were tighter in their structure but had more feeling of space. These make up the bulk of Clockdust.”

                Once he’d identified each song’s greater role, Webb took pains to ensure the albums would stand alone. “Through the year of mixing and releasing Drift Code,” he continues, “I made a conscious effort not to listen to Clockdust. It became some long-lost twin everybody had forgotten. There was an older, wiser atmosphere to it, more cinematic, but in a romantic way”.

                Clockdust draws upon an armoury of instruments, some, like the euphonium, unfamiliar in such contexts, and plenty – the kokoriko, the okónkolo – with even more unfamiliar names. Each track, too, indicates Webb’s fondness for the path less travelled, its twists and turns at first jarring but soon intuitive. That they’re embellished by a voice which has seemingly endured many lifetimes emphasises their mysterious nature. That its recording was soundtracked by Jacques Brel, Jet Harris and Kurt Weill no doubt contributed too. That many songs are inspired by old movies enhances their ageless atmosphere yet further.

                Lead single “Jackie’s Room” is about a dysfunctional yet romantic relationship in which the protagonist believes “as long as she’s desired, she’ll never grow old” and the resulting track sways with the grace of its aging seductress. “I think of the album as containing stories from people who’ve reached their present situation through many years of experiences,” Webb says.

                Idiosyncratic and quietly haunting, Clockdust is seeped in sepia-tinted nostalgia, “a powerful force of nature,” Webb states, “up there with love and desire”. The album blurs the boundaries between past and present. Webb insists that he prefers to live in the here and now, but in looking back he’s found a magical, mesmerising manner in which to forge a path forward: for him, for his music, and for his audience.

                TRACK LISTING

                Carousel Days
                Gold & Tinsel
                Jackie’s Room
                Love Turns Her On
                Rubicon Song
                Old Flamingo
                Kinky Living
                Night In Evening City
                Man With A Remedy


                Ricky Music

                  Porches, a.k.a. Aaron Maine, is back with a new album, Ricky Music. With contributions from Mitski, Zsela, and Dev Hynes, and with co-production by Jacob Portrait, Ricky Music expands on the Porches discography (The House, 2018; Pool, 2016; Slow Dance In The Cosmos, 2013) by delivering 11 emotionally open, cracked-glass pop songs.

                  About the album, Maine says: “My new album, Ricky Music, was written and recorded between Dec 2017 and the spring of 2019. Mostly in New York at my apartment, but some of it in Chicago, Los Angeles, and various cities while touring around Europe. This record is an account of the beauty, confusion, anger, joy and sadness I experienced during that time. I think I was as lost as I was madly in love. In these songs I hear myself sometimes desperate for clarity, and other times, having enough perspective to laugh at myself in some of my darkest moments. That’s sort of what this album is about, I hope you enjoy it.”

                  With the album announcement comes a new song – “Do U Wanna” – and a video for the song directed by prior Porches collaborator Nick Harwood. ““Do U Wanna” is a song about looking at yourself and realizing the disparity between how you’d like to act and how you actually act. The fun you vs. the isolated you. I feel like with the refrain I’m almost taunting myself to get up and do something.”

                  TRACK LISTING

                  Do U Wanna
                  Lipstick Song
                  I Wanna Ride
                  I Can’t Even Think
                  Wrote Some Songs
                  Rangerover (7" Bonus Track)

                  Stephen Malkmus

                  Traditional Techniques

                    Traditional Techniques, Malkmus’ third solo LP without the Jicks (or Pavement), is new phase folk music for new phase folks, with Malkmus as attuned as ever to the rhythms of the ever-evolving lingual slipstream. It’s packed with handmade arrangements, modern folklore, and 10 songs written and performed in his singular voice. An adventurous new album in an instantly familiar mode, Traditional Techniques creates a serendipitous trilogy with the loose fuzz of the Jicks’ Sparkle Hard (2018) and the solo bedroom experiments of Groove Denied (2019). Taken together, these three very different full-lengths in three years highlight an ever-curious songwriter committed to finding untouched territory.

                    Malkmus took on Traditional Techniques as a kind of self-dare. Conceived while recording Sparkle Hard at Portland’s Halfling Studio, Malkmus had observed the variety of acoustic instruments available for use. The idea escalated within a matter of weeks into a full set of songs, and shortly thereafter into a realized and fully committed album. When he returned to Halfling, Malkmus drew from a whole new musical palette--including a variety of Afghani instruments - to support an ache both quizzical and contemporary. The resulting Traditional Techniques is expansive and thrilling. Alongside gorgeous folk music, there are also occasional bursts of flute-laced swagger, straight-up commune rock (“Xian Man”), and mind-bending fuzz.

                    Centred around the songwriter’s 12-string acoustic guitar, and informed by a half-century of folk-rock reference points, Traditional Techniques is the product of Malkmus and Halfling engineer/arranger-in-residence Chris Funk (The Decemberists). Additionally, Matt Sweeney (Bonnie “Prince” Billy, Chavez) plays guitar throughout.

                    STAFF COMMENTS

                    Barry says: Malkmus returns, bringing with him a healthy line-up of shimmering folky ballads and swooning angular acoustic guitar work. Ranging from hypnotic drones and soul-affirming melodicism to jaunty, swaggering grooves and all topped with Malkmus' unmistakeable vocals. Superb.

                    TRACK LISTING

                    1. ACC Kirtan
                    2. Xian Man
                    3. The Greatest Own In Legal History
                    4. Cash Up
                    5. Shadowbanned
                    6. What Kind Of Person
                    7. Flowin’ Robes
                    8. Brainwashed
                    9. Signal Western
                    10. Amberjack

                    Anna Calvi


                      In the summer of 2018, Anna Calvi released her third album Hunter. On the album, she explored sexuality and breaking the laws of gender conformity. Following a stellar 18 months, which saw Calvi write her first television score (for Peaky Blinders) and receive her third consecutive Mercury Prize nomination (the first solo artist to achieve this feat), Calvi has now crafted a stunning reworking of Hunter into Hunted. Revisiting her first recordings for Hunter, Calvi found they offered an intimate and private view of the songs’ initial intentions. Distilled to their bare essence on Hunted: her masterful guitar playing and formidable vocals, Calvi then asked Courtney Barnett, Joe Talbot (IDLES), Charlotte Gainsbourg and Julia Holter to collaborate with her and further transform the songs.

                      On Hunted, Calvi said, “During a break from touring I went back and listened to the first recordings I ever made of ‘Hunter’. These recordings capture the very moment I first wrote these songs, and recorded them on my own, in my attic studio. I find something especially intimate about sharing these most private recordings with my favourite singers and asking them to lend their voices and artistic sensibility. Courtney Barnett is an amazing artist. Her voice and guitar playing together are mind blowing. Her ability to connect the profound to the smallest moments of human experience is the unique talent of a true artist.”

                      On working together, Barnett said, “Anna is a completely awe-inspiring performer, it’s impossible to take your eyes off her onstage. I love her songwriting for its beautiful and perfect balance between aggression and tenderness.” More raw-sounding than their original incarnations, the tracks on Hunted shine under the light of a different lens, one that brings the innate fragility of the compositions to the forefront and exquisitely melds together the dichotomy of the hunter and the hunted, the primal and the beautiful, the vulnerable and the strong.

                      STAFF COMMENTS

                      Barry says: The superb turnaround of Anna Calvi's 2018 LP 'Hunter' into 'Hunted' sees Calvi collaborating with a selection of some of the greatest names in modern indie music, and adds futher gravitas to the stunningly written and brilliantly performed pieces on show. Deep and soulful, swimming with gothcic drive and singularly enchanting, this is a perfect companion or a wonderful listen on it's own.

                      TRACK LISTING

                      Swimming Pool (feat. Julia Holter)
                      Eden (feat. Charlotte Gainsbourg)
                      Don’t Beat The Girl Out Of My Boy (feat. Courtney Barnett)
                      Wish (feat. Joe Talbot/IDLES)
                      Indies Or Paradise

                      With Mystic Familiar, Dan gives us the result of years of obsessive work, play, and self-discovery. It’s at once his most emotionally open record and his most transcendent, 11 kaleidoscopic tracks of majestic synth-pop that exponentially expand his sound with unfettered imagination and newfound vulnerability.

                      Since 2015’s Gliss Riffer, Deacon has branched out into an array of collaborative projects including film scores to Rat Film, HBO’sWell Groomed, ESPN’s30 for 30: Subject to Review; collaborating with the NYCBallet’s resident choreographer Justin Peck, LAPhil and Baltimore Symphony Orchestra.

                      While fulfilling, these projects lacked Dan’s singing voice. In the midst of that whirlwind of activity, he returned whenever he could to a personal oasis⁠—the songs that would become Mystic Familiar, informed by all these collaborations but built from within. Deacon’s writing took an exploratory new direction developed with therapeutic practices of self-compassion and mindfulness, daily prompts from Brian Eno’s deck of Oblique Strategies and the use of meditation. These techniques produced songs that paint life as a psychedelic journey brimming with bliss and disruption, darkness and light.

                      It’s a vulnerable shift in a songbook abundant with characters, metaphors, and modulations. This voice-focused album is also the first record in which each song was built around one central concept—the Mystic Familiar, a supernatural other being that we carry with us everywhere in our head, which only we can hear and with whom we live our lives in eternal conversation.

                      Mystic Familiar takes a propulsive leap with the robot-performed drums and soaring melodies of “Sat By a Tree.” Lyrically, the song conjures campfire reflections on key memories with the hard-won clarity of time, a dialogue with an anthropomorphic tree on chilling out, and befores and afters of life and death. The video, directed by Daren Rabinovitch offilm and animation studioEncyclopedia Pictura and starring comedian Aparna Nancherla, uses natural world elements, vivid colors, and a cartoon-like aesthetic to reflect on time and the precious shortness of life (not for those with an aversion to bugs).

                      STAFF COMMENTS

                      Barry says: 2015's 'Glass Riffer' didn't some off my turntable for quite some time, and i'm pretty sure this will meet the same fate. Huge swathes of synth and bright percussives shine through below the off-piste vocals and chaotic bitcrushed scree. It's marvellous, and completely insane.

                      TRACK LISTING

                      1. Become A Mountain
                      2. Hypnagogic
                      3. Sat By A Tree
                      4. Arp I: Wide Eyed
                      5. Arp II: Float Away
                      6. Arp III: Far From Shore
                      7. Arp IV: Any Moment
                      8. Weeping Birch
                      9. Fell Into The Ocean
                      10. My Friend
                      11. Bumble Bee Crown King

                      Navarasa : Nine Emotions is the trio’s third record. The first fruits of their fantastic expedition entitled Everything Sacred appeared in 2016. The second, Neuk Wight Delhi All-Stars, followed in 2017. Navarasa : Nine Emotions takes their journey many, many leagues on.

                      At the heart of YTK’s transporting new album is the subcontinent’s navarasa; the nine (nava) emotions or sentiments (rasa) of the arts. This central unifying underpinning is a centuries-old organising principle. The individual artistic emotions range from Shringara (love, beauty) through Hasya (laughter, mirth, comedy), Raudra (anger), Karuna (sorrow, compassion or mercy), Bibhatsya (disgust), Bhayanaka (horror, terror), Veera (heroism, courage), Adbutha (surprise, wonder) to Shanta (peace, tranquillity).

                      Each song on YTK’s new album is connected to one of these emotions, and the first track to be shared from Navarasa : Nine Emotions is “Westlin’ Winds”, paired with Adbutha.

                      “Westlin’ Winds” starts with the life-destroying Act I of Robert Burns’ poem ‘Now Westlin Winds, (And Slaught’ring Guns)’ and deliciously transplants its disjoined, nature-extolling and life-affirming Act II onto Indian soil with a composition “in Purbi, a specific dialect of old Hindi. I learnt the song,” says Suhail, “by listening to various qawwali [Muslim devotional song] singers singing at Hazrat Nizammuddin’s dargah [shrine] in Delhi. Its source is Hazrat Amir Khusrau.” Thus YTK unite one of the key spiritual visionaries and architects of Hindustani art music, the poet-philosopher Hazrat Amir Khusrau with the key literary visionary of Scottish and Scots-language culture, Robert Burns.

                      This bricolage of diverse cross-cultural elements is apparent across Navarasa : Nine Emotions and all of what YTK create. James Yorkston weaves in Scottish folk, sangster and literary strands. Jon Thorne is grounded in jazz and groove. What the New Delhi-based, eighth-generation hereditary musician Suhail Yusuf Khan brings to this feast of pulses and cycles is northern Indian classical, light classical (thumri, for example) and Sufi devotional musical and literary forms. What binds these diverse musical strands together is, in James’ phrase, “a dark happiness”.

                      TRACK LISTING

                      Sukhe Phool
                      The Shearing’s Not For You
                      Thumri Bhairavi
                      Westlin’ Winds
                      Song For Oddur
                      The North Carr
                      Twa Brothers
                      Waliyan Da Raja

                      Bonus Tracks Exclusive To Vinyl:
                      All Saved But One
                      Jon's Poem
                      Skinfast Haven Blues

                      Richard Dawson


                        Richard Dawson, the black-humoured bard of Newcastle, returns to release his sixth solo album 2020, his first since the critically acclaimed, Peasant. 2020  is an utterly contemporary state-of-the-nation study, that uncovers a tumultuous and bleak time. Here is an island country in a state of flux; a society on the edge of mental meltdown.

                        On 2020, Dawson introduces us to grand themes through small lives. His are portraits of human beings struggling with recognisable (and dare we say it, relatable) concerns, conflicts and desires, each reminding us that tragedy and gallows humour are not mutually exclusive, and that the magical can sit next to the mundane. Lyrically it is by far Dawson’s hardest-hitting and unflinchingly honest album to date. It is his poetic masterwork.

                        Within, we find disgruntled civil servants dreaming of better days, anxiety-addled joggers listlessly searching Zoopla for houses they cannot afford in their spare time, amateur footballers who think they’re Lionel Messi and beleaguered pub landlords battling rising floodwaters.

                        Here is life, in all its strange and wonderful ways.

                        STAFF COMMENTS

                        Barry says: Massive stadium rock choruses and strolling folk meet headfirst in this decidedly odd but absolutely on-brand distillation from Richard Dawson. Fiercely political but with a wry humour and unmissable melodic drive (an often overlooked aspect of the more 'humorous' releases) coupled with Dawson's flawless delivery and brilliant ear for a progression make this his most direct and essential release yet.

                        Blood Orange’s latest critically acclaimed mixtape, ‘Angel’s Pulse’. Released on the heels of Negro Swan, this album is the overflowing aftermath of that incredible album – the more Dev Hynes the better in my opinion.

                        ‘Dark and Handsome’ encapsulates everything I love about Hynes’ music, those drops of recognizable Blood Orange trademarks which are so prominent throughout all his albums. Something that sets the album apart for me is the heartbreaking track ‘Birmingham’ which is referencing the church bombing in Alabama by white nationalists in 1963. Kelsey Lu and Ian Isiah vocals are incredibly emotive and cut through the soul.

                        The album includes collaborations with Toro Y Moi, Kelsey Lu, Arca, Porches, Ian Isiah, Justine Skye and many more. The tracks are short in quick succession, it’s easy to glide through the album and want to hear it all over again for the parts you missed the first time around.

                        STAFF COMMENTS

                        Millie says: Dev Hynes bringing us this incredible mixtape, Angel’s Pulse filled with emotional, raw material. Blood Oranges distinct sound flows throughout with glimpses of his trademark echoes, the album flows seamlessly from start to finish but holds his most diverse mixture of songs to date. Absolutely love this and can’t wait for the next.

                        TRACK LISTING

                        I Wanna C U
                        Something To Do
                        Dark & Handsome Ft Toro Y Moi
                        Birmingham Ft Kelsey Lu & Ian Isiah
                        Good For You Ft Justine Skye
                        Baby Florence (Figure)
                        Gold Teeth Ft Project Pat, Gangsta Boo & Tinashe
                        Berlin Ft Porches & Ian Isiah
                        Tuesday Feeling (Choose To Stay) Ft Tinashe
                        Seven Hours Part 1 Ft BennY RevivaL
                        Take It Back Ft Arca, Joba & Justine Skye

                        One True Pairing

                        One True Pairing

                          The musical touchstones of Tom Fleming, former Wild Beasts songwriter, vocalist and multi-instrumentalis, were Bruce Springsteen, Don Henley, Tom Petty alongside Depeche Mode and Swans. He wrote and played everything himself and then brought in Ben Hillier (Nadine Shah, Graham Coxon) on mixing and production duties.

                          One True Pairing is an album shaped by class frustration and self-despair and there is a continuation of the exploration of masculinity that made Wild Beasts so unique. As well as being deeply personal, OTP has a wider political resonance. "This country is going through a terrible moment and if you listen to the art nobody seems to give a shit,” Fleming says emphatically. He believes that class is entirely discounted from the current conversation about inclusivity and privilege. In its 11 songs of discordant guitar and aggressive synth Fleming channels his discontent with Britain in 2019 and a “feeling of directionless rage and cheatedness which hasn't gone away."

                          TRACK LISTING

                          Zero Summer
                          I’m Not Afraid
                          One True Pairing
                          Dawn At The Factory
                          Blank Walls
                          Reaper Of Souls
                          Elite Companion
                          Alive In The Resplendent Flames
                          King Of The Rats
                          Only God Can Judge Me

                          (Sandy) Alex G

                          House Of Sugar

                            (Sandy) Alex G, aka singer, songwriter and musician Alex Giannascoli, announces new album ‘House of Sugar’. The album is the Philadelphian’s ninth overall and third for Domino.

                            Giannascoli worked closely with Jacob Portrait, who mixed both ‘Rocket’ and 2015’s ‘Beach Music’ and helped to balance each of ‘House of Sugar’s dense, multi-faceted tracks. As the product of extended focus and planning, ‘House of Sugar’ emerges as Giannascoli’s most meticulous, cohesive album yet: a statement of artistic purpose, showing off his ear for both persistent earworms and shifting textures and the out-there sonic adventurism that’s made previous (Sandy) Alex G records so singular.

                            STAFF COMMENTS

                            Barry says: From twisted, Beck-y ballads to euphoric synth-led stormers, Alex G has always had an uncanny knack for writing a tune and these richly orchestrated, beautifully constructed off-piste tunes show more and more ability in every passing album. This stuff is properly gorgeous ; heartfelt, soaring and emotive works of genius. Spellbinding from the outset.

                            TRACK LISTING

                            Walk Away
                            Southern Sky
                            Project 2
                            Bad Man
                            In My Arms
                            SugarHouse (Live)

                            Spinning Coin

                            Visions At The Stars

                              Glasgow’s Spinning Coin are back with their first new music since their debut album ‘Permo’ was released in 2017. The quartet release new 7” single ‘Visions At The Stars’ via The Pastels’ Geographic Music imprint. ‘Visions At The Stars’ was produced by Gregor Reid and Stephen Pastel at Castle of Doom Studios, Glasgow.

                              TRACK LISTING

                              Visions At The Stars
                              Not A Dream


                              Started Out

                                ‘Started Out’ is an upbeat and euphoric track infused with hedonism and influences from the Chicago house scene of the 80s. Using the same original 909 drum machines and sequential analogue synths used by dance legends of the 80s and 90s, ‘Started Out’ is another shining example of Georgia’s flair in the studio; melting her thrilling pop lyricism, with her rich wealth of experience in the studio. Includes a remix by Tuff City Kids.

                                TRACK LISTING

                                Started Out
                                Started Out (Tuff City Kids Remix)


                                About Work The Dancefloor

                                  ‘About Work The Dancefloor’ is a defiant slice of electro-pop, exploring love, passion, melancholy and the thrill of finding yourself on the dancefloor. Synth-pop extraordinaire, Georgia mixes electronica vibes and indie to create these stunning twelves. Showcasing her upbeat pop brilliance, the track is a reflection of the rich influences of Georgia’s personal experience with club culture. Includes a remix by the renowned The Black Madonna.

                                  TRACK LISTING

                                  About Work The Dancefloor
                                  About Work The Dancefloor (The Black Madonna Remix)

                                  Nérija are the septet of contemporary jazz luminaries, Nubya Garcia (tenor saxophone), Sheila Maurice-Grey (trumpet), Cassie Kinoshi (alto saxophone), Rosie Turton (trombone), Shirley Tetteh (guitar), Lizy Exell (drums) and Rio Kai (bass). Rooted in friendship, Nérija is a collective whose breakneck shifts in tempo and style rely on a deep understanding of mood, temperament and expression, a solid show of trust that extends beyond the usual bonds between musicians.

                                  Recorded in the boat-shaped confines of London’s legendary Soup Studios and produced by Kwes, the overarching goal with Blume was to simply capture the rawness, warmth, joy and the spirit of their relationship and performance. One of the recording aims was to channel the feel of Teo Macero and Stanley Tonkel’s records with Miles Davis during his Columbia years, thinking “forward” as they did but for this band, capturing the controlled chaos and frame it with a timeless elegance.

                                  "Blume" is a truly breath-taking collection of compositions that perfectly encapsulates everything Nérija; vibrant, engaging, infectious and truly current. For just over an hour, they take us on a sprawling wonderful journey, arriving at what is a majestic body of work; their personal and collective experiences and inspirations over the last half decade or so.

                                  STAFF COMMENTS

                                  Emily says: New London jazz supergroup Nérija have debuted their radiant, horn driven sound in 2019 to great acclaim. ‘Blume’ expands on the foundations they established earlier this year with their self titled EP. Teeming with lush harmonies, syncopated riffs and plenty of afrobeat shuffle, it is sure to impress fans of Kokoroko, Ezra Collective and Maisha.

                                  TRACK LISTING

                                  1.Nascence - Composed By Nérija
                                  Solos From Sheila Maurice-Grey, Rosie Turton And Lizy Exell
                                  2. Riverfest - Composed By Nérija
                                  Solos From Shirley Tetteh And Rio Kai
                                  3. Last Straw - Composed By Sheila Maurice-Grey
                                  Solos From Nubya Garcia And Sheila Maurice-Grey
                                  4. Partner Girlfriend Lover - Composed By Shirley Tetteh
                                  Solo From Shirley Tetteh
                                  5. EU (Emotionally Unavailable) - Composed By Cassie Kinoshi
                                  Solos From Cassie Kinoshi And Nubya Garcia
                                  6. Blume - Composed By Nubya Garcia
                                  Lead Line From Sheila Maurice-Grey And Nérija On Vocals
                                  7. Equanimous - Composed By Rio Kai
                                  Solos From Rosie Turton And Shirley Tetteh
                                  8. Swift - Composed By Lizy Exell
                                  Solos From Lizy Exell And Cassie Kinoshi
                                  9. Unbound - Composed By Rosie Turton
                                  Solos From Rosie Turton And Nubya Garcia
                                  10. Blume Ii - Composed By Nubya Garcia
                                  Lead Line From Sheila Maurice-Grey And Nérija On Vocals

                                  Anna Calvi


                                  Hunter, the third album from Anna Calvi, is the embodiment of the feeling of truly letting go. For the art-rock singer-songwriter it was a catharsis, and an opportunity to be more truthful than she ever had been been before. Revered in the British music industry since she emerged in 2011 (BRIT Award and twice Mercury Prize nominated), she has teamed up with esteemed producer Nick Launay (Nick Cave, Grinderman), Adrian Utley (Portishead) and Martyn Casey (The Bad Seeds) to bring this galvanising record to life.

                                  Hunter is an album of visceral guitars and vocals, exploring sexualityand breaking the laws of gender conformity. Passionate subject matter calls for passionate delivery, and on Hunter, Calvi pushes the limits of her guitar and her voice beyond anything she’s recorded before. It was important to Calvi that the record was as vulnerable as it is strong; as beautiful as it is ugly. To be the hunter and the hunted.

                                  STAFF COMMENTS

                                  Barry says: Calvi is at once arresting and mesmerising, mixing evocative gothic symphonics and soaring melodic waves with a brittle undercurrent, flipping from shimmering synth pop to dark bubbling ambient in the blink of an eye. As immediately appreciable musically as it is conceptually exceptional.

                                  TRACK LISTING

                                  01. As A Man
                                  02. Hunter
                                  03. Don’t Beat The Girl Out Of My Boy
                                  04. Indies Or Paradise
                                  05. Swimming Pool
                                  06. Alpha
                                  07. Chain
                                  08. Wish
                                  09. Away
                                  10. Eden 

                                  Night Moves

                                  Can You Really Find Me

                                    Night Moves’ new album, ‘Can You Really Find Me’, pulsates and glows with the same sublime energy that radiated from breakout single ‘Carl Sagan’ in 2016, however in the intervening years, John Pelant and Micky Alfano have grown up.

                                    The songwriting, while still steeped in super-catchy, velvety riffs and pure pop glaze, feels more sophisticated and modern. Since the pair met in high school, awestruck by such ear-candy wizards as Brian Wilson, Todd Rundgren, Stevie Nicks and Lindsay Buckingham, they set off to craft their version of what sophisticated, emotional modern pop music can and should sound like.

                                    2016’s ‘Pennied Days’ was a breakthrough and set a new bar for the members of Night Moves. After spending the subsequent two years on ‘Can You Really Find Me’, they’ve scaled new heights, where the sounds are still just as sweet but now smarter, more evocative and perfectly designed for a summer release.

                                    ‘Can You Really Find Me’ was produced by Jim Eno (founding member and drummer of Spoon) out of Public Hi-Fi Studios in Austin, TX and recorded with live band members Mark Hanson and Chuck Murlowski.

                                    STAFF COMMENTS

                                    Barry says: Night Moves expertly craft a brilliantly emotive and drippingly filmic selection of 80's inspired ballads and rhythmically fluid disco-tinged pop anthems on 'Can You Really Find Me'. Any of these pieces could easily be a slow-motion montage soundtrack, dynamic but with a hint of latent morosity, these are modern and eminently enjoyable anthems, and another reason to pay attention to Night Moves.

                                    TRACK LISTING

                                    Keep Me In Mind
                                    Strands Align
                                    Waiting For The
                                    Ribboned Skies
                                    Coconut Grove
                                    Saving The Dark
                                    Can You Really Find Me

                                    While the Sex Pistols and The Clash might have soaked up much of the punk spotlight in the ’70s, Buzzcocks brought something equally influential to the table. The Buzzcocks’ influence on indie rock, power-pop, punk rock and pop-punk is hard to overemphasize. When you think of the punk-pop tag, no band embodied it or perfected it quite like Buzzcocks.

                                    Their songs were gritty, speedy and short like a lot of other punk music, but few punk bands remained committed to pure pop songwriting like Buzzcocks. Pete Shelley’s voice was snotty and full of attitude, their lyrics pushed social boundaries and the band’s guitars were pumping and lightning fast, but their infectious melodies might have fallen more in line with the pop or New Wave acts of the day than say, The Damned or The Stooges.
                                    While albums like Another Music in a Different Kitchen or Love Bites are still worth digging into, the general consensus is that Buzzcocks’ most essential release is their 1979 singles compilation Singles Going Steady. It contained album cuts like “Ever Fallen in Love (With Someone You Shouldn’t’ve),” non-album singles like “Orgasm Addict” and “Everybody’s Happy Nowadays” as well as B-sides like “Autonomy” and “Noise Annoys.” The album’s eight singles and eight B-sides buff out the occasionally forgettable moments of their LPs and it’s the most accurate document of Buzzcocks as a band.

                                    The songs that make up Singles Going Steady are largely about relationships and youthful frustration, and the album leads off with “Orgasm Addict,” an explicitly sexual song about everything from masturbation to full-on sex addiction. The song, which also features Shelley’s erotic moans, was unsurprisingly banned by the BBC upon release. Continuing with themes about the universal, inevitable shortcomings of youth, “I Don’t Mind” sums many of them up in a sharp, snappy rock ’n’ roll nut shell. Shelley paints a picture of the longing for another and the highlighting of your own insecurities when you do find that person. What begins with a song about loneliness and escape transforms into a song about fear of unreciprocated romantic feelings, which stems from a lack of self-confidence.

                                    STAFF COMMENTS

                                    David says: Quite simply it’s hands down the best ‘best of’ in the history of pop. Originally released in 1979 this edition has been brought back to life by the good folk at Domino Records. “Orgasm Addict”, “What Do I Get?”, “Ever Fallen In Love (With Someone You Shouldn't've?)”, “Harmony In My Head”, “Autonomy”.... The list goes on, what more could you possibly want?!

                                    TRACK LISTING

                                    01 Orgasm Addict
                                    02 What Do I Get?
                                    03 I Don't Mind
                                    04 Love You More
                                    05 Ever Fallen In Love (With Someone You Shouldn't've?)
                                    06 Promises
                                    07 Everybody's Happy Nowadays
                                    08 Harmony In My Head
                                    09 Whatever Happened To?
                                    10 Oh Shit!
                                    11 Autonomy
                                    12 Noise Annoys
                                    13 Just Lust
                                    14 Lipstick
                                    15 Why Can't I Touch It?
                                    16 Something's Gone Wrong Again 

                                    It's conceivable that internal friction helped inspire the title of the third Buzzcocks longplayer, 'A Different Kind Of Tension'; the group would splinter shortly after the album's 1979 release. But the U.K. pop punk band went out with a bang, marshaling one of their most diverse and exciting sets of songs under the guidance of producer Martin Rushent. The breakneck pace of their first recordings is well represented by such tracks as opener “Paradise,” though by the closing sound collage “Radio Nine,” chief songwriter Pete Shelley has managed to indulge his more experimental side as well – without ever abandoning the trademark Buzzcocks wit and emphasis on melody.

                                    TRACK LISTING

                                    01. Paradise
                                    02. Sitting 'round At Home
                                    03. You Say You Don't Love Me
                                    04. You Know You Can't Help It
                                    05. Mad, Mad Judy
                                    06. Raison D'Etre
                                    07. I Don't Know What To Do With My Life
                                    08. Money
                                    09. Hollow Inside
                                    10. A Different Kind Of Tension
                                    11. I Believe
                                    12. Radio Nine 

                                    One of the recent past’s most unexpected come-back stories, Peter Perrett - former frontman of The Only Ones - resurfaced in 2017 with ‘How The West Was Won’, an album that saw him chart in the UK, star on BBC Newsnight, sell out rooms at Electric Ballroom and Islington Assembly Hall and collect accolades across the board.

                                    In this new chapter, Peter continues to dissect romance and politics with his trademark sense of sardonic wit and wry humour, if not with more vigour even and a palpable sense of immediacy. He is not unshackled from his past, however. ‘Humanworld’ features a production credit for Peter’s son Jamie who also contributes a song to the album (‘Master Of Destruction’) and the story of knitting a family back together, following a history of chaos and addiction, now takes a step closer to centre.

                                    STAFF COMMENTS

                                    Barry says: Peter Perrett, lead singer of the Only Ones presents his newest outing, 'Humanworld'. With big crunchy guitars and a modern take on the soaring 80's jangle we all know and love, Perrett efforlessly and effectively swaggers through a varied but engrossing suite of melodic heft and massive stadium fuzz.

                                    TRACK LISTING

                                    I Want Your Dreams
                                    Once Is Enough
                                    Heavenly Day
                                    Love Comes On Silent
                                    The Power Is In You
                                    Believe In Nothing
                                    War Plan Red
                                    48 Crash
                                    Walking In Berlin
                                    Love’s Inferno
                                    Master Of Destruction

                                    Arlo Day

                                    Bad Timing

                                      Arlo Day is the moniker of Alice Barlow, a young songwriter and guitarist from South-East London whose unique ear for melody, haunting vocals and rumbling guitar tones have gained a quiet reputation as one of the capital’s best kept secrets. Self-produced and recorded at home, the ‘Bad Timing’ EP is a trio of tracks that showcase her deft ability to write songs that are at once personal vignettes and brooding canvases for introspection. ‘Bad Timing’ introduces Arlo Day as a singular and exciting new songwriting talent.

                                      TRACK LISTING

                                      1. Bad Timing
                                      2. This Love
                                      3. Broke

                                      "Diviner" is a deeply emotional album: lyrically generous in its candid tone and self-awareness, the melodies resonant with sense memory. The album feels like a startling departure from Thorpe’s previous work with Wild Beast. Story-telling, imaginative dynamics and arrangements coincide with a deft and unique vocal prowess. Comparisons could be drawn with Manchester's Dutch Uncles, or even the quirky & eccentric delivery of Calvin Johnson but really, Hayden's conveying emotions and feels all of his own.

                                      TRACK LISTING

                                      Straight Lines
                                      Earthly Needs
                                      Love Crimes
                                      Stop Motion
                                      In My Name
                                      Human Knot
                                      Spherical Time
                                      Impossible Object

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

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

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

                                      STAFF COMMENTS

                                      Barry says: Comfortingly warm and brilliantly varied, 'Wheeltappers and Shunters' perfectly treads the line between jagged, unpredictable psychedelia and smoothly redolent rock music, with enough of an edge to remain interesting and the perfect amount of sweetness to keep the listener fully on-board. Lovely.

                                      TRACK LISTING

                                      1. Laughing Cavalier
                                      2. Complex
                                      3. Rubber Bullets
                                      4. Tiger
                                      5. Ferryboat Of The Mind
                                      6. Mirage
                                      7. D.I.S.C.I.P.L.E
                                      8. Flying Fish
                                      9. Be Yourself/Year Of The Sadist
                                      10. Congratulations
                                      11. Rejoice!
                                      12. New Equations At The Copacabana 

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

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

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

                                      TRACK LISTING

                                      In My Sphere
                                      Machinist Man
                                      Hot Wheel City
                                      3 Swallows
                                      Free Supper
                                      Too Many Jewels
                                      (Don’t You) Call Me Out My Name
                                      How He Lived After He Died
                                      Feral Cats
                                      Wine Of Ape

                                      The Clang Group

                                      We Do Wie Du

                                        The Clang group return with a one off 7” wonder and re-version of 60’s cult legends The Monks’ ‘We Do Wie Du’.

                                        Beth Gibbons And The Polish National Radio Symphony Orchestra

                                        Henryk Górecki: Symphony No. 3 (Symphony Of Sorrowful Songs)

                                        Domino is extremely proud to present Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs) performed by Beth Gibbons and the Polish National Radio Symphony Orchestra, conducted by Krzysztof Penderecki. 

                                        The performance took place at The National Opera Grand Theatre in Warsaw on November 29th 2014, and was part of an evening of programming that also featured Jonny Greenwood's (Radiohead) 48 Responses To Polymorphia and the world premiere of Bryce Dessner's (The National) Réponse Lutosławski.

                                        Following an invitation to collaborate at the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the original text (and the emotional weight it carries) without speaking the mother language. Typical to Beth though - the elusive yet iconic frontwoman of one of the most important British bands of the last two decades - the challenge was met and exceeded. Her performance alongside the maestro Penderecki has been hailed as triumphant, as you can see and hear on this release.

                                        The film, was produced by the National Audiovisual Institute, Poland and directed by Michał Merczyński.

                                        STAFF COMMENTS

                                        Barry says: There's no denying that Beth Gibbons is one of the most cherished and highly recognisable vocal talents of the past several decades, but hearing her in this context is nothing less than astounding. The latent sadness inherent in Gorecki's 3rd symphony is only enhanced by Gibbons' stunning vocal range and perfect delivery. Astounding.

                                        TRACK LISTING

                                        I. Lento - Sostenuto Tranquillo Ma Cantabile
                                        II. Lento E Largo - Tranquillissimo
                                        III. Lento - Cantabile-semplice

                                        Avey Tare

                                        Cows On Hourglass Pond

                                          Avey Tare, aka Dave Portner of Animal Collective, announces the new album ‘Cows On Hourglass Pond’, which was recorded between January - March 2018 by Dave Portner at Laughing Gas in Asheville, NC on a Tascam 48 half-inch reelto-reel tape machine and mixed by Adam McDaniel and Dave Portner at Drop Of Sun Studios in Asheville, NC. The album follows the 2017 release of Avey Tare’s ‘Eucalyptus’ and 2018’s audiovisual album ‘Tangerine Reef’, a collaboration between Animal Collective and avant-garde coral macro- videographers Coral Morphologic.

                                          STAFF COMMENTS

                                          Barry says: Frenetic melodies and cavernous vocal reverb work their way around the slo-mo funk and psychedelic melodies, leading the listener on a stylistically varied and fascinating journey.

                                          TRACK LISTING

                                          What’s The Goodside?
                                          Eyes On Eyes
                                          Nostalgia In Lemonade
                                          Saturdays (Again)
                                          Chilly Blue
                                          K.C. Yours
                                          Our Little Chapter
                                          Taken Boy
                                          Remember Mayan

                                          Domino present Nérija; the septet of Nubya Garcia (tenor saxophone), Sheila Maurice-Grey (trumpet), Cassie Kinoshi (alto saxophone), Rosie Turton (trombone), Shirley Tetteh (guitar), Lizy Exell (drums) and Rio Kai (bass).

                                          Their debut ‘Nérija EP’ - originally composed, recorded and self-released following their meetings and collaborations via London’s Tomorrow’s Warriors - is re-released, having been remixed by kwes and remastered by Chris Potter at Electric.

                                          STAFF COMMENTS

                                          Millie says: It’s been a while since I’ve listened to anything this warm and soulful, the seven-piece all female collective have breathed new life into jazz. With a mixture of horns, beautiful arrangement and upbeat, bold rhythm they really have owned their sound. Hopefully lots more to come from Nérija…

                                          TRACK LISTING

                                          Pinkham V
                                          The Fisherman
                                          For You

                                          Stephen Malkmus

                                          Groove Denied

                                            The rumours are true: the secret electronic album that Stephen Malkmus has been telling everyone about sees the light of day through Domino. But Groove Denied is not a full-blown plunge into EDM or hiptronica. In fact, there aren’t any purely instrumental tracks on the album. Every song is precisely that: a song, featuring Malkmus staples like an artfully askew melody and an oblique lyric. Groove Denied is Stephen playing hooky from his customary way of going about things, jolting himself out of a routine. As Malkmus commented, “It’s fun to mess with things that you’re not supposed to.”

                                            The first taste of Stephen’s new groove can be sampled today, with the release of single ‘Viktor Borgia’, and its accompanying video starring Stephen alone in a dance club. The title playfully merges the name of the comedian-pianist and the ruthless dynasty of Italo-Spanish nobles. With its stately melody and the almost-English-accented vocal, the coordinates here are early Human League or even Men Without Hats. “I was thinking things like Pete Shelley’s ‘Homosapien’, the Human League, and DIY synth music circa 1982,” says Stephen, adding “and also about how in the New Wave Eighties, these suburban 18-and-over dance clubs were where all the freaks would meet – a sanctuary.”

                                            STAFF COMMENTS

                                            Barry says: It's bloody brilliant this, with hints of post-punk garage and most of all 80's synth, Malkmus clearly shows his wealth of influence on 'Groove Denied', swinging from snappy grunge to 70's psychedelia without batting an eyelid. Though the diversity in sound shines through, it's not without the Malkmus charm, with his vocal prowess shining through the stylistic patchwork.

                                            TRACK LISTING

                                            01. Belziger Faceplant
                                            02. A Bit Wilder
                                            03. Viktor Borgia
                                            04. Come Get Me
                                            05. Forget Your Place

                                            06. Rushing The Acid Frat
                                            07. Love The Door
                                            08. Bossviscerate
                                            09. Ocean Of Revenge

                                            Los Angeles-based artist SASAMI announces her self-titled debut album.

                                            If you’ve ever drafted an overly long text to someone and decided against sending it, then you'll probably hear something of yourself in SASAMI. Los Angeles based songwriter and multiinstrumentalist Sasami Ashworth wrote the album’s ten tautly melodic rock tracks over the course of a year on tour, playing keys and guitar with Cherry Glazerr, tracking the thrills, disappointments and non-starters of a year spent newly single and on the road.

                                            With featured artists Dustin Payseur (Beach Fossils), Devendra Banhart and Soko, this is a slice of 90s distorted guitar pop wonderment you won’t want to miss.

                                            STAFF COMMENTS

                                            Barry says: Wonderfully wonky at points, rhythmically diverse and musically immersive, Sasami's debut LP is an absolute storm of inventive poly-rhythms ('In Hollywood' is a prime example) presenting themselves without getting in the way of the listeners enjoyment. From tender, almost whispered vocals to huge distorted scree, this debut LP is an absolute rollercoaster, and unlike a rollercoaster, enjoyable throughout.

                                            TRACK LISTING

                                            I Was A Window (feat. Dustin Payseur)
                                            Not The Time
                                            Morning Comes
                                            Free (feat. Devendra Banhart)
                                            Pacify My Heart
                                            At Hollywood
                                            Adult Contemporary (feat. Soko)
                                            Turned Out I Was Everyone

                                            James Yorkston

                                            The Route To The Harmonium

                                              Produced by Yorkston and David Wrench, The Route to the Harmonium is James’ first solo record since 2014’s Cellardyke Recording and Wassailing Society (CRAWS) and follows the two collaborative albums he made as one third of Yorkston/Thorne/Khan as well as the release of his debut novel Three Craws in 2016.

                                              The album was almost entirely recorded by James himself, in the small Scottish fishing village of Cellardyke, where he lives. Yorkston’s studio is a ramshackle old loft space, originally used to repair fisherman’s nets, and now stuffed full the antique instruments James has collected throughout his life as a musician. Having created hours of recordings, James called up his old collaborator David Wrench - the mixer and producer who has worked with the likes of Caribou, Four Tet, Frank Ocean, FKA Twigs and David Byrne - and someone who has worked on James’ albums since 2003 – to help make sense of the sessions.

                                              The Route to the Harmonium (or, ‘the search for peace’) is intensely personal; it’s the sound of home, of undisturbed craftmanship. Listen closely and you can imagine him putting it together. Overlaying vocal and guitar tracks, adding further with Dulcitones, harmoniums and autoharps, with nyckelharpa, the distinctive Swedish stringed instrument given to him by a friend. And friends and family, past and present swim all over his songs. Remembering them, and those you’ve shared life with, those who leave and those who remain, is the strongest thread running through these affecting, extraordinary songs. This is Yorkston’s world and could be nowhere else in music.

                                              James adds: “I guess, as a musician and writer, I find myself reacting to what goes on around. So, this album is about life, the life that carries on around me. There’s family, place, and the being away from family that the life of a touring musician brings… But there’s also reference to friends departed – the hows, the whys – When a friend jumps ship it’s always a haymaker to the gut, you know? And this album is about them, but it’s more about us, us who are left behind...”

                                              STAFF COMMENTS

                                              Barry says: Tender ballads and brittle songmaship on this stunning outing from the great James Yorkston. Reminiscent of some of the country-folk offerings from Constellation / Alien8 recordings in the early 90's, Yorkston manages to convey a heartbreaking morose air whilst keeping the melodicism intact. A beautifully written collection, as expected.

                                              TRACK LISTING

                                              01 Your Beauty Could Not Save You
                                              02 The Irish Wars Of Independence 
                                              03 Like Bees To Foxglove
                                              04 Shallow
                                              05 The Blue Of The Thistle
                                              06 Brittle
                                              07 My Mouth Ain't No Bible
                                              08 Solitary Islands All
                                              09 The Villages I Have Known My Entire Life
                                              10 Oh Me, Oh My
                                              11 Yorkston Athletic
                                              12 A Footnote To An Epitaph 

                                              Noah Lennox's sixth solo album as Panda Bear is Buoys. The first song to be released from Buoys is “Dolphin”: Lennox’s bright, sincere voice front and center, with miles of space surrounding it, a guitar and some textured samples fleshing out the dubby sparseness and undercurrent of speaker-limit-pushing sub-bass low-end. Buoys was co-produced and co-mixed by collaborator Rusty Santos in Lennox’s adopted home of Lisbon, Portugal. Lennox and Santos last collaborated on the landmark Panda Bear album Person Pitch, which had its 10-year anniversary last year.

                                              Animated by their ongoing interest in contemporary music production techniques, Lennox and Santos envisioned something that would “feel familiar to a young person’s ears.” However, Buoys retains a deep layer of experimentation coursing through the hyper-modern production – a hallmark of Panda Bear releases that will feel intimately familiar to fans of Lennox’s decade-plus body of work.

                                              Alongside Santos, Buoys also features collaborators in Chilean DJ/vocalist Lizz and Portuguese musician Dino D'Santiago, both artists who came to Lennox via Santos’ recent trap and reggaeton production work; the former contributes arrangements throughout the album including “Dolphin,” and both lend their vocals to “Inner Monologue."

                                              Buoys is the first Panda Bear release since 2018's vinyl-only EP A Day With the Homies, and the follow-up to 2015's kaleidoscopic full-length Panda Bear Meets the Grim Reaper. "The last three records felt like a chapter to me, and this feels like the beginning of something new," says Lennox whilst surveying how Buoys relates to the estimable Panda Bear catalogue. Indeed, the forthcoming Buoys is full of fresh ideas from one of modern music's most fascinating, innovative, and emotionally generous artists.

                                              STAFF COMMENTS

                                              Barry says: Having always been the more electronic side of the musical monolith that is Animal Collective, Panda Bear clearly brings the off-kilter melodies and syncopated Books-esque loop manipulation, with 'Buoys' proving to be every bit the staggered and echo-laden monolith we'd expect. Comfortingly avant-garde without stepping too far into art-rock or ostracising the listener, buoys takes a while to reel you in but when it does, you're stuck for good.

                                              TRACK LISTING

                                              01. Dolphin
                                              02. Cranked
                                              03. Token
                                              04. I Know I Don’t Know
                                              05. Master
                                              06. Buoys
                                              07. Inner Monologue
                                              08. Crescendo
                                              09. Home Free 

                                              Rustin Man

                                              Drift Code

                                                Rustin Man aka Paul Webb announces his return. Webb, formerly the bass player in Talk Talk, releases his new album ‘Drift Code’ via Domino.

                                                Recorded at his Essex home, a converted barn three miles from the nearest village, the record has a warm, wise kind of euphoria to it, coupled with an acute sense of storytelling and surreality.

                                                Webb has released one record under the moniker Rustin Man so far - the superb ‘Out Of Season’ in 2002, a collaboration with Beth Gibbons of Portishead.

                                                “Like Robert Wyatt, Webb finds the sweet spot between the playful and the mournful” - Loud & Quiet.

                                                TRACK LISTING

                                                Vanishing Heart
                                                Judgement Train
                                                Brings Me Joy
                                                Our Tomorrows
                                                Euphonium Dream
                                                The World’s In Town
                                                Light The Light
                                                Martian Garden
                                                All Summer


                                                Another Music In A Different Kitchen - Reissue

                                                Like many first albums, Another Music In A Different Kitchen collected material written by the group - in particular Pete Shelley and Steve Diggle - that had been amassed during the previous years, going back to 1974 and 1975. According to Tony McGartland in his Buzzcocks: The Complete History, the songs were sequenced in the order that they were written. The play through seems to bear this out: the album begins in fast protest punk and ends in the seven minute, definitely non punk length Krautrock of ‘Moving Away From The Pulsebeat.’

                                                Most of Shelley’s songs on the first side concern the vicissitudes of romance, but the opener Fast Cars name drops US campaigner Ralph Nader in an ecological diatribe: “They're so depressing going 'round and 'round/Ooh, they make me dizzy, oh fast cars they run me down.” ‘No Reply’, ‘You Tear Me Up’, ‘Get On Our Own’ and ‘Love Battery’ are sharp, short (all under two and a half minutes), speedy disquisitions on the tortures of interpersonal communication, love and lust played with a perfect balance between pace, abrasion and melody.

                                                Side closer ‘Sixteen’ is something else. It’s longer and contains an avant-garde breakdown around two minutes in, recorded with each group member isolated and unable to hear each other. “It started off as a false ending,” Shelley told me in 1977: “All sloppy, and then it carries on longer so that people are thinking, “Oh I’ve just clapped but they’re not thinking — what’s up?” and then it comes back in again.” It was, as John Maher added, “A remnant of our chaos days.”

                                                Would Shelley like to be sixteen again? “In some ways yes, in some ways no. The words go: “And I wish I was sixteen again/Then things would be such fun/All the things I'd do would be the same/But they're much more fun/ Than when you're twenty one.” Things like going for a drink — now the novelty’s worn off but the enjoyment’s still there. There’s no difference between doing something when you’re 16 and 22, except there is a difference if you’re doing it for the first time.”

                                                Perhaps the most remarkable thing about the song is its rapid fire, venomous ending:
                                                “And I hate modern music/Disco boogie and pop/They go on and on and on and on and on/HOW I WISH THEY WOULD STOP!” Never has a truer sentence been written about the true impetus behind Punk: not just boredom with progressive rock or dinosaur sixties acts but an intense disgust with mainstream pop music, which in 1976, the year of number one singles by Elton and Kiki, Abba, the Brotherhood of Man, Adge Cutler & the Wurzels, seemed not to have anything to do with teenage life and certainly nothing to do with excitement or the true teenage news.

                                                The five songs on side two reflected the group moving away from simple love tropes into something more complex: as Shelley sang on ‘I Don’t Mind’, “Reality’s a dream.” Unlike the increasing militarism and violent posturing of the Clash, Buzzcocks aimed to explore male sensitivity and frailty (‘This pathetic clown’) - which in pop terms was still new, exactly what punk had set out to be. They began to use love songs as a conduit through which they could talk about other things: the nature of human relationships in a capitalistic society, the nature of reality itself.

                                                Onstage Buzzcocks did not present as macho. Sometimes they’d try a group uniform, like the Mondrian shirts of early 1977, but mostly they just dressed as themselves: Diggle and Maher in various permutations of Mod wear, Paddy Garvey in leather jacket and skinny tie, and Shelley in a bewildering variety of styles. “It’s no good me wearing anything like that (bondage pants),” Shelley told me; “I’m just not the fashionable shape.” “You put those clothes on and you become a different character,” Diggle added: “I don’t feel myself, I feel like somebody else.”

                                                ‘Fiction Romance’ continues the themes of ‘I Don’t Mind’: male frailty, the commodification of emotions, the difference between reality and fantasy. Steve Diggle’s powerful ‘Autonomy’ spells out the true theme behind Punk: self determination. “It’s a discussion between two sides of your personality,” he told me; “It’s about discipline in yourself, like when you say you’d like to do something and you haven’t got control, you’re not autonomous. Like giving up smoking, which I’m trying to do now and it’s very difficult. I haven’t got control of myself.”

                                                Shelley’s pell-mell ‘I Need’ tackles the capitalist perplex head on: “I used to only want but now I need/To get by with what I got but now I need.” After a fine bass led instrumental break, Shelley lays it out again: “I need sex/I need love/I need drink/I need drugs/I need food/I need cash/I need you to love me back.” ‘Moving Away From The Pulsebeat’ continues the breakneck pace: lasting at least three times the standard punk rock single, it features some stinging psychedelic solos and some rapid fire classic break beats from John Maher.

                                                There’s a pause, then the riff of ‘Boredom’ returns: back to the beginning. Another Music in a Different Kitchen is a perfect circle: thirty five and a half minutes of tuneful, exciting and thoughtful music that stretched the boundaries of guitar pop music at the same time as it delivered on the group’s promise. It was a critical and a commercial success, reaching the UK album top twenty in March 1978 and staying there for nearly three months. But Buzzcocks had no time to rest on their laurels.

                                                Behind the chocolate box cover, Love Bites is an album of paradoxes if not clashing opposites: real/imaginary, past/future, love/lust, connection/alienation, commerciality/experimentation. It’s to the group’s credit that they walk the high wire with ease: the attack is less punk, more measured and on occasion psychedelic, as befits the perceptual and philosophical nature of Shelley’s lyrics. The glossy pop star photo on the sleeve is matched by stranger photo realist portraits on the inner, by Robin Utracik of the Worst: Shelley in particular looks dishevelled, having just vomited when the source photo was taken.

                                                Love Bites hit its moment. The reviews were good, and so were sales: it reached number 13 in the album charts, Buzzcocks’ best showing. They immediately went out on their fourth tour, Beating Hearts - supported by Subway Sect - which was marked in this year of Sham 69 by skinhead violence and stage invasions, definitely not what Buzzcocks were about. The fifth single of that year had already been recorded: ‘Promises’ and ‘Lipstick’, the latter of which used the same riff as Magazine’s debut ‘Shot by Both Sides’. Buzzcocks had reached their commercial peak, but Pete Shelley was deeply troubled.

                                                Late 1978 was a harsh place, with competing styles and fads and the relentless pressure of rapid fire novelty that punk had set up. The pace was killing and on top of that the impetus of 1976 punk had faded. Shelley also felt that the original sense of community had gone: “Once we were in the music industry, people had become more diversified, there was nothing really to pull people together again.” More importantly, the constant touring was driving him mad: “It was a bit unnerving. When we did the Love Bites tour I was convinced by Richard not to leave the band. It was all getting too much for me.”

                                                King Creosote

                                                Rocket DIY

                                                  ‘Rocket D.I.Y.’ is the home-recorded follow up to 2003’s ‘Kenny and Beth’s Musakal Boat Rides’. Instead of a collection of songs spanning several years, ‘Rocket D.I.Y.’ contains 12 songs, all written and recorded over a period of weeks. Acoustic guitar and piano based songs have been embellished with accordion, banjo, electronics and a smattering of samples. Collective drummers OnTheFly and Captain Geeko deliver an altogether new punch, with Pip Dylan’s pedal steel adding that final twang. ‘Rocket D.I.Y.’ can best be described as a recollection of a hectic year. From the cosmic highs to the lunar lows come world weary themes of age consciousness and humdrum household chores sitting alongside wideeyed travel adventures and far-fetched yarns. With its scratchy sentiments, anthemic yearnings and downright nonsense, ‘Rocket D.I.Y.’, like ‘Kenny and Beth’s Musakal Boat Rides’ before it, takes you on a Neukian journey possibly not as far as the stars but one you’ll want to take again.

                                                  TRACK LISTING

                                                  Twin Tub Twin
                                                  Saffy Nool
                                                  Cor’ws Feet
                                                  Spooned Out On Tick
                                                  PH 6.5
                                                  Circle My Demise
                                                  King Bubbles In Sand
                                                  The Things, Things, Things
                                                  A Month Of Firsts
                                                  Thrills & Spills
                                                  The Someone Else

                                                  King Creosote

                                                  Kenny And Beth's Musakal Boat Rides

                                                    Kenny Anderson, aka King Creosote's debut album (if you don't include all his Fence Collective CDRs), which was originally release in 2003, finally gets a vinyl release.

                                                    TRACK LISTING

                                                    Lonepigeon’s Wineglass Finale
                                                    Pulling Up Creels
                                                    Harper’s Dough
                                                    A Friday’s Night In New York
                                                    Kenny & Beth’s Musakal Boat Rides

                                                    Yawn is a buckle-up and knuckle-down listen that rewards the listeners’ attention with motifs and melodies that play hide and seek but never fail to deliver on those between-the-lines verities. This musical belief of delayed gratification is something Bill learnt from classical music as a child, from Elgar and Debussy in particular – and over the long hall of his short life, you can hear these riches being polished on Yawn. Most of the 10 songs clock-in over the 5 minute mark and this wide-angle lens affords us time to interpret and translate meaning – or just to revel in it.

                                                    Multi-instrumentalist, producer, string-arranger and composer Bill Ryder-Jones has had a career spanning 15 years, a rarity in a world that so often looks to the new. From his musical interpretation of Italo Calvino’s ‘If On A Winters Night A Traveller' (If… in 2011), 2013’s A Bad Wind Blows In My Heart, the acclaimed West Kirby County Primary (2015) and now to Yawn, Bill has constantly widened his scope, weaving in an overarching sense of authenticity, intimacy and wryness as he goes.

                                                    Yawn was recorded and produced entirely by Bill himself, with a little help from friends including guest vocals from The Orielles and Our Girl, cello by Rod Skip and mixing by Craig Silvey (Portishead, The Horrors, Arcade Fire). Bill has also been steadily building up a list of album production credits for other musicians including Our Girl, Hooton Tennis Club, Brooke Bentham and Holly Macve, who he records at his own place in West Kirby, aptly titled Yawn Studios.

                                                    TRACK LISTING

                                                    1. There’s Something On Your Mind
                                                    2. Time Will Be The Only Saviour
                                                    3. Recover
                                                    4. Mither
                                                    5. And Then There’s You
                                                    6. There Are Worse Things I Could Do
                                                    7. Don’t Be Scared, I Love You
                                                    8. John
                                                    9. No One’s Trying To Kill You
                                                    10. Happy Song

                                                    Julia Holter


                                                      Aviary is an epic journey through what Julia Holter describes as “the cacophony of the mind in a melting world.” It’s the Los Angeles composer’s most breathtakingly expansive album yet, full of startling turns and dazzling instrumental arrangements. The follow-up to her critically acclaimed 2015 record, Have You in My Wilderness, it takes as its starting point a line from a 2009 short story by writer Etel Adnan: "I found myself in an aviary full of shrieking birds." It’s a scenario that sounds straight out of a horror movie, but it’s also a pretty good metaphor for life in 2018, with its endless onslaught of political scandals, freakish natural disasters, and voices shouting their desires and resentments into the void.

                                                      “Amidst all the internal and external babble we experience daily, it's hard to find one's foundation,” says Holter. “I think this album is reflecting that feeling of cacophony and how one responds to it as a person - how one behaves, how one looks for love, for solace. Maybe it’s a matter of listening to and gathering the seeming madness, of forming something out of it and envisioning a future.”

                                                      “In a lot of the songs, when I mention love, it’s about a seeking for compassion and humility in a world where it feels like empathy is always being tested,” Holter says. In Aviary’s case, that search for sweetness - that bridging of the gulf - becomes a metaphor for the creative process itself, cutting through the hierarchies of history, language, and musical form to offer something more fluid, more inclusive, more idiosyncratic.

                                                      Aviary combines Holter’s slyly theatrical vocals and Blade Runner-inspired synth work with an enveloping palette of strings and percussion that reveals itself, and the boundless scope of her vision, over the course of fifteen songs.

                                                      STAFF COMMENTS

                                                      Barry says: Since her 2015 album, 'Have You In My Wilderness' (voted our #1 album of 2015) Holter has gone from strength to strength. Treading a similar path to her more recent forays into arty ambience and brittle electronics, 'Aviary' is an epic of Holter's mesmerising vocal talent, backed with an absorbing and progressive instrumental backdrop.

                                                      TRACK LISTING

                                                      1. Turn The Light On
                                                      2. Whether
                                                      3. Chaitius
                                                      4. Voce Simul
                                                      5. Everyday Is An Emergency
                                                      6. Another Dream
                                                      7. I Shall Love 2
                                                      8. Underneath The Moon
                                                      9. Colligere
                                                      10. In Gardens’ Muteness
                                                      11. I Would Rather See
                                                      12. Les Jeux To You
                                                      13. Words I Heard
                                                      14. I Shall Love 1
                                                      15. Why Sad Song

                                                      Co-produced by Joel Ford (Ford & Lopatin, Airbird), this record plays as a single continuous piece of 21st century psychedelic music and features Krell’s most bewitching sound experimentation to date. Moreover, the stories Krell sings on this record – some biographical, many from the most knotted corners of human life – are deeply personal and human(e). The Anteroom - with its blizzardous electronic noise, fragile melodies and poignant poetry - reclaims the experimental core of the HTDW project.

                                                      TRACK LISTING

                                                      1. Humans Disguised As Animals | Nonkilling 1
                                                      2. Body Fat
                                                      3. False Skull 7
                                                      4. Nonkilling 3 | The Anteroom | False Skull 1
                                                      5. Vacant Boat
                                                      6. Nonkilling 13 | Ceiling For The Sky
                                                      7. A Memory, The Spinning Of A Body | Nonkilling 2
                                                      8. Nonkilling 6 | Hunger
                                                      9. July 13 No Hope No Pain
                                                      10. Love Means Taking Action
                                                      11. Brutal (feat. Ocean Vuong) | False Skull 5
                                                      12. False Skull 12
                                                      13. Nothing 

                                                      Cat Power


                                                        Produced in its entirety by Marshall, Wanderer includes appearances by long-time friends and compatriots, as well as guest vocals courtesy of friend and recent tour-mate Lana Del Rey. Written and recorded in Miami and Los Angeles over the course of the last few years, the new album Wanderer is a remarkable return from an iconic American voice.

                                                        Wanderer’s 11 tracks encompass “my journey so far,” says Marshall. “The course my life has taken in this journey - going from town to town, with my guitar, telling my tale; with reverence to the people who did this generations before me. Folk singers, blues singers, and everything in between. They were all wanderers, and I am lucky to be among them.”

                                                        STAFF COMMENTS

                                                        Barry says: A beautifully produced, bittersweet collection of twinkling guitars, acoustic percussives and Marshall's unmistakable vocal stylings. Brimming with low-key country influences, rhythmic momentum and enchanting, hypnotic drive. Quintessentially Cat Power, superb.

                                                        TRACK LISTING

                                                        In Your Face
                                                        You Get
                                                        Woman (feat. Lana Del Rey)
                                                        Robbin Hood
                                                        Nothing Really Matters
                                                        Me Voy
                                                        Wanderer / Exit


                                                        The Art Of Pretending To Swim

                                                        Always restless and inventive while always true to the power and glory of song-writing and melody, Conor O’Brien has made another great leap forward with Villagers’ fourth studio album, The Art Of Pretending To Swim, released by Domino on Friday 21st September.

                                                        Following the exquisitely sparse, intimate aura of 2015’s Darling Arithmetic, O’Brien’s new record reconnects with the multi-faceted approach of Villagers’ 2010 album debut Becoming A Jackal and 2013’s {Awayland} while adding a new-found soulfulness, rhythmic nous and dazzling panoply of sonic detail, both analogue and digital, creating feverish moods while writing effortlessly accessible tunes. Balanced with subtle aspects and lyrical themes that embrace existential fears and hopes in this desperate, technologically-centred dystopian age, The Art Of Pretending To Swim is the most brilliantly realised Villagers album to date.

                                                        STAFF COMMENTS

                                                        Barry says: Beautifully played acoustic guitars, bolstered with tender electronic flourishes and a driving percussive backline, Villagers perfectly mix the appeal of melodic indie with the silken, shimmering swagger of synth pop to great effect. Beautiful stuff.

                                                        TRACK LISTING

                                                        1. Again
                                                        2. A Trick Of The Light
                                                        3. Sweet Saviour
                                                        4. Long Time Waiting
                                                        5. Fool
                                                        6. Love Came With All That It Brings
                                                        7. Real Go-Getter
                                                        8. Hold Me Down
                                                        9. Ada

                                                        Bob Moses

                                                        Battle Lines

                                                          ‘Battle Lines’, the new album from Grammywinning duo Bob Moses, is set for release on Domino.

                                                          ‘Battle Lines’ follows the band’s acclaimed debut album, ‘Days Gone By’, which featured their worldwide hit ‘Tearing Me Up’. The band recorded the new album in Los Angeles’ Laurel Canyon, after writing and testing out new material on the road. Inspired by their time playing raves and rock clubs all over the globe since the release of ‘Days Gone By’, Battle Lines takes a harder look at the world in which they find themselves.

                                                          TRACK LISTING

                                                          Heaven Only Knows
                                                          Battle Lines
                                                          Back Down
                                                          Eye For An Eye
                                                          The Only Thing We Know
                                                          Nothing But You
                                                          Enough To Believe
                                                          Listen To Me
                                                          Selling Me Sympathy
                                                          Don’t Hold Back
                                                          Fallen From Your Arms

                                                          Tangerine Reef is a full-length audio-visual album by Animal Collective (Avey Tare, Deakin and Geologist), in collaboration with Coral Morphologic, to commemorate the 2018 International Year of the Reef. Tangerine Reef is a visual tone poem consisting of time-lapse and slow pans across surreal aqua-scapes of naturally fluorescent coral and cameos by alien-like reef creatures (note: no CGI or artificial enhancement was used in this film). Tangerine Reef is the sight and sound of a literal underwater collective of animals.

                                                          STAFF COMMENTS

                                                          Barry says: Another brilliantly off-piste outing from Animal Collective. Scattered percussion, haunting shadowy vocals and that effervescent duality of low-fi production values and hi-fi songwriting make this yet another stormer from the AC camp.

                                                          TRACK LISTING

                                                          1. Hair Cutter
                                                          2. Buffalo Tomato
                                                          3. Inspector Gadget
                                                          4. Buxom
                                                          5. Coral Understanding
                                                          6. Airpipe (To A New Transition)
                                                          7. Jake And Me
                                                          8. Coral By Numbers
                                                          9. Hip Sponge
                                                          10. Coral Realization
                                                          11. Lundsten Coral
                                                          12. Palythoa
                                                          13. Best Of Times (Worst Of All)



                                                            Following her acclaimed EPs released on Greco-Roman, new album Devotion positions Londonbased Tirzah as a unique contemporary soul voice on an innovative modern British RnB record. Delivering what feels like a landmark debut LP, the 11-songs across Devotion are an intimate collection of downtempo love-songs laced with romance and lust, melancholy and desire.

                                                            The album was conceived and written with long-term collaborator, Mica Levi who handles the music and production across the whole album, Tirzah providing vocals, melody & lyrics. Additional vocals & lyrics are provided by Coby Sey on stand out track, ‘Devotion’. The album was mixed by Mica & Kwes.

                                                            TRACK LISTING

                                                            1. Fine Again
                                                            2. Do You Know
                                                            3. Gladly
                                                            4. Holding On
                                                            5. Affection
                                                            6. Basic Need
                                                            7. Guilty
                                                            8. Devotion
                                                            9. Go Now
                                                            10. Say When
                                                            11. Reach

                                                            As with their previous albums, Across the Meridian mixes instrumentals and songs, weaving a gleeful path through the musical territory of film scores, 30s jazz, sun-drenched pop, electronica, and post-punk experimentation. Haunting and wistful vocals are set to a variety of soundscapes, sometimes appearing as a snatched fragment of the subconscious and dreamlike, at others crafting a story of longing or regret, drawing the listener into Pram’s uncanny world through the mirror. Newcomers to Pram will find a richly detailed collage of influences ranging from exotica, Krautrock and the forgotten film soundtracks that went on to inspire contemporaries Stereolab & Broadcast.

                                                            The band convened at the remote Foel studios in Wales to improvise on ideas and record some bases for tracks, before finishing them in their studio in Birmingham. Pram have a working process that has developed over many years and reflects shifts in band personnel and technological advancements. Across The Meridian is a testament to the band embracing these new approaches without losing any of their original allure.

                                                            STAFF COMMENTS

                                                            Barry says: Haunting, dusty melodies and slowly pulled strings mix with echoed vocals, simmering horns and clicking electronic percussion in this multi-faceted and smooth juxtaposition of post-rock, electronic and psychedelic instrumentation. Perfectly balanced and fully immersive.

                                                            TRACK LISTING

                                                            1. Shimmer And Disappear
                                                            2. Thistledown
                                                            3. Electra
                                                            4. Wave Of Translation
                                                            5. Shadow In Twilight
                                                            6. Ladder To The Moon
                                                            7. The Midnight Room
                                                            8. Footprints Towards Zero
                                                            9. Mayfly
                                                            10. Sailing Stones
                                                            11. Where The Sea Stops Moving
                                                            12. Doll’s Eyes

                                                            Dirty Projectors’ new album ‘Lamp Lit Prose’ is produced by Dave Longstreth at his studio Ivo Shandor in Los Angeles.

                                                            The album features guest appearances from Syd, Empress Of, Amber Mark, Haim, Rostam, Robin Pecknold and Dear Nora, as well as longtime Dirty Projectors rhythm section Nat Baldwin and Mike Johnson.

                                                            ‘Lamp Lit Prose’ arrives just over a year after 2017’s self-titled ‘Dirty Projectors’. Here Longstreth’s band returns with a new album that is the yang to the yin of the 2017 effort. The songs signal a page turned for Longstreth: hope instead of heartbreak, a restorative balance. Guitars have returned to the Dirty Projectors’ world, intricate vocal harmony too. ‘Lamp Lit Prose’ is a recommitment to the sounds and ideals of Dirty Projectors, embracing the band’s trademarks while pushing forward the sonic envelope.

                                                            STAFF COMMENTS

                                                            Andy says: Luminous, dislocated, lushly produced warm vibes pervade on this gorgeous new record. Ace!

                                                            TRACK LISTING

                                                            Right Now (ft Syd)
                                                            That’s A Lifestyle
                                                            I Feel Energy (ft Amber Mark)
                                                            Zombie Conqueror (ft Empress Of)
                                                            Blue Bird
                                                            I Found It In U
                                                            What Is The Time
                                                            You’re The One (Ft Robin Pecknold & Rostam)
                                                            (I Wanna) Feel It All (ft Dear Nora)

                                                            Protomartyr's ‘Consolation EP’, was recorded in part with friend Kelley Deal of The Breeders.

                                                            The release features four brand new tracks, delivered in their usual brusque uncompromising style, and follows last year’s superb ‘Relatives In Descent’ album.

                                                            STAFF COMMENTS

                                                            Barry says: Protomartyr are one of those bands that elicit a chorus of head-nods and a flurry of 'Who is this?' from anyone near enough to hear, and this EP will surely be no different. A Galloping and driven EP, led by Joe Casey's unmistakeable snarl, and buoyed by the perfectly precise and ferocious instrumental backing. A great vision for the future.

                                                            TRACK LISTING

                                                            Same Face In A Different Mirror
                                                            Wheel Of Fortune (ft Kelley Deal)
                                                            You Always Win (ft Kelley Deal)

                                                            Melody’s Echo Chamber’s second album finally arrives more than five years after Melody Prochet’s debut, and it’s certainly been worth the wait. Bon Voyage is a mind-blowing mini-opus full to the gunwales with surprises. It’s a capricious trip that builds majestically upon what Pitchfork in 2012 called “enchanting, psychedelic-tinged pop with just the right amount of thematic darkness”. Made up of seven expansive new tracks, it marries Melody’s breathless soprano to the wildest sonic excursions, always pinned to an emphatic, clattering groove.

                                                            STAFF COMMENTS

                                                            Barry says: Brilliantly effervescent indie-pop from MEC, sporting chunky melodic riffage, bright soaring solos and stunningly perfect production. Amazing stuff.

                                                            TRACK LISTING

                                                            1. Cross My Heart
                                                            2. Breathe In, Breathe Out
                                                            3. Desert Horse
                                                            4. Var Har Du Vart
                                                            5. Quand Les Larmes D’Un Ange Font Danser La Neige
                                                            6. Visions Of Someone Special On A Wall Of Reflections
                                                            7. Shirim


                                                            Constant Image

                                                              Washington, DC trio Flasher release their debut album, ‘Constant Image’, via Domino.

                                                              Recorded in 2017 at Rare Book Room in Brooklyn, NY, ‘Constant Image’ was produced by Nicolas Vernhes (Animal Collective, Deerhunter, The War On Drugs) and crackles with invention. This isn’t the sound of a band finding their feet, it’s the rare sound of three people - Taylor Mulitz on guitar, bassist Daniel Saperstein and drummer Emma Baker - who know exactly what they want to achieve from the start.

                                                              TRACK LISTING

                                                              Sun Come And Golden
                                                              Who’s Got Time?
                                                              Skim Milk
                                                              Harsh Light
                                                              Punching Up
                                                              Business Unusual

                                                              Joe Goddard

                                                              So Much / Human Touch

                                                                In 2017 Joe Goddard released his second solo album Electric Lines, after spending the past 15 years as a member of Hot Chip, production and DJ duo The 2 Bears and founder of tastemaker dance record label Greco Roman.

                                                                This summer Goddard returns with two standalone singles, a double A-side 12”, in his own words: “I just want these next few 12"s to be simple club tools really... musically one is meant to be a deep house belter and the other is meant to be dark electro with a romantic touch- like the Boards of Canada mix of 'Midas Touch’”.

                                                                TRACK LISTING

                                                                So Much
                                                                Human Touch (Dub)

                                                                Their first release since 2013’s ‘AM’ finds the band intent on continuing to explore new musical terrain with each album. ‘Tranquility Base Hotel & Casino’ ups the ante in a big way; it is a bold and brilliant album reflecting Turner’s ever more comprehensive creative vision. 

                                                                Produced by James Ford and Alex Turner, the album was recorded in Los Angeles, Paris and London. 

                                                                STAFF COMMENTS

                                                                Andy says: Wow! After their biggest hit yet and looming world domination, t'Monkeys swerve left, then up, out and onto the astral plane! This blows up their template in style, and opens new possibilities for this inspirational band.

                                                                TRACK LISTING

                                                                Star Treatment
                                                                One Point Perspective
                                                                American Sports
                                                                Tranquility Base Hotel + Casino
                                                                Golden Trunks
                                                                Four Out Of Five
                                                                The World’s First Ever Monster Truck Front Flip
                                                                Science Fiction
                                                                She Looks Like Fun
                                                                The Ultracheese

                                                                Bonny sings Susanna, to simply try and save the world. Sonata Dwarf Mix Cosmos is an old companion of his and with the Chijimi house band +1 they bring it all back home again, this time to the space in Bonny’s place.

                                                                “As other practitioners are leaving the room in favor of novel forms of recording and distro and consumption, we are left with a virtual PALACE, fantastical and real structures and practices. Like we are allowed into the museum at night. We can make a great essentially live record with great songs and great players because nobody else is? ‘Wolf Of The Cosmos’... is about, as much as anything, direct engagement with recorded music. So step right up to the replicant.” - Bonnie ‘Prince’ Billy

                                                                Bonnie ‘Prince’ Billy is joined by musicians Emmet Kelly (bass guitar, voice, acoustic guitar), Cheyenne Mize (violin, slide ukulele, voice), Chris Rodahaffer (banjo, voice, acoustic guitar) and Elsa Madeline Oldham (juice harp).

                                                                “‘Wolf Of The Cosmos’ is a wonderful obsessive trip into the mind of one of the most important living singers” - Country Music

                                                                STAFF COMMENTS

                                                                Barry says: Beautifully emotive country-tinged plucks, BPB's unmistakable voice and softly pulled strings make for an enchanting an absorbing journey. Yet more evidence of the unwavering excellence of one of today's most successful singer-songwriters. Brilliantly fresh, but comfortable and familiar.

                                                                TRACK LISTING

                                                                Born In The Desert
                                                                People Living
                                                                For You
                                                                Better Days
                                                                Demon Dance
                                                                Home Recording
                                                                We Offer

                                                                Alexis Taylor releases a new album on Domino. It is a very new, very individualist and – yes – very beautiful reflection of a life that's changed immeasurably since Alexis first started out in music. This is a musician, writer and singer who has carved his own unique path through the music of the 21st century, completely avoiding getting trapped along the way in dumb oppositions of pop vs avant-garde, dancefloor vs intellect, retro vs modernist and so on. He has worked with living legends from major pop stars to free improvisors in the furthest left field, played huge arenas and tiny clubs without ever privileging one over the other, and through all of it, never stopped listening and learning. All of this accumulated experience is put to work on Beautiful Thing in pursuit of something subtle and elusive but ultimately quite profound and beautifully human. Taylor’s fourth album also represents the first time Alexis has made a solo album with a producer, that producer being Tim Goldsworthy, co-founder of Mo Wax and DFA Recordings and member of UNKLE.

                                                                The record is a bold and confident step forward for Alexis both sonically and in terms of his songwriting abilities. It has electronic thrills, dark spaces, memories of dancefloors, heartfelt writing; it's composed, it's improvised, it's accidental, it's strange, but it's also very immediate. It is a beautiful thing itself: a moving, modern and unique sounding long-player, to get lost in on repeated deep listens.

                                                                Self-produced, written and recorded in the east London house-stroke-studio-stroke band HQ they all share together (imagine a squat version of the Brill Building, or a lo-fi, DIY take on Max Martin’s Cheiron studio), Superorganism is a spectacularly confident debut record that beams with a sense of wonky fun, a kaleidoscopic riot of sound and visuals. Influenced by the world-building depth of artists like Devo, Beck and The Avalanches, Superoganism soundtracks the band’s rapid trajectory from shared house side project to global audiovisual powerhouse and features previous singles ‘Something For Your M.I.N.D.’ and ‘It’s All Good / Nobody Cares’ as well as their brand single ‘Everybody Wants To Be Famous’.

                                                                STAFF COMMENTS

                                                                Barry says: Brilliantly quirky oddball pop, twee synthy pads and glitched indie come together into this flourescent explosion of melodic power. Unforgettable and a truly exciting concept for the future.

                                                                TRACK LISTING

                                                                01 It’s All Good
                                                                02 Everybody Wants To Be Famous
                                                                03 Nobody Cares
                                                                04 Reflections On The Screen
                                                                05 SPRORGNSM
                                                                06 Something For Your M.I.N.D.
                                                                07 Nai’s March
                                                                08 The Prawn Song
                                                                09 Relax
                                                                10 Night Time

                                                                Wild Beasts

                                                                Last Night All My Dreams Came True

                                                                ‘Last Night All My Dreams Came True’ is a career-spanning collection and features songs from each of Wild Beasts’ studio albums, with an emphasis on ‘Boy King’, their most direct record yet.

                                                                Looking back on Wild Beasts’ back catalogue and the themes they tackled, there is a sense of prescience - toxic masculinity, gender fluidity, the conflicts surrounding class, politics and art were no bandwagon jumps, often becoming hot topics in the media several years after they’d been eloquently dealt with on record.

                                                                Recorded in two days over the Summer at RAK Studios, ‘Last Night All My Dreams Came True’ is the second official Domino Documents release and has more than fulfilled the Domino Documents aim to capture a band at the height of their powers, recording a selection of their finest songs.

                                                                TRACK LISTING

                                                                Big Cat
                                                                A Simple Beautiful Truth
                                                                Bed Of Nails
                                                                Hooting & Howling
                                                                This Is Our Lot
                                                                He The Colossus
                                                                The Devil’s Palace
                                                                Alpha Female
                                                                Get My Bang
                                                                All The King’s Men
                                                                Celestial Creatures

                                                                Nothing short of a rebirth, the album’s 10 songs are a triumphant recasting of the group, bursting with fresh ideas and vigorous sonic experimentation. 

                                                                ‘Always Ascending’ was recorded at RAK Studios, London and Motorbass in Paris, with the help of French producer extraordinaire Philippe Zdar (Cassius, Phoenix, The Beastie Boys), the mutual affection between band and producer seeping into every dazzling groove. ‘Always Ascending’ shows Franz Ferdinand broadening their palate, as exuberant as it is euphoric, creating a sound that singer, Alex Kapranos, refers to as “simultaneously futuristic and naturalistic.”

                                                                STAFF COMMENTS

                                                                Barry says: Franz Ferdinand always stood out from the considerable crowd of potential soundalikes with their jagged brand of majestic indie-pop, relying heavily on split-second key changes and snappy, fuzzy riffage. You'll be delighted to know that this one is no less outstanding, a thoroughly excellent return.

                                                                TRACK LISTING

                                                                1. Always Ascending
                                                                2. Lazy Boy
                                                                3. Paper Cages
                                                                4. Finally
                                                                5. The Academy Award
                                                                6. Lois Lane
                                                                7. Huck And Jim
                                                                8. Glimpse Of Love
                                                                9. Feel The Love Go
                                                                10. Slow Don’t Kill Me Slow

                                                                Microshift is the Leeds band's first new work in over 3 years and marks a seismic shift in their sound, dynamic, songwriting and production, whilst still bearing all the ferocious energy, intricate musicianship and bruised but beautiful song-craft of the previous releases which have quietly made them one of the UK's most revered young bands.

                                                                This is the band's third studio album technically but arguably the first in which the studio has been central to its creation. Pearl Mystic and second LP, The Hum were heavily informed by the band's live sound, Microshift on the other hand came to life in the studio, formed out of loops, modular synthesizer sequences, drum machines, homemade samples etc. which were jammed around and layered until the songs began to emerge. The band have also opened their writing to include collaborations with artists such as Richard Formby (on Opener), Christopher Duffin (on Boxing Day) and Alice Merida Richards (on Each Time We Pass).

                                                                Radiant, immersive and teeming with light, but still heavy and forceful - the music on Microshift acts as a very deliberate counter to some of the difficult topics the album's lyrics address. Death, disease, heartbreak, body image and even natural disaster are all present here but the overall effect these songs achieve is euphoric catharsis.

                                                                The album was written and recorded in full following a complete rebuild of the band’s Suburban Home Studio after the River Aire floods in Leeds in the winter of 2015 which devastated the studio. The band had an incredible response to a GoFundMe campaign and the subsequent help of volunteers over several months to rebuild the studio from nothing is a huge part of the band’s continued existence. Striving through the toughness, it is perhaps no surprise that the record is one of both defiance and darkness. “All of our records are to an extent about mental health,” comments MJ. “Largely this is an album about loss but also about maturing, accepting your flaws and the transience of intimacy”.

                                                                Hookworms are MJ, MB, JW, JN & EO.

                                                                STAFF COMMENTS

                                                                Darryl says: A brilliantly dynamic mix of psychedelic guitars, determined vocal swathes and soaring cosmic synth swells. As fascinating and direct an outing as The Hum, but refined through a good few years of working on their sound. Superb.

                                                                TRACK LISTING

                                                                Negative Space
                                                                Static Resistance
                                                                The Soft Season
                                                                Each Time We Pass
                                                                Boxing Day


                                                                The House

                                                                  ‘The House’ is the third full-length album from New York musician Porches (aka Aaron Maine).

                                                                  The 14-song affair features contributions from (Sandy) Alex G, Dev Hynes, Okay Kaya, Maya Laner (True Blue), Bryndon Cook (Starchild & The New Romantic), Cameron Wisch (Cende) and Maine’s own father Peter Maine.

                                                                  ‘The House’ was written and recorded over an 18- month stretch, immediately following the completion of Porches’ breakthrough record ‘Pool’. Taking a diary-like approach, Aaron documents a period of time through the 14 gorgeous songs on this record.

                                                                  STAFF COMMENTS

                                                                  Barry says: Like an introspective mix of the synth-heavy downbeat vibes of James Blake, mixed with grand, room-filling layers of vocals and melody. Brimming with euphoria, but tinged with a covert despair. Stunning.

                                                                  The Kills

                                                                  Black Rooster EP

                                                                    The Kills’ eponymous debut mini album ‘Black Rooster’, originally released in 2002, has been reissued for the first time.

                                                                    The mini album was recorded on an 8-track at Toe Rag Studios by Liam Watson, except ‘Dropout Boogie’ which was recorded during a live performance at Paint It Black.

                                                                    TRACK LISTING

                                                                    Cat Claw
                                                                    Black Rooster
                                                                    Dropout Boogie

                                                                    Dan Deacon

                                                                    Rat Film: Original Motion Picture Soundtrack

                                                                      Domino Soundtracks are proud to present their first release, an original soundtrack recording from Dan Deacon of the provocative essay-film ‘Rat Film’, to be released in October 2017.

                                                                      ‘Rat Film’ marks Deacon’s first full record devoted to modern composition. In between his four ecstatic electronic-pop albums, Deacon has frequently flexed the 21st Century classical muscles he first developed studying at SUNY Purchase’s Conservatory Of Music.

                                                                      ‘Rat Film’ offers the first recorded document of this parallel career - and both as a self-contained album and a companion piece to an equally potent film, it astounds.

                                                                      “The aesthetic audacity alone is intriguing; combined with Maureen Jones’s icily robotic narration and Dan Deacon’s eerie electronic score, the effect is somewhere between confounding and mesmerizing.” - New York Times

                                                                      “‘Rat Film’, in other words, is not your typical documentary, and its mesmerizing electronica score by Dan Deacon - full of whirring, bleeping and blipping, cacophonous noise, and ominous tonal swells - only enhances its eccentricity.” - The Daily Beast

                                                                      TRACK LISTING

                                                                      Horn Phase
                                                                      Reed Clouds
                                                                      Rat Poison
                                                                      Video Game
                                                                      Harold’s Lament
                                                                      Map Overlays

                                                                      Anxiety about the precarious nature of reality is a recurring thread on Protomartyr's 4th full-length and Domino debut, Relatives In Descent. Though not a concept album, it presents twelve variations on a theme: the unknowable nature of truth, and the existential dread that often accompanies that unknowing. It's no coincidence this missive comes to us at a moment when disinformation and garbled newspeak have become a daily reality. “I used to think that truth was something that existed, that there were certain shared truths, like beauty,” says Protomartyr singer Joe Casey. “Now that’s being eroded. People have never been more skeptical, and there’s no shared reality. Maybe there never was.”

                                                                      Relatives In Descent offers new layers and new insights, without sanding any of the edges born from their days as a Detroit bar band. Greg Ahee’s guitar still crackles and spits electricity. Casey's voice continues to shift naturally between dead-eyed croon and fevered bark. Drummer Alex Leonard and bassist Scott Davidson remain sharp and propulsive, a rhythm section that’s as agile as it is adventurous. But this is also Protomartyr at their most impressive. After months of rehearsal, the band decamped to Los Angeles for two weeks in March of 2017, to record with Sonny DiPerri (Animal Collective, Dirty Projectors), who co-produced the record and helped capture the band’s long-simmering vision for something more complex, but no less visceral.

                                                                      It all begins with ‘A Private Understanding,’ pegged as the album's opening statement the second it was finished, and a wellspring from which the following eleven songs flow. At once beautiful and brutal, it mutates from drum-led oddity to unlikely anthem, with some of Casey’s most potent lyrical work at its centre: “Sorrow's the wind blowing through/Truth is hiding in the wire.”

                                                                      TRACK LISTING

                                                                      1. A Private Understanding
                                                                      2. Here Is The Thing
                                                                      3. My Children
                                                                      4. Caitriona
                                                                      5. The Chuckler
                                                                      6.Windsor Hum
                                                                      7. Don't Go To Anacita
                                                                      8. Up The Tower
                                                                      9. Night-Blooming Cereus
                                                                      10. Male Plague
                                                                      11. Corpses In Regalia
                                                                      12. Half Sister

                                                                      ‘Eucalyptus’ is the new studio album written and produced by Animal Collective’s Avey Tare.

                                                                      Recommended listening for dawn or dusk. An electroacoustic movement through leaves, rocks and dust. Written on sunlit bedroom afternoons in Los Angeles, practiced in the dark early hours of the California twilight and slept on under Big Sur skies.

                                                                      Recorded by Animal Collective’s Deakin (Josh Dibb), featuring chamber orchestration arranged by Eyvind Kang, musicians Angel Deradoorian and Jessika Kenney.

                                                                      TRACK LISTING

                                                                      Season High
                                                                      Melody Unfair
                                                                      Ms. Secret
                                                                      Lunch Out Of Order Pt. 1
                                                                      Lunch Out Of Order Pt. 2
                                                                      Jackson 5
                                                                      DR Aw One For J
                                                                      In Pieces
                                                                      Selection Of A Place
                                                                      Boat Race
                                                                      Coral Lords
                                                                      Sports In July
                                                                      When You Left Me

                                                                      Peter Perrett, whose incisive songcraft and sardonic drawl made him one of the most distinctive voices of the Seventies, hasn’t released any music for 20 years. Bearing in mind his most famous song began “I always flirt with death” (‘Another Girl, Another Planet’), this is one comeback that nobody saw coming.

                                                                      Backed by his sons - Jamie and Peter Jr. on lead guitar and bass respectively - and produced by Chris Kimsey (The Rolling Stones), Peter’s intuitive feel for words; his flair for idiosyncratic metaphors and his deadpan wit are all still as sharp as ever.

                                                                      TRACK LISTING

                                                                      How The West Was Won
                                                                      An Epic Story
                                                                      Hard To Say No
                                                                      Living In My Head
                                                                      Man Of Extremes
                                                                      Sweet Endeavour
                                                                      C Voyeurger
                                                                      Something In My Brain
                                                                      Take Me Home

                                                                      Royal Trux "Live"

                                                                      Platinum Tips & Ice Cream

                                                                        ‘Platinum Tips + Ice Cream’ is new from Royal Trux.

                                                                        The songs were written over a span of time as wide as eagle’s wings but the recordings are new, live, unrehearsed and were presented in real time to a few thousand people in California and NYC.

                                                                        Performance art? Yes! But only because, unlike so many other aural ‘content providers’, Neil Hagerty and Jennifer Herrema are true artists writing their own futures into the present. This was, and will always be, Royal Trux.

                                                                        TRACK LISTING

                                                                        Junkie Nurse
                                                                        Sewers Of Mars
                                                                        Red Tiger
                                                                        Esso Dame
                                                                        Deafer Than Blind
                                                                        Platinum Tips
                                                                        The Banana Question
                                                                        Blue Is The Frequency
                                                                        Ice Cream

                                                                        (Sandy) Alex G


                                                                        Rocket is (Sandy) Alex G’s eighth full-length release—an assured statement that follows a slate of humble masterpieces, many of them self-recorded and self-released, stretching from 2010’s RACE to his 2015 Domino debut, Beach Music.

                                                                        Rocket’s sessions began shortly after Beach Music’s ended, with Alex tracking songs at home, by himself and with friends, in the gaps between a hectic 2015 and 2016 touring schedule (including working with Frank Ocean on Blonde).

                                                                        Rocket was mixed by Jacob Portrait (Unknown Mortal Orchestra, Bass Drum of Death), who also lent his hand to Beach Music, giving the album a fine-tuning that retains the homespun personality of earlier efforts.

                                                                        STAFF COMMENTS

                                                                        Barry says: Uplifting folky plucking, heart-wrenching fiddle work and those heart-melting vocals. It's not all smooth sailing though, with pieces like 'Brick' coming way out of leftfield, you have to hear it to believe it, but the range of talents on display here is mindblowing. Well worth your time.

                                                                        TRACK LISTING

                                                                        Poison Root
                                                                        Powerful Man
                                                                        Big Fish

                                                                        With ‘Best Troubador’, Bonnie ‘Prince’ Billy pays homage to a longtime and forever hero, the late Merle Haggard.

                                                                        A singer who, some 25 years previously, first performed in public by playing a Merle Haggard song, Bonny has often cited Merle’s work in performance, on records and in conversation with anyone who was around, even talking to Merle himself for Filter magazine in 2009.

                                                                        ‘Best Troubador’ flips through his song book, landing on pages unmoored from their time and located anew. Moving from 1978 to 1969 to 2003 to 1981 allows the album to circle Haggard’s music in a simulation of thought and memory, slipping around from spot to spot as if they were discrete impressions, unknown but knowable yet.

                                                                        STAFF COMMENTS

                                                                        Barry says: Superbly uplifting plucked guitars, swooning woodwind and Mr. Billy's sweet but serious vocal delivery. It's a wonder that there could be any more gold flowing from this supremely talented songwriter, yet it continues. Touching, beautiful and sublime.

                                                                        TRACK LISTING

                                                                        The Fugitive
                                                                        I’m Always On A Mountain When I Fall
                                                                        The Day The Rains Came
                                                                        Haggard (Like I’ve Never Been Before)
                                                                        I Always Get Lucky With You
                                                                        My Old Pal
                                                                        Roses In The Winter
                                                                        Some Of Us Fly
                                                                        Wouldn’t That Be Something
                                                                        That’s The Way Love Goes
                                                                        Nobody’s Darling
                                                                        What I Hate (Excerpt)
                                                                        I Am What I Am
                                                                        If I Could Only Fly

                                                                        South London trio Little Cub release their debut album, ‘Still Life’, on Domino Recordings.

                                                                        Marrying a wry, worldly and subversive form of diarist lyricism with sumptuously evocative electronic production, ‘Still Life’ announces the arrival of a band at once deeply in tune with the greatest traditions of progressive, homespun British pop music and at odds with the increasingly vacuous pop culture they are born into.

                                                                        TRACK LISTING

                                                                        Too Much Love
                                                                        My Nature
                                                                        Breathing Space
                                                                        Death Of A Football Manager
                                                                        Closing Time

                                                                        Joe Goddard

                                                                        Electric Lines

                                                                          ‘Electric Lines’, the new album from producer Joe Goddard, is all about connections. The title refers to the colourful cables that link the modules in his Eurorack synthesizer and to the invisible wires that run between all the different kinds of electronic music that he loves. An apt title for a record which brilliantly unites the strands of his prolific career: member of Hot Chip and The 2 Bears, songwriter, producer, DJ, Grammy award winning remixer and co-founder of the Greco-Roman label. Like Four Tet, Caribou and Jamie xx, Joe combines a thirst for experimentation, an instinctive understanding of the dancefloor and a love of left-of-centre pop music. ‘Electric Lines’ confirms his place in the front rank of British producers.

                                                                          STAFF COMMENTS

                                                                          Barry says: Goddard superbly mixes the off-key rotating chord electronica of his day-job at Hot Chip with post-dubstep atmospherics and the warm vintage hum and twisted modulations of analogue synths. An epic journey (even more so in the extended CD version), and one worth undertaking. Brilliantly varied but resolutely enthralling synth 'tronica.

                                                                          TRACK LISTING

                                                                          ‘Electric Lines’
                                                                          Ordinary Madness
                                                                          Lose Your Love
                                                                          Human Heart
                                                                          Truth Is Light
                                                                          Nothing Moves
                                                                          Electric Lines
                                                                          Music Is The Answer

                                                                          Bonus 12” (With Indies Exclusive LP Only)
                                                                          Funk You Up
                                                                          Lose Your Love (Full
                                                                          Length Version)

                                                                          Flying Saucer Attack


                                                                            Following the chilled-out acoustic draughts blowing through both ‘Further’ and ‘Chorus’, to say nothing of the folkundertones in the 1996 EP release ‘Sally Free And Easy’, it seemed that the direction for future Flying Saucer Attack musics was clear: increased melodicism with more roots exposed in ever-cleaner productions. Apparently not - 1997’s ‘New Lands’ brought a return to the starkness and shadowplay of extreme noise and FSA’s Dave Pearce’s sonombulent vocalizing, along with the introduction of an unanticipated new development - a rubbery, almost dance-rhythmic bottom end that only increased the atmosphere of dread hanging above the fray. This set the stage for ‘Mirror’, which followed ‘New Lands’ over two years later, with only a cover version of Skip Spence’s ‘Goodbye World’ opus, ‘Grey/Afro’ coming between.

                                                                            ‘Mirror’ arrived wrapped in a vibrant, multicolored cover designed by Savage Pencil but the opening sequence of songs offered some of the quietest, most refined Flying Saucer Attack songs committed to tape. The violent spells of ‘New Lands’ had given way to a flattened drone on the electric pieces ‘Space (1999)’, ‘Islands’ and ‘Dark Wind’, while the glittering acoustics of ‘Suncatcher’ and ‘Tides’ highlighted an incredible fragility within the songs. Dave Pearce seemed to be further away in space than ever, a wispy presence over streamlined hard beats and loops of ‘Chemicals’, which create the direction of ‘Mirror’’s second side.

                                                                            Particularly when considering the silence that followed, this impression makes ‘Mirror’ a distressing encounter at times, though certainly one of the most enervating listens of the FSA catalogue - quite an achievement, when the blinding airs of previous phases are recalled. 

                                                                            TRACK LISTING

                                                                            Space (1999)
                                                                            Dark Wind
                                                                            Winter Song
                                                                            Star City

                                                                            Flying Saucer Attack

                                                                            New Lands

                                                                              Likely titled New Lands due to Flying Saucer Attack being lauched upon "phase two" (as the liner notes put it), this release finds FSA down to Pearce and Pearce only, as before with a bit of help here and there from Rocker and, on "Present," the co-writing skills of two members of Amp. That the first two tracks are called "Past" and "Present" and that the first has more of a "classic" FSA sound with a steady rhythm and huge solo while the second revolves around a buried, near inaudible series of loops, seems to be part of the album's plan, such as it is. New Lands in general showcases Pearce in testing mode, seeming to see what works and what doesn't, looking backward as much as forward. Indeed, the lengthy, majestic steady build of "Whole Day Song" reappears from the Goodbye/and Goodbye EP, this time with vocals and a low-key, softly intoxicating piano line. While the more experimental parts of New Lands aren't really Pearce completely trashing his general aesthetic and trying something new, they do show him attempting and often succeeding at introducing further variety to his murky, intriguing field. Thus, "Up in Her Eyes" has a very familiar vocal and guitar style, but the obsessive, upfront yet still shadowy percussion -- sounding more like a chugging train engine than anything else -- dominates the track, at least up until its slightly more ambient, free-flowing end. Other curious rhythms, reminiscent of past comparisons to the work of Main, crop up more than once -- the near arrhythmic, squealing loop that introduces "Respect" or the blunt, brusque punch of "The Sea." Through it all, the combination of Pearce's tender, dark folk vocals and skybursting guitar provides the central point of the experience, making for some fascinating, entrancing results. - Allmusic

                                                                              Flying Saucer Attack

                                                                              Flying Saucer Attack

                                                                                Seemingly emerging out of nowhere following an initial single or two, Flying Saucer Attack's debut album crystallized an incipient 1990s underground as in thrall to folk music as to feedback blasts and Krautrock influences. The description the band members themselves used, also considered by some as an alternate title to this album, was "rural psychedelia," and rarely has form so readily followed function. The original duo of Pearce and Brook, with some help from friend/Third Eye Foundation mainman Matt Elliott on percussion and clarinet (thus creating an even more alien atmosphere on "Moonset"), created a thick, evocatively haunting collection of modern mind-blowers. If any one thing could be singled out about the album, it's the continual contrast between Pearce's soft, reflective singing, often sunk deep into the overall mix and treated with heavy-duty echo, and his often tremendous guitar work, electric squalls, and drones piled atop one another. Songs like the exultant "Wish" and "A Silent Tide" are the breathtaking results. Initial comparisons were made to My Bloody Valentine and the shoegazing crowd, but they're misplaced -- it's a consciously different style employing some similar elements, but with notably varying results. Two astonishing drone/tribal instrumentals are named "Popol Vuh 2" and "Popol Vuh 1," both open tips of the hat to the long-lived German experimental group. The completely out-of-left-field number, though, is the cover of Suede's "The Drowners" -- changing nothing about the pace but overdriving the feedback and relentlessly toning down the vocals, FSA turn the neo-glam piece into a noisefest beyond description. Compared to later albums, Flying Saucer Attack sets more of an immediately consistent mood -- some numbers aside, the dreamy singing, the seemingly straightforward guitar parts that get more involved the more one listens, and more continue from track to track, generally speaking. The end results, though, are more than worth it. - Allmusic

                                                                                Yorkston / Thorne / Khan

                                                                                Neuk Wight Delhi All-Stars

                                                                                Yorkston/Thorne/Khan release their new album Neuk Wight Delhi All-Stars, the follow up to the band’s debut album, 2016’s critically acclaimed Everything Sacred, and presents a confluence of currents, among them the north Indian sarangi; jazz-tinged bass, reminiscent in places of Danny Thompson; acoustic guitar that owes a debt to Elizabeth Cotton, Dick Gaughan and Mississippi John Hurt; and three very different vocalists - James Yorkston (East Neuk of Fife), Jon Thorne (Isle of Wight) and Suhail Yusuf Khan (New Delhi).

                                                                                “Piya is a word in the Hindi language, meaning beloved,” explains Khan. “The Hindi lyrics of the song were composed and written by me. They talk about a lover who is longing for a beloved, devastated by pain. A point comes when the lover starts hallucinating that the beloved has arrived and starts having conversations with this hallucination. There is a strange feeling of dark happiness: the beloved is there, but only as a hallucination.” “When Suhail explained the Hindi lyric to me,” Yorkston continues, “it reminded me of the great old song The Daemon Lover, also known as The House Carpenter, so I sang a fragment of Annie Watson’s version to introduce the piece.”

                                                                                This harmonious and singular collaboration can be found across all of Neuk Wight Delhi All-Stars, and in fact, YTK’s Everything Sacred may be the only precedent. “The combination of a singer-songwriter, a jazz bassist and an Indian classical sarangi player is totally unheard off,” says Khan.

                                                                                A collection of traditional Indian and UK folk songs, beautiful originals and idiosyncratic covers, Neuk Wight Delhi All-Stars does not only bring together Indian classical music and jazz, then, but kosmische too; Yorkston also cites dub reggae, Uilleann pipes and the Madagascan guitarist D’Gary as influences. That breadth, says Thorne, is critical: “I think YTK is a fine example of how music operates without boundaries as a common international language and a source of cross-cultural unity. It’s an important message in the times that we live in.”

                                                                                Produced by YTK and recorded entirely onto 24 track 2” tape at Analogue Cat studios in Northern Ireland by Julie McLarnon, Neuk Wight Delhi All-Stars comes after a period of steady touring for the band (including incredible main stage performances at Green Man, Celtic Connections and Edinburgh International Festival, and tours in India, Spain and Ireland) and reflects the confidence and increasingly fluid interplay between Yorkston, Thorne and Khan.

                                                                                STAFF COMMENTS

                                                                                Barry says: From the warming droning fiddles and chanting of 'Chori, Chori' and the soaring emotive twists of 'Bales' to the more ambient excursions and traditionalism of 'Jaldhar Kedara', this is a fascinating and riveting glimpse at one of the most enjoyable and unique collaborations out there today. Brilliant.

                                                                                TRACK LISTING

                                                                                1. Chori, Chori (Vocals: Suhail)
                                                                                2. Samant Saarang / Just A Bloke (Vocals: Jon, Suhail)
                                                                                3. Bales (Vocals: James, Suhail)
                                                                                4. Jaldhar Kedara (Wedding Song) (Vocals: Suhail)
                                                                                5. False True Piya (Vocals: James, Suhail)
                                                                                6. The Blue Of The Thistle (Vocals: Jon)
                                                                                7. Recruited Collier (Vocals: James, Suhail)
                                                                                8. The Blues You Sang (Vocals: James, Suhail, Jon)
                                                                                9. Halleluwah (Vocals: Suhail)
                                                                                10. One More Day (Jon’s Song) (Vocals: Jon)

                                                                                On In Mind, the fourth full-length record from Real Estate, the band fine-tunes the winsome songwriting and profound earnestness that made previous albums - 2009’s Real Estate, 2011’s Days, and 2014’s Atlas - so beloved. Recorded in Los Angeles with producer Cole M. Greif-Neill (Julia Holter, Beck), In Mind delivers the same kind of warmth and soft-focus narratives that one has come to expect from the band - pastoral guitars, elegantly deployed arrangements, a sort of mindful melancholy - but there is also a newly adventurous sonic edge to the proceedings.

                                                                                It offers a mild shifting of the gears, positing a band engaged in the push/pull of burgeoning adulthood. Reflecting a change in lineup, changes in geography, and a general desire to move forward without looking back, the record casts the band in a new light - one that replaces the wistful ennui of teenage suburbia with an equally complicated adult version.

                                                                                STAFF COMMENTS

                                                                                Andy says: One of Piccadilly Records' favourite janglers return with another swooningly resigned ache-a-thon, this time with added quirk and expanded dynamism thanks to the addition of the splendid Julian Lynch on lead guitar.

                                                                                TRACK LISTING

                                                                                1. Darling
                                                                                2. Serve The Song
                                                                                3. Stained Glass
                                                                                4. After The Moon
                                                                                5. Two Arrows
                                                                                6. White Light
                                                                                7. Holding Pattern
                                                                                8. Time
                                                                                9. Diamond Eyes
                                                                                10. Same Sun
                                                                                11. Saturday

                                                                                Featuring the original line-up of Howard Devoto (vocals & songwriter), Pete Shelley (guitar & songwriter), Steve Diggle (bass guitar) and John Maher (drums), ‘Time’s Up’ was recorded at Revolution Studios, Bramhall Lane Stockport on the 18th of October 1976. The session, recording Buzzcocks’ live set at the time and was engineered by Andy MacPherson.

                                                                                TRACK LISTING

                                                                                You Tear Me Up
                                                                                Friends Of Mine
                                                                                Orgasm Addict
                                                                                Time’s Up
                                                                                Lester Sands (Drop In The Ocean)
                                                                                Love Battery
                                                                                I Can’t Control Myself
                                                                                I Love You, You Big Dummy
                                                                                Don’t Mess Me Around

                                                                                François & The Atlas Mountains

                                                                                Solide Mirage

                                                                                ‘Solide Mirage’, the follow up to the 2014 album, ‘Piano Ombre’, offers a glimpse of coherence in a distorted world. The album was recorded in the chaotic-yet-calm environment of Brussels - the capital of Europe - a city where the future of a million ‘others’ is being decided.

                                                                                Fránçois Marry and his shape-shifting band The Atlas Mountains recorded with Ash Workman (Christine & The Queens, Metronomy) before Owen Pallett added violins from his home in LA.

                                                                                ‘Solide Mirage’ - like an imperceptible dream, a fantasy where reality shifts as one approaches it - is a perfect definition for this protean, changeable-yet-direct album which reveals new facets and new territories in every listen. Sometimes soft (on ‘1982’, ‘Apocalypse à Ipsos’, ‘Pepétuel été’, ‘100.000.000’), sometimes tough (‘Bête Morcelée’ and its rush of pure grunge, ‘Grand Dérèglement’ and the roughness and splinters of ‘Jamais Deux Pareils’), sometimes crazy (the digitized trance of ‘Âpres Après’) but always highly political, whether direct or reading between the lines.

                                                                                TRACK LISTING

                                                                                Grande Dérèglement
                                                                                Tendre Est L'Âme
                                                                                Apocalypse à Lpsos
                                                                                Âpres Après
                                                                                Bête Morcelée
                                                                                Jamais Deux Pareils
                                                                                Perpétuel Été
                                                                                Rentes Écloses

                                                                                The new Dirty Projectors song ‘Up In Hudson’ is an elegy — to the Obama years, to a generation of indie rock, and to a relationship. Over the course of nine verses and almost eight minutes, the lyrics situate David Longstreth & his band in the vivid textures of the recent past like a millennial Blood On The Tracks. It is a piece of epic storytelling unlike anything else in Dirty Projectors’ discography. 

                                                                                To arrive where we began and know the place for the first time: ‘Up In Hudson’ is an origin story for a new chapter of Dirty Projectors. 

                                                                                And with it, Dirty Projectors announce their long-awaited 7th LP. 

                                                                                The new album does everything we want and expect from Dirty Projectors — but in a way we never could have imagined or anticipated. In a career of surprising conceptual gambits, unexpected stylistic evolutions, and continually changing lineups — this is, as DJ Khaled says, “ANOTHER ONE”!

                                                                                STAFF COMMENTS

                                                                                Barry says: Soulful beats, driven choruses and synthy breakdowns clash headfirst with soaring melodies, rapidly flicking from glitchy meltdowns into beautifully formed jazzy flourishes and silken harmonies. Brilliantly written and constantly evolving, a true gem.

                                                                                TRACK LISTING

                                                                                01. Keep Your Name
                                                                                02. Death Spiral
                                                                                03. Up In Hudson
                                                                                04. Work Together
                                                                                05. Little Bubble
                                                                                06. Winner Take Nothing
                                                                                07. Ascent Through Clouds
                                                                                08. Cool Your Heart
                                                                                09. I See You


                                                                                Future Politics

                                                                                  Proceeding ‘Feel It’ (2011) and ‘Olympia’ (2013), ‘Future Politics’ is the third studio album from Canadian electronic pop outfit Austra, fronted by Katie Stelmanis.

                                                                                  The album was written, produced, and engineered by Stelmanis with mixing by Alice Wilder at Transmitter Park Studio in New York and Union Sound Company in Toronto.

                                                                                  The project concerns the concept of projecting innovation and creativity through individualism and the injustice of an, at times, closed minded or stunted world. A matured message, ‘Future Politics; is for fans of iconic sounds resonating from The Knife, Fever Ray and Bjork to Grimes and Anohni.

                                                                                  Their most visually compelling record to date, ‘Future Politics’ sees transcendent, modernist artwork shot at Luis Barragán’s famed Cuadra San Cristóbal in Mexico City.

                                                                                  TRACK LISTING

                                                                                  We Were Alive
                                                                                  Future Politics
                                                                                  I’m A Monster
                                                                                  I Love You More Than
                                                                                  You Love Yourself
                                                                                  Angel In Your Eye
                                                                                  Beyond A Mortal
                                                                                  Deep Thought

                                                                                  Domino Records reissue John Cale’s classic live album ‘Fragments Of A Rainy Season’, featuring his revered interpretation of Leonard Cohen’s ‘Hallelujah’ amongst many solo versions from his enduring catalogue and previously unreleased outtakes.

                                                                                  ‘Fragments Of A Rainy Season’ was the first live John Cale album to feature him performing solo and ‘unplugged’ - before that term became a mid 1990s buzzword.

                                                                                  In contrast to the jaundiced punk truculence of ‘Sabotage/Live’ (1979) or ‘Even Cowgirls Get The Blues’ (1986), ‘Fragments Of A Rainy Season’ gives us Cale at his most melodic and moving, a mellowed and certainly a soberer man in a Yamamoto jacket and a lopsided haircut running through a selection of his prettiest songs. It’s a Cale many love deeply, a man alone at a concert-hall Steinway revisiting the pop-rock of ‘Paris 1919’ and ‘A Child’s Christmas In Wales’, as wistful and whimsical as any 70s singer songwriter holding court at LA’s Troubadour club. It’s the Cale who disavowed the spiky nihilism and decadence of the Velvets, inspired instead by melodicism of Paul McCartney and Brian Wilson (to whom he’d paid haunting homage on ‘Slow Dazzle’s brilliant Beach Boys pastiche ‘Mr. Wilson’). It’s the Cale who improbably took a staff job at Warner-Reprise in LA and - for an all-too-brief moment - became part of the Burbank producers’ mafia alongside Lenny Waronker and his laidback chums. (Lest we forget, 1973’s ‘Paris 1919’ featured members of Little Feat and The Crusaders among the backing musicians.)

                                                                                  Cale being Cale, ‘Fragments Of A Rainy Season’ isn’t all rueful tenderness. The deceptively jaunty ‘Darling I Need You’ is flippantly introduced as a song about “religious awakening in the southern part of the United States,” while Elvis’ ‘Heartbreak Hotel’ is no less gothic in the solo version here than it is in the Grand Guignol horror show of the original on ‘Slow Dazzle’. ‘Guts’ is as close as Cale ever came to Lou Reed at his most withering.

                                                                                  It’s easy to forget that - years before Jeff Buckley and The X-Factor - he was the first artist to recognize the hymnal majesty of Leonard Cohen’s ‘Hallelujah’, or that it was his original 1991 reading of the song that popped up on the soundtrack of ‘Shrek’.

                                                                                  TRACK LISTING

                                                                                  On A Wedding Anniversary
                                                                                  Lie Still, Sleep Becalmed
                                                                                  Do Not Go Gentle Into That Good Night
                                                                                  Buffalo Ballet
                                                                                  A Child’s Christmas In Wales
                                                                                  Darling I Need You
                                                                                  Ship Of Fools
                                                                                  Leaving It Up To You
                                                                                  The Ballad Of Cable Hogue
                                                                                  Chinese Envoy
                                                                                  Dying On The Vine
                                                                                  Fear (Is A Man’s Best Friend)
                                                                                  Heartbreak Hotel
                                                                                  Style It Takes
                                                                                  Paris 1919
                                                                                  (I Keep A) Close Watch
                                                                                  Thoughtless Kind
                                                                                  Fear (Is A Man’s Best Friend) (Outtake)*
                                                                                  Amsterdam (Outtake) *
                                                                                  Broken Hearts (Outtake) *
                                                                                  I’m Waiting For The Man (Outtake) *
                                                                                  Heartbreak Hotel (Outtake - Strings) *
                                                                                  Fear (Is A Man’s Best Friend) (Outtake - Strings) *
                                                                                  Paris 1919 (Outtake - Strings) *
                                                                                  Antarctica Starts Here (Outtake - Strings) *

                                                                                  * = Bonus Track (REWIGCD107X & REWIGLP107X [& REWIGLP107 As
                                                                                  Digital Download] Only)

                                                                                  The return of Shirley Collins after a 38 year silence. ‘Lodestar’ is a collection of English, American and Cajun songs dating from the 16th Century to the 1950s, recorded at Shirley’s home in Lewes by Stephen Thrower and Ossian Brown of Cyclobe and produced and musically directed by Ian Kearey.

                                                                                  Though Shirley Collins (MBE) has been absent from the music scene for many years, her impact has not diminished. The likes of Graham Coxon, Jonny Greenwood, Stewart Lee and Angel Olsen laud her and a documentary, ‘The Ballad Of Shirley Collins’, is currently in progress. Additionally, she was given the Good Tradition award at the BBC Radio 2 Folk Awards in 2008, elected President of the English Folk Dance & Song Society in the same year and was awarded an Honorary Doctorate in Music from Sussex University this year. Shirley released her first memoir, ‘America Over The Water’, in 2004 and is currently working on her second book.

                                                                                  “Shirley is a time traveller, a conduit for essential human aches, one of the greatest artists who ever lived, and yet utterly humble” - Stewart Lee.

                                                                                  TRACK LISTING

                                                                                  Awake Awake / The Split Ash Tree / May Carol / Southover
                                                                                  The Banks Of Green Willow
                                                                                  Cruel Lincoln
                                                                                  Washed Ashore
                                                                                  Death And The Lady
                                                                                  Pretty Polly
                                                                                  Old Johnny Buckle
                                                                                  Sur Le Borde De L’Eau
                                                                                  The Rich Irish Lady / Jeff Sturgeon
                                                                                  The Silver Swan

                                                                                  On turning 60, legendary producer Clive Langer decided it was time to get a band together.

                                                                                  Recorded at Iguana Studio in Brixton with musician mates and long-time cohorts (including Suggs and Roxy Music’s Andy Mackay), ‘Practice’ is jagged, melodious, ingenious, impulsive and exhilarating.

                                                                                  Driven by a frantic and restless energy, ‘Practice’ is exactly the kind of record you’d hope someone would make if they woke up aged 60 thinking, “Sod it, I’m going to start a rock & roll band.”

                                                                                  TRACK LISTING

                                                                                  Acre Lane
                                                                                  I’m Sorry
                                                                                  Had A Nice Night
                                                                                  Heaven Calls Another Name
                                                                                  Picture Postcard Paradise
                                                                                  Knock Me Off
                                                                                  Out Of Time

                                                                                  Blood Orange

                                                                                  Freetown Sound

                                                                                  Written and produced by Devonté Hynes, Blood Orange’s highly anticipated new album, ‘Freetown Sound’ features musical contributions from Nelly Furtado, Carly Rae Jepsen, BEA1991, Debbie Harry, Adam Bainbridge (AKA Kindness), Empress Of, Ian Isiah, Kelsey Lu, Jason Arce, Ava Raiin, Aaron Maine (AKA Porches), Bryndon Cook (AKA Starchild) and Patrick Wimberly.

                                                                                  ‘Freetown Sound’ is a tour de force, a confluence of Hynes’ past, present and future that melds his influences with his own established musical voice.

                                                                                  STAFF COMMENTS

                                                                                  Patrick says: I saw Test Icicles in 2005 and thought they were a right load of bollocks (wahey!). I've flirted with Devonté's output since without taking it past first base, before finally calling it a day after 'Cupid Deluxe'. When 'Freetown Sound' hit the shelves I avoided eye contact and kept walking, almost missing out on one of my records of the year. Politicised, soulful and culturally aware songwriting expressed through the most forward thinking synthwave sounds.

                                                                                  Barry says: A soulful mix of ultra-silky synthwave textures, Hynes' trademark vocal delivery (as well as a who's who of guests) and silky hip-hop percussion. Though the production throughout is impeccable, it manages to retain an element of surprise, ranging from heartfelt soul to a percussive instrumental breakdown in a few short minutes. Brilliantly innovative, but eminently listenable, this is another tour-de-force from Hynes et al and sure to become a favourite for lovers of (almost) any genre. As exceptional as it is revolutionary.

                                                                                  Millie says: Freetown Sound is such a prominent album for me, resounding politically and emotionally charged, it holds a lot of important messages. The album seems more progressive from his previous albums, it is confident and distinct. The songs Chance, Love Ya and Hadron Collider are a handful of my favourites off the album.

                                                                                  TRACK LISTING

                                                                                  By Ourselves
                                                                                  Best To You
                                                                                  With Him
                                                                                  Love Ya
                                                                                  But You
                                                                                  Hands Up
                                                                                  Hadron Collider
                                                                                  Squash Squash
                                                                                  Juicy 1-4
                                                                                  Better Than Me
                                                                                  Thank You
                                                                                  I Know
                                                                                  Better Numb

                                                                                  PICCADILLY EXCLUSIVE: PRE-ORDER THE ALBUM AND ENTER A DRAW TO WIN A 100cmx100cm PROMOTIONAL FABRIC DISPLAY BANNER – ONLY 1 IN THE WORLD!!!

                                                                                  Where 2014's Present Tense album found Wild Beasts in reflective mood, absorbing a fascination with online culture and electronic music, Boy King has them, as Tom Fleming puts it, "back to being pissed off". The quartet’s ever-present knack for sensual melody via Hayden Thorpe and Fleming's dueting vocals, Ben Little's sinuous guitar groove and Chris Talbot's potent rhythm section carries in Boy King an aggressive, snarling and priapic beast that delves into the darker side of masculinity and Thorpe's own psyche. As Hayden himself says, "After five records there had to be an element of 'what the fuck?'".

                                                                                  A newfound creative friction between Thorpe and Fleming proved key to unleashing the unique pop sensibility of Boy King - Fleming’s more visceral experimentation unlocking new dimensions in Thorpe’s own writing. After spending a whole year finessing this new found impetus in East London, the band emerged with a collection of songs ready to take to Dallas and producer John Congleton (St. Vincent, Swans, The War on Drugs). Both Thorpe and Fleming credit that trip to Dallas with teasing out the raw power of Boy King. In the studio, the band kept up the intensity of the office hour routine they'd employed during writing sessions and, they say, responded well to Congleton's sober discipline. "He made us get in there, get on and do it," Fleming says. "English politeness never featured."

                                                                                  The raw pop of Boy King's songs are the perfect foil to Thorpe's libidinous lyricism: "it became apparent that that guitar almost became the character within the songs, that phallic character, the all-conquering male," he says. "I'm letting my inner Byron fully out, I thought I'd tucked him away, but he came screaming back like the Incredible Hulk." Here lies Boy King's greatest success. Between the slide of prowling aggression and interior darkness, there are glorious, gorgeous moments. It’s yet another incomparable Wild Beasts record; a visceral, sensual and jolting body of work that acts as a remarkable soundtrack to the early 21st century male malaise. Or as Thorpe puts it: "I think Boy King is an apocalyptic record. It's about swimming in the abyss. When you think about sex, you've got to think about death, they're one and the same.”

                                                                                  STAFF COMMENTS

                                                                                  Barry says: Wild beasts come back to the fore with this funky slab of wistful electronic indie, drenched in 90's reverb and synth stabs. This outing sees their minimal instrumental input accentuated by crystal-clear production values and thumping sub-bass drones. Indie for the dancefloor, satisfying and ethereally rousing. Top stuff.

                                                                                  TRACK LISTING

                                                                                  Big Cat
                                                                                  Tough Guy
                                                                                  Alpha Female
                                                                                  Get My Bang
                                                                                  Celestial Creatures
                                                                                  He The Colossus
                                                                                  Eat Your Heart Out Adonis

                                                                                  Over their almost decade-and-a-half career, The Kills have released four records. Each one a restless, reckless enigmatic art statement that bristled with tension, anxiety, sex, unstudied cool and winking ennui, yet not one of them sounded like the previous one. Ash & Ice is the follow up to 2011’s critically lauded Blood Pressures and was five years in the making in part due to Jamie Hince’s five hand surgeries, which resulted in him having to re-learn how to play guitar with a permanently damaged finger.

                                                                                  Unlike earlier albums, which have largely been written and recorded at Key Club Studio in Benton Harbor, Michigan, the bulk of the recording for Ash & Ice took place in a rented house in LA and at the world famous Electric Lady Studios in NYC. The album was produced by Jamie Hince and co-produced by John O’Mahony (Metric, The Cribs), and mixed by Tom Elmhirst (Adele, Arcade Fire, Amy Winehouse) and Tchad Blake (Black Keys, Arctic Monkeys).

                                                                                  It was during Hince’s recuperation from surgery that he first started sketching out what would become the songs for the album. To shake up the writing process, Hince booked a solo trip on the infamous Trans-Siberian Express for inspiration while Alison Mosshart, now residing in Nashville, TN, wrote some of the most affecting, poetically candid lyrics that she ever has, painting word pictures that mine the dangerous terrain between romantic obsession, prophecy and tough love. Where previous albums had an air of detachment and emotional austerity, underpinned by an uneasy self-awareness and unexpressed anger, the 13 songs on Ash & Ice are more understated, less tempestuous and more affecting because of that, exposing the kind of push-pull you feel when you find yourself in a complicated but all-consuming relationship. Ash & Ice is The Kills at their emotionally charged, arresting best. Prepare to be slayed.

                                                                                  STAFF COMMENTS

                                                                                  Barry says: The Kills return with their newest album since 2011's 'Blood Pressures' and this might just be their most intricate and emotive offering yet. Further emphasising their innate ability to pluck at the heartstrings whilst soothing the soul. Mossheart's vocals are as sultry and emotive as ever, and the instrumentation is just as you'd expect : raw, honest and beautiful.

                                                                                  TRACK LISTING

                                                                                  1. Doing It To Death
                                                                                  2. Heart Of A Dog
                                                                                  3. Hard Habit To Break
                                                                                  4. Bitter Fruit
                                                                                  5. Days Of Why And How
                                                                                  6. Let It Drop
                                                                                  7. Hum For Your Buzz
                                                                                  8. Siberian Nights
                                                                                  9. That Love
                                                                                  10. Impossible Tracks
                                                                                  11. Black Tar
                                                                                  12. Echo Home
                                                                                  13. Whirling Eye

                                                                                  Cass McCombs

                                                                                  Wit's End

                                                                                    The most beautiful and stark of Cass McComb’s albums, ‘Wit’s End’ is a classic in a cannon of superlative songwriting.

                                                                                    Respected by everyone from Vampire Weekend to Band Of Horses it’s time for you find out what all the fuss is about.

                                                                                    STAFF COMMENTS

                                                                                    Andy says: Sad songs say so much!

                                                                                    TRACK LISTING

                                                                                    1. County Line
                                                                                    2. The Lonely Doll
                                                                                    3. Buried Alive
                                                                                    4. Saturday Song
                                                                                    5. Memory’s Stain
                                                                                    6. Hermit’s Cave
                                                                                    7. Pleasant Shadow Song
                                                                                    8. A Knock Upon The Door

                                                                                    ‘Pennied Days’ is the second album from Minneapolisbased band Night Moves.

                                                                                    Written and recorded by principle band members John Pelant and Micky Alfano and produced by John Agnello (Kurt Vile, Sonic Youth, The Walkmen), the album follows 2012’s ‘Colored Emotions’.

                                                                                    The album feels warm with feeling, tinged with a deep appreciation for rock & roll’s most storied songwriters. Ranging from traditionalist heroes like Leon Russell and The Band to R&B originators Curtis Mayfield and Sly Stone to pre-punk experimentalists Suicide. It’s distinctly modern and a great leap forward from ‘Colored Emotions’.

                                                                                    ‘Pennied Days’ was recorded following tours with Father John Misty, Lord Huron, Django Django and Polica.

                                                                                    TRACK LISTING

                                                                                    Carl Sagan
                                                                                    Denise, Don’t Wanna See You Cry
                                                                                    Leave Your Light On
                                                                                    Border On Border
                                                                                    Kind Luck
                                                                                    Hiding In The Melody
                                                                                    Staurolite Stroll
                                                                                    Only To Live In Your Memories

                                                                                    The Last Shadow Puppets

                                                                                    Everything You've Come To Expect

                                                                                    The album finds Alex Turner and Miles Kane reunited with James Ford (production and drums) and Owen Pallett (string arrangements) and joined by Zachary Dawes (Mini Mansions) on bass, recording the follow up to 2008’s ‘The Age Of The Understatement’ at Shangri La Studio in Malibu.

                                                                                    Featuring current single ‘Bad Habits’, ‘Everything You’ve Come To Expect’ is a more open and expansive work than its predecessor, wearing its influences less obviously on its sleeve – by turns the album is soaring, snarling and breathlessly seductive.

                                                                                    STAFF COMMENTS

                                                                                    Barry says: Once again, Alex Turner and Miles Kane deliver a minor-key slice of melancholic yet melodic indie-rock. Dark reverbed vocals, snappy snare hits and oy-like shouting appears completely naturally, the sound not suffering at all from a change of pace. The strings on show here further emphasising the crescendo of both tone and density, and exacerbating the lifting tension present. Low-fi but meticulously crafted, and yet another reason (as if you needed one) that Turner and co. deserve your attention.

                                                                                    TRACK LISTING

                                                                                    1. Aviation
                                                                                    2. Miracle Aligner
                                                                                    3. Dracula Teeth
                                                                                    4. Everything You’ve Come To Expect
                                                                                    5. The Element Of Surprise
                                                                                    6. Bad Habits
                                                                                    7. Sweet Dreams, TN
                                                                                    8. Used To Be My Girl
                                                                                    9. She Does The Woods
                                                                                    10. Pattern
                                                                                    11. The Dream Synopsis

                                                                                    7"  Bonus Tracks (Indies Exclusive Vinyl Only)
                                                                                    1. Bad Habits
                                                                                    2. The Bourne Identity

                                                                                    Flying Saucer Attack


                                                                                      Following last year’s re-emergence with ‘Instrumentals 2015’, three of Flying Saucer Attack’s most revered albums - ‘Chorus’ (1995), ‘Distance’ (1994) and ‘Further’ (1995) - are now reissued on Domino.

                                                                                      All three albums are essential listening for those who are still capable of dreaming even as our dreams are co-opted and second guessed in a digital era which is revealing itself to be monstrously voracious and venal. ‘Chorus’, ‘Distance’ and ‘Further’ open up spaces in the mind where one may wander at will, with main man Dave Pearce’s excoriating feedback serving as a dream weapon designed to cleanse the grit from the mind’s eye. The melodies beyond the noise reassure us that it’s okay to take this route away from the superhighway and explore paths trodden only by a few, Pearce and collaborators included. This may be derided by some as escapism; rather it is parallelism. The search for alternatives, when the very term ‘alternative’ has been devalued beyond all recognition.

                                                                                      TRACK LISTING

                                                                                      Standing Stone
                                                                                      Crystal Shade
                                                                                      Instrumental Wish
                                                                                      November Mist
                                                                                      Soaring High
                                                                                      Oceans 2

                                                                                      ‘Potential’ is the new album from Brooklyn, NYbased musician James Hinton, aka The Range.

                                                                                      ‘Potential’ uses as its backbone a series of vocal samples that Hinton has found in the forgotten corners of YouTube, introducing us to unknown artists expressing themselves unfettered by the constraints of industry, lost in the infinite potential of an audience unknown.

                                                                                      A documentary about the people he has sampled, entitled ‘Superimpose’ and directed by Daniel Kauffman, will be released this spring.

                                                                                      TRACK LISTING

                                                                                      Copper Wire
                                                                                      Five Four
                                                                                      Falling Out Of Phase
                                                                                      No Loss

                                                                                      ‘Strings EP’ (comes With Indies Exclusive Vinyl Only)
                                                                                      The Magic
                                                                                      True Value

                                                                                      Flying Saucer Attack


                                                                                      Following last year’s re-emergence with ‘Instrumentals 2015’, three of Flying Saucer Attack’s most revered albums - ‘Chorus’ (1995), ‘Distance’ (1994) and ‘Further’ (1995) - are now reissued on Domino.

                                                                                      All three albums are essential listening for those who are still capable of dreaming even as our dreams are co-opted and second guessed in a digital era which is revealing itself to be monstrously voracious and venal. ‘Chorus’, ‘Distance’ and ‘Further’ open up spaces in the mind where one may wander at will, with main man Dave Pearce’s excoriating feedback serving as a dream weapon designed to cleanse the grit from the mind’s eye. The melodies beyond the noise reassure us that it’s okay to take this route away from the superhighway and explore paths trodden only by a few, Pearce and collaborators included. This may be derided by some as escapism; rather it is parallelism. The search for alternatives, when the very term ‘alternative’ has been devalued beyond all recognition.

                                                                                      TRACK LISTING

                                                                                      Feedback Song
                                                                                      Light In The Evening
                                                                                      Feedback Song Demo
                                                                                      Second Hour
                                                                                      Popol VUH III
                                                                                      Beach Red Lullaby
                                                                                      There But Not There
                                                                                      February 8th
                                                                                      There Dub

                                                                                      Animal Collective

                                                                                      Painting With

                                                                                      For fifteen years Animal Collective has been rewriting the musical map, their line-up and aesthetic shifting with each astonishing release as they continue their pursuit of a new psychedelia. Their wild path has taken them from cramped concrete basement shows and forest floor singalongs to immersive installations at the Guggenheim and performances to millions on national television. So where to from here?

                                                                                      Dizzyingly upbeat and gloriously realized, their new LP bounces and pops with an urgent, ecstatic energy, propelled by polyrhythmic beats and gurgling modular synth, with Noah Lennox and Dave Portner’s vocals gleefully falling in and out of syncopation and off-kilter harmony.

                                                                                      Working as a trio, Portner (Avey Tare), Lennox (Panda Bear) and Brian Weitz (Geologist) began trading demos in early 2015, pursuing a goal of what Portner calls “really short songs: no B.S, get in, get out material…” The three met up in Asheville during that Spring and began exploring the songs together. Recording took place in the legendary EastWest Studios in Hollywood, home to sessions by The Beach Boys and Marvin Gaye. The album features contributions from John Cale and Colin Stetson, and was engineered by Sonny DiPerri.

                                                                                      The result: Painting With. Warm and personal, kaleidoscopic and high definition, concerned with art (cubism, Dadaism, and the distorted way those artists viewed the world) and the human experience, and the meeting of both - creating something elemental, joyous, and unmistakably Animal Collective.

                                                                                      STAFF COMMENTS

                                                                                      Barry says: From the very first moment, 'Painting With' grabs your attention through a mix of exuberant lyricism and vocal delivery, underpinned by frenetic psychedelic instrumentation. Part surf-psych, part art-pop, this is undoubtedly an Animal Collective record, and quite possibly the best one yet.

                                                                                      TRACK LISTING

                                                                                      01. FloriDada
                                                                                      02. Hocus Pocus
                                                                                      03. Vertical
                                                                                      04. Lying In The Grass
                                                                                      05. The Burglars
                                                                                      06. Natural Selection
                                                                                      07. Bagels In Kiev
                                                                                      08. On Delay
                                                                                      09. Spilling Guts
                                                                                      10. Summing The Wretch
                                                                                      11. Golden Gal
                                                                                      12. Recycling

                                                                                      Porches is the project of Aaron Maine, who resides in New York City. ‘Pool’ is Porches’ second full length album and their debut on Domino.

                                                                                      Written and recorded almost entirely in the Manhattan apartment he shares with his partner and frequent collaborator Greta Kline (aka Frankie Cosmos), ‘Pool’ is an elegantly drawn set of gorgeous, synth-driven pop songs that were influenced, in part, by settling down.

                                                                                      ‘Pool’ was written, recorded and produced by Aaron Maine and mixed in Los Angeles by Chris Coady (Yeah Yeah Yeahs, Grizzly Bear, Beach House, Tobias Jesso Jr).

                                                                                      TRACK LISTING

                                                                                      Be Apart
                                                                                      Even The Shadow

                                                                                      Your Friend is Taryn Miller, who plays guitar, writes, sings the vocals and crafts loops. Taryn recorded ‘Gumption’ in New York with Nicolas Vernhes (Deerhunter, War On Drugs) at his Rare Book Room studio.

                                                                                      The album builds on the ideas of Your Friend’s previous EP, ‘Jekyll/Hyde’ and since Taryn has toured with Courtney Barnett and play her first SXSW.

                                                                                      TRACK LISTING

                                                                                      Come Back From It
                                                                                      To Live With
                                                                                      Desired Things
                                                                                      Nothing Moved
                                                                                      I Turned In
                                                                                      Who Will I Be In The Morning?

                                                                                      Bonnie 'Prince' Billy

                                                                                      Pond Scum

                                                                                        There are no Peel sessions anymore - that tradition was buried in the pyramids with John Peel himself upon the great man's passing. Of the thousands left in the wake, six are ascribed to Bonnie 'Prince' Billy - and of those six, three have been combined to form the deeply congruous experience of Pond Scum.

                                                                                        A span of eight years is covered, in reverse, and many chestnuts are rolled out, freed of former contexts with sparse arrangements. "(I Was Drunk at the) Pulpit" feels, ten years from inception, more vividly worn; "Death to Everyone" is loosed from its frame, the bones decoupled and spread out, giving the song a re?ective air (as opposed the biting declamation of the original); "Arise, Therefore" adapts its metronomic base, the evangelic twist of its roots made palpable. With the centre of the performance in stark relief, the gnomic qualities of two "Get On Jolly" pieces are intensi?ed. Further accenting the devoted spirit of this collection is the inclusion of Bonnie's take on Prince's "The Cross", as well as the previously-unreleased original "Beezle."

                                                                                        Bonnie's lone shadow casts over this lot, accompanied on the ?rst four tracks by David Heumann, but otherwise playing solo through a set of original songs (and two covers) representing a decade of progress in the almost unbearably intimate-yet-unknowable manner that was so often the vibe of those strange and wondrous days.

                                                                                        Layers peel to reveal the subtle artistry and refinement contained within these sessions, so begin to dig deep into the vault on January 22nd, 2016! But wait, there's more! You can download a new arrangement of "Rich Wife Full of Happiness", (which is similar in tone, but not found on Pond Scum!)!

                                                                                        There has been an issue with barcode on the limited vinyl version and so it has been pulled until this is resolved. We should have it back in stock again later in the week. Sorry! 

                                                                                        ‘West Kirby County Primary’ - written and recorded by Bill Ryder-Jones in his childhood bedroom at his mother’s house in West Kirby before being filtered through Liverpool’s legendary Parr Street Studios - is the third full length album from Bill Ryder-Jones and finds him fronting a classic band set-up.

                                                                                        Each of ‘West Kirby County Primary’s ten tracks offers a sneaked glance into his private world; they eavesdrop on a set of encounters that go about “turning stories into beautiful truth” set to glorious molten melody that explodes like fireworks over water.

                                                                                        It all adds up to a remarkable record by one of Domino’s most cherished musicians - a musical polymath as at ease on stage with the Manchester Camerata (where he performed as part of the Manchester Literature Festival last Autumn) or on live guitar duties with Arctic Monkeys as he is on production duties with Hooton Tennis Club and The Wytches.

                                                                                        The follow-up to ‘A Bad Wind Blows In My Heart’ was produced by Ryder-Jones and mixed by James Ford.

                                                                                        TRACK LISTING

                                                                                        Tell Me You Don’t Love
                                                                                        Me Watching
                                                                                        Two To Birkenhead
                                                                                        Let's Get Away From
                                                                                        Put It Down Before You
                                                                                        Break It
                                                                                        Catharine And Huskisson
                                                                                        Wild Roses
                                                                                        You Can’t Hide A Light
                                                                                        With The Dark

                                                                                        Bonus 7” (with Indies Exclusive Vinyl Only)
                                                                                        Out Of The Dark
                                                                                        Even Good Things

                                                                                        next 100

                                                                                        Latest Pre-Sales

                                                                                        164 NEW ITEMS

                                                                                        E-newsletter —
                                                                                        Sign up
                                                                                        Back to top