In January 2025 Alex Cameron exploded his life in a controlled detonation largely ignored by the universe. The charred remains of Cameron’s life fragmented and reassembled into 9 synthetic rock songs detailing his world’s deep confusion and regret.

He continues to find pieces of his own reflection in the shattered characters he creates and embodies. The promised Messiah. Agamemnon’s appetite for war. Mel Gibson’s ransom note. Humanity’s Pro-War destiny. A cold war breakup. These are songs of protest against life itself. This is the world our fathers feared and here is its soundtrack.

TRACK LISTING

Side A
1. No Soldier
2. Statue Down
3. Stand-in Man
4. Testoterone in Blue
5. Jesus Never Had No Porno

Side B
1. Ricochet
2. No Guns, Come Alone
3. Red Hook Rain
4. Violent Man

Impressed Recordings is proud to present a world exclusive variant of Alex Lahey's original EP, 'B-Grade University'. In addition to the original EP, this repress includes brand new re-recordings of 'You Don’t Think You Like People Like Me' and 'Let’s Go Out', alternate versions of 'Wes Anderson' and 'Let’s Go Out' taken from Lahey’s 2020 'Between the Kitchen and the Living Room' EP, plus a version of 'You Don’t Think You Like People Like Me' recorded in 2017 live in-studio at triple j in Australia for their Like A Version series.

TRACK LISTING

1. Ivy League
2. Let’s Go Out
3. Wes Anderson
4. You Don’t Think You Like People Like Me
5. L L L Leave Me Alone

Alexis Taylor of Hot Chip and producer Mike Simonetti—founder of Troubleman Unlimited and Italians Do It Better, and one-half of Pale Blue—have joined forces for a new collaborative EP on Smugglers Way. The release pairs a transcendent cover of Bonnie "Prince” Billy’s 'I See A Darkness' with the luminous original 'Perfect Kiss', plus remixes by claire rousay and Black Forces.

TRACK LISTING

1. I See A Darkness 
2. I See A Darkness (Claire Rousay Remix)
3. Perfect Kiss
4. Perfect Kiss (Black Forces Remix) 

Jeffrey Alexander and the Heavy Lidders return with their best album yet.

‘’On the alternate timeline where the Meat Puppets inherited the bulk of the Grateful Dead’s tourheads when Jerry Garcia died in 1995, none of this would be necessary, because Jeffrey Alexander and the Heavy Lidders are a household name for evolving their own musical space that overlays dusty folk, cosmic jazz, deep psych, free improv, and even (gasp!) indie rock, building an audience that ranges from open-eared curiosity seekers to deep committed music weirdos that’s also yielded the Heavy Lidders, an infamous sub-cult of concert tapers that you’re already sick of hearing about. A lot of other things are better over on that timeline, too.

But in this consensus reality (and probably the other one, too), Liquid Donnon catches the Lidders at their heaviest, “heavy” in the Lidderverse being far from a monolithic musical idea. There’s heavy like the album-opening “From Loch Raven to Fells Point,” one of several tracks with elegant and gnarled conversational jams featuring the core Lidders lineup of Alexander alongside guitarist Drew Gardner and bassist Jesse Sheppard (both of Elkhorn) and drummer Scott Verrastro. But there’s heavy, too, like “Calliope Walker” and “Tightroping,” featuring Gardner shifted to dream-space vibraphone, the former with saxophonist Tacuma Bradley, the latter with Christina Carter of Texas noise-psych legends Charalambides on veil-crossing wordless vocals, her first collaboration with Alexander in some 20 years.

But then there’s also heavy like the cover photo of Alexander’s late friend and album namesake Donnon, taken at a Dead show at Rich Stadium in Buffalo in 1989, a spirit threading through the songs and weaving unexpectedly into Alexander’s life decades later, emerging especially when Alexander passed through a near-death experience of his own. But, taken together, the different heavies of Liquid Donnon add up into a state of musical grace, where all the Heavy Lidders from all the universes come together as one. Just, like, imagine.

Convened in 2019 on Alexander’s relocation back to his native east coast, the Heavy Lidders are the latest hard-touring expression for the guitarist’s music, joining a vast and tangled discography (and tape list) that includes the beloved long-running west coast Dire Wolves Just Exactly Perfect Sisters Band and, before them, the Iditarod and Black Forest/Black Sea, as well as a bushel of solo play-all-the-instruments projects, a stint with Jackie-O Motherfucker, sessions with Kemialliset Ystävät and Avarus and others, and you’ll have to keep digging for the rest.

And while it’s not hard to find tapers at Lidders gigs (and they encourage you to be one), or to track themes and songs over Alexander’s many live releases, Liquid Donnon makes a new primary text, the original versions of six new pieces for the repertoire. The album closes with a devastating pairing of “Reservoir Drop” into “The Summer Song,” floating into a duo between Alexander’s guitar and Carter’s voice. Catch a half-dozen Lidders shows this summer, and you might not ever catch them playing it like that again, but you just might open the doorway back to that better place." - Jesse Jarnow (writer, WFMU DJ, producer and host of The Good Ol’ Grateful Deadcast)

Italian multi-instrumentalist, composer, producer and vocalist Alex Puddu is returning with a brand new album "Francia Meccanica". A strong set of songs with catchy hook lines and uptempo groove.

Taking us back to the late ’80s and early ’90s disco-house production with refined, sexy vibes that introduces eroticism in both Italian and French. It’s a perfect cocktail mix that pairs seamlessly with Alex’s voice and performance, beats, funky bass, acid sax, and sultry French spoken words.

Alex Puddu brings pop disco and retro vibes back in trend — always essential to his style and musical world — and sweeps us into wild French nights blending transgression and romance.

TRACK LISTING

A1.Notte In Riviera
A2.L'amour Dangereux
A3.Dolce E Violenta
A4.Trasgressiva

B1.St.Tropez
B2.Il Piacere Dei Vampiri
B3.Parigi Perversa
B4.Midnight Blue
B5.Cafe' Mozambique

Hiriketiya is a small, enclosed bay on Sri Lanka's southern coast, where jungle leans toward the water and the days unfold without urgency. Passing through in early 2025 on the way to Europe, Alex Albrecht spent a week here at MOND's artist residency, allowing the rhythms of the place to quietly shape the work that followed. During the residency, Albrecht recorded and exchanged ideas with Sri Lankan musicians Dhyan Basho on sitar, Dinelka Liyanage on electronics, Uvindu Perera on double bass and Pasindu Herath on saxophone. Their performances appear throughout the album, sampled and re-contextualised, influencing its melodic language, pacing and emotional tone.

Much of the music was shaped directly by its surroundings. Field recordings were gathered across Hiriketiya, and instruments were played wherever it felt necessary. This included rocks beside the ocean where waves set irregular rhythms, tall grasslands where wind and insects blend into the recordings, and open decks overlooking the sea. 'Round Table' captures this approach most clearly. Recorded while sitting together overlooking the ocean, a large steel table in front of the group gradually became part of the composition, used instinctively as an unplanned percussive element.

Not everything could be captured. Some of the most meaningful moments occurred before recording was possible. Those sounds exist only in memory, and the album is shaped in part by an attempt to hold onto their feelings.

Rather than documenting the residency in a linear way, the album gathers fragments, recordings, electronic sketches and field sounds, assembling them into a continuous listening experience shaped by place and recollection. MOND owners Jess and Renato foster an environment that supports artists without directing them, creating space for focus, trust and connection.

The result is a record shaped by Hiriketiya's enclosed bay, dense vegetation, heat and night air. Music formed through listening, restraint, missed recordings and the sensation of being temporarily held by a place.

STAFF COMMENTS

Matt says: Another incredible Alex Albrecht excursion, this time delving into new age textures and the soothing sonic environs provided by the Sri Lankan retreat whence the album was composed.

TRACK LISTING

A1.losing Light
A2.recording The View
A3.intervals
A4.nilwella
B1.hiriketiya
B2.round Table
B3.on The Rocks
B4.dipendra

The Canadian-born Alexander ‘Skip’ Spence was the co-founder of Moby Grape, and played guitar with them until 1969. In the same year he released his only solo album: ‘Oar’. The album was recorded after Spence had spent six months in a mental institution following a delusion-driven attempt to attack his Moby Grape band mates with a fire axe, after having ingested LSD. As the urban myth goes, on the day of his release he drove a motorcycle, dressed in only his pajamas, directly to Nashville to record his only solo album. Fact is that he recorded this album in seven days, playing all the instruments himself and that the end result is now considered to be a classic psychedelic folk album. After this album Spence largely withdrew from the music industry.

TRACK LISTING

SIDE A
1. Little Hands
2. Cripple Creek
3. Diana
4. Margaret-Tiger Rug
5. Weighted Down (The Prison Song)
6. War In Peace

SIDE B
1. Broken Heart
2. All Come To Meet Her
3. Books Of Moses
4. Dixie Peach Promenade
5. Lawrence Of Euphoria
6. Grey/Afro

Alex Zhang Hungtai stands in stillness on ‘Dras’, but it’s the kind of stillness that contains entire ranges of possibility. Recorded in 2019 inside Montreal’s Saint Joseph Oratory (right before a piano demolition, no less), these nine pieces sat dormant on his hard drive through pandemic years until something finally clicked. What emerges now feels like watching someone trace the contours of their own interior landscape, each melodic line a careful negotiation with the unconscious. This is only a saxophone record in the barest sense.

The terrain here is tactile and unforgiving. On the title track, difficult melodies get torn apart and molded into emotive drones, dissonance interlocking where tones cut paths through the senses with metallic sheen. 'El Khela' refracts into spectral layers that pull with eternal gravity, while 'Estado' finds solace inside its own haze, rhythms barely audible but guiding forward with their cadence smeared against grey walls. These are small moments that become cathartic sonic breaths, each one revealing new passages through psychic geography.

There’s beauty encased in the subtle repetitions of opener 'Erg', and in the glowing progressions of 'White Dwarf'. Zhang’s saxophone becomes a dowsing rod for the uncharted, with electricity running through the album’s veins while his breath anchors everything to something wordlessly human. The digital manipulation applied to those church recordings doesn’t obscure that human element of ‘Dras’. It transforms the raw material into something that navigates between external space and internal landscape.

By the time closer 'Mazil' arrives, Alex Zhang Hungtai lets his saxophone speak its full resonance. Low, guttural expressions open up like chasms beneath melodic constellations floating in thick gravity. There’s a finality here even though something in these passages feels weightless. This is music permeated with inner dialogue, a wordless spell dancing above the psychic abyss. Tonal sequences disintegrate into narcotized sonics, a sharp elegant edge that cuts without drawing blood. This lonely work of exploration becomes something communal. ‘Dras’ is a map for traversing the space between where we are and where we might go.

TRACK LISTING

1. Erg
2. Dras
3. El Khela
4. Xilitla
5. Estado
6. Rub’ Al Khali
7. Pulque
8. White Dwarf
9. Mazil

Alexis Taylor is one of the UK’s most distinctive singer-songwriters. A singular voice, he’s built a substantial body of solo work over the years. 'Paris In The Spring' is his most revealing album yet, baring sentiments both specific and universal. The subject matter doesn’t shy away from hard-hitting themes, but musically, it’s carefree, brightly-lit and contemporary, drawing on elegant disco-house, voluptuous basslines and Vangelis-inspired soundscapes.

Testament to his skill as a curator, he’s called on some impressive personnel to help create its effervescent sound world: Air’s Nicolas Godin, The Avalanches, Lola Kirke, Oli Bayston, Étienne de Crécy, Elizabeth White of Pale Blue and Scritti Politti’s Green Gartside, to name but a few. In this world, the confessional style of country is charged by the pop melodicism of Paul McCartney, the futuristic funk of Sly and the Family Stone and, as Taylor puts it, “synthesisers left out in the rain”. It’s where British Americana meets Gallic flair, somewhere on Mars.

Thankfully, no synths were harmed in the making of the album. The title references a psychological test where things are not as they seem. “You have to look for those double meanings, or what’s hiding under the surface.” Ultimately, this is an album about freedom from constraints, from preconceptions, from genre. Taylor experiments with all different musical styles – country, folk, disco – and has weaved it together here into something unique.

TRACK LISTING

1. Your Only Life
2. I Can Feel Your Love (produced By The Avalanches)
3. Out Of Phase Feat. Lola Kirke
4. Wild Horses
5. Colombia
6. For A Toy
7. On A Whim (with Green Gartside Of Scritti Politti)
8. Fainting By Numbers
9. Mp3s Can Make You Cry
10. Black Lodge In The Sky

Mesmerizing solo debut from jazz pianist Alexis Marcelo! A contagious exuberance of playing, energetic explosive improvisations, and an openness to jazz tradition and experimentation combine on this album to create an impressive musical statement.

"Almost everything he plays affirms his history and culture as a first generation American, the son of a Panamanian mother and
a Dominican father. Growing up in the Bronx and in Queens during hip hop's first years - the first jazz he heard were samples - hearing salsa and merengue at home, attending Latino evangelical churches, and - yes - studying classical music at the Harlem School of the Arts shaped Marcelo's identification as an African Latino with an inclusive sensibility(...)Once artists establish a strong identity, they can draw outside the lines, smudge them, even erase them, without diluting or diminishing that identity. That is what Alexis Marcelo has done with Solo Piano", writes Bill Shoemaker in the liner notes.

TRACK LISTING

1. Boogieminish Bop
2. Break Bread
3. Have Mercy
4. A Saca Camote
5. 1010 Wins
6. Chroma
7. Dance Around The Sun
8. Drifting
9. Amargado
10. Eronel 

After years of shaping the UK underground from behind the scenes, Alex Nut steps out with his first official solo EP, serving up an intoxicating blend of Spiritual Jazz, Deep House, Dub, Hip Hop and analog electronics. The Present Under Construction EP is rooted in a deep musical language and future-facing energy, it captures a moment of creative transformation and exploration.
Built up over a few years from rough sketches made on an old MPC2000XL, the tracks were revisited, reshaped and eventually brought to life in the studio with longtime friend and collaborator Sam Crowe (Cleo Sol, Lianne La Havas). Together, they added a range of analogue sounds using the Dave Smith Prophet Rev 2, a Fender Rhodes, and a Moog Sub 37. Those recordings were then chopped, resampled, and restructured into the versions you hear on the record today. The records lead track 'andthenitstarted' features saxophonist James Mollison (Ezra Collective, Nala Sinephro) and includes remixes from Detroit House legend Patrice Scott and fellow Eglo Records alumni Last Nubian.

Best known as a DJ, broadcaster, curator and co-founder of Eglo Records, Alex has spent over a decade championing soulful underground music, through fabled Radio shows to legendary club nights, his fingerprints are all over a scene that continues to evolve. Initially making noise alongside the likes of Floating Points, Steven Julien, and Fatima, Alex Nut has long been a cornerstone of the UK's soulful underground. His work continues to champion the evolution of Jazz, Soul, House, and Broken Beat — nurturing a generation of artists now reshaping the global soundscape.

TRACK LISTING

1. Andthenitstarted (feat. James Mollison)
2. One 4 Santi (feat. Sam Crowe)
3. Andthenitstarted (Patrice Scott Remix)
4. Andthenitstarted (Last Nubian Remix)

A major new biography of David Bowie on the 10th anniversary of his death, exploring the second half of his career from commerical failures to critical rebirth in the 21st century. When David Bowie died on 10 January 2016, aged 69, his death was greeted with the greatest display of public mourning since Princess Diana three decades before. Twenty-five years before, Bowie appeared to be washed up.

His Eighties career had been a slow descent into self-parody, his attempts to diversify into hard rock with the had been disastrous, and the art-rock music with which he had made his name was badly out of fashion. The Thin White Duke needed a miracle if he was not only going to be able to assume his rightful place at the top of the rock music firmament, but even to continue his career. And a miracle – a resurrection from the dead – is precisely what happened.

Lazarus: The Second Coming of David Bowie is the first biography of Bowie that tells the full and candid story of what happened in between those two apparently unbridgeable points. With new and exclusive interviews with the musicians, filmmakers and cultural figures who worked with and befriended Bowie throughout this period, Lazarus is the definitive account of the previously overlooked and fascinating latter half of a great and distinguished career. A career that climaxed with his final masterpiece, Blackstar, and the unprecedented theatrical flourish of his departure from the stage as he passed into legend.

To create the score for Jurassic World Rebirth, director Gareth Edwards turned to a distinguished friend, two-time Oscar® winner Alexandre Desplat (The Grand Budapest Hotel, The Shape of Water), who worked with Edwards on Godzilla. “I feel very fortunate to be doing the music for a movie franchise like this, which entertained me so greatly, as a filmgoer, for decades,” Desplat says. “I dreamed of writing music for movies like this since I was a teenager, and now, here I am,” he adds with a laugh, “part of Jurassic World, almost a teenager.”

Rebirth represents the second time that Desplat has stepped into a franchise and inherited and adapted iconic musical motifs written by an artist he considers his “forever idol,” the legendary John Williams: Desplat previously took on that challenge with Harry Potter and the Deathly Hallows Parts 1 and 2. “John Williams wrote a fantastic melody for Jurassic Park that I now get to reinvent, rejigger and resculpt in ways benefit our movie,” Desplat says. “My desire was not to quote John’s score bluntly but subtly echo it or make use of it in the original score I have written for the film in playful and meaningful ways.”

"Continuing in the legacy of composers like John Williams, Don Davis, and Michael Giacchino - Alexandre Desplat brings the action packed Jurassic World: Rebirth to life with equal parts bombast, and tenderness." says Mo Shafeek, co-founder of Mutant. "Beautiful piano melodies give reprieve from thundering percussion, in this beautiful and essential addition to the Jurassic franchise.”

TRACK LISTING

LP Tracklisting:
1. Opening Lab
2. Natural History Museum
3. Voyage
4. Zora And Kincaid
5. Mosasaur Attacks Yacht
6. Zora And Loomis Chat
7. Mayday
8. Boat Chase
9. Fins Attack – Part 1
10. Fins Attack – Part 2
11. Cave Swim
12. Do The Job
13. Dino Lovers
14. Dino Spectacle
15. What’s The Smell?
16. Crossing The River / T-Rex
17. Climbing The Wall
18. Bird Strike
19. Gentle Boat Ride
20. Mutadons Fly In
21. The Old Lab
22. Tunnel / Helicopter
23. Run To The Gate
24. Bella And The Beast
25. Sailing Away

CD Tracklisting:
1. Opening Lab
2. Bridge Of Deal
3. Natural History Museum
4. Team Gathered
5. Voyage
6. Dart Show
7. Zora And Kincaid
8. Mosasaur Attacks Yacht
9. Zora And Loomis Chat
10. Mayday
11. Mosasaur Bumps Boat
12. Boat Chase
13. Fins Attack – Part 1
14. Fins Atack – Part 2
15. Cave Swim
16. Hurry
17. Walking The Swamp
18. The Pistol / Scare In The Trees
19. Do The Job
20. Dino Lovers
21. Dino Spectacle
22. What’s The Smell?
23. Crossing The River / T-Rex
24. Clifftop
25. Climbing The Wall
26. Bird Strike
27. Let’s Go Home
28. Gentle Boat Ride
29. Mutadons Fly In
30. The Old Lab
31. Tunnel / Helicopter
32. Run To The Gate
33. Bella And The Beast
34. Sailing Away

On The Arboretum, Analogue Attic co-founder Alex Albrecht leans further into the dancefloor, channelling the more hypnotic and driving energy that Butter Sessions is known for. Across the five tracks, listeners are treated to Albrecht's signature melody-driven deep house, bolstered by intricate rhythms, a deeper low end, and hypnotic loops designed for larger systems and later hours.

The tracks are playful yet serious, functional yet full of personality. There's the joy of long blends and the tiny details that bubble up in the mix: field recordings from time spent away, nostalgic archival material, and subtle harmonic shifts that keep the tension simmering.

It's a record built for dancers, but also for home listening. By embracing a tougher, more energetic sound, this release expands Albrecht's sonic world while staying true to the textural depth and sense of journey that run through all his work

TRACK LISTING

1. Marble Alters
2. Hillside Static
3. The Arboretum
4. Wake Up Mate
5. Red Dog Hut

Enigmatic artist Grant, a longtime figure in the deep house and techno underground, collaborates with Alex Albrecht on 'Tangible Dreams'. The two connected via the Scissor & Thread label and Francis Harris, forming a creative partnership. The EP is a textured homage to late '90s dub techno, echoing Basic Channel and Chain Reaction, while retaining a modern touch. The tracks are timeless, groove-focused, and sonically deep.

Of the release, Grant says: "I've been a fan of Alex's work. Through Francis and Scissor & Thread, it felt natural to collaborate. This EP is the kind of music I love to play - not flashy or trendy, but tracks that hold up and grow on you."

With decades of record collecting and acclaimed releases on Lobster Theremin, Mörk, and his own imprints, Grant has built a loyal following. His albums 'The Acrobat', 'Cranks', 'Perception', and 'Fantasy Blues' are collectors' favorites. Alex Albrecht, known for immersive performances at Paradise City, MNMT, Public Records, and Giant Steps, has released on Anjunadeep, Mule Musiq, and his Analogue Attic imprint.

With 'Tangible Dreams', Grant and Albrecht deliver a collaboration destined to stand out. 

STAFF COMMENTS

Matt says: Serenity and suspended bliss collide with a dubby and minimalist mindset to create a surprise moment of reflection and introspection. For the dreamers!

TRACK LISTING

A1 / Tangible Dreams
A2 / Tangible Dreams (Lawrence Remix)

B1 / Idle Space
B2 / Altered Pollen
B3 / Influx

Alex Puddu returns to the origins of his first sound that launched him with the original soundtrack of The Golden Age Of Danish Pornography presenting us with a new work inspired by the music and soundtracks of hard and erotic films of the late seventies and early80s with the new album
“I Desideri di Sadie (Piaceri Tropicali)"
is the new concept album written, arranged, produced, performed and conceived by Alex Puddu, It is the first album of the erotic/hard series Sadie.
A heroic female character fantasized by Alex Puddu of a rich and charming young woman, sexy, strong, brave and free with a great spirit of adventure, always traveling around the world in search of new experiences in the erotic and dark world that surrounds her.
The music is inspired by the soundtracks of adult movies of the late Seventies and early Eighties.The story takes you into a journey set in the countries of South-East Asia and the Pacific islands, in exotic landscapes, among jungle, lush vegetation and enchanting tropical beaches. A magical trip among temptations, on the islands, to discover the beauty of the "Erotic World" of Alex Puddu

STAFF COMMENTS

Matt says: X-rated, Balearic-exotica here. Almost like the Balearic counterpart to Patrick Cowley's gay porn soundtracks. NSFW! ;)

TRACK LISTING

A1 Flight To Manila
A2 Tropico Del Capricorno
A3 Tahiti Blue
A4 PapayaA5Mondo Selvaggio
A6 Le Bocche Calde Di Sadie E Kalana

B1 Perversioni Esotiche
B2 Alta Vegetazione
B3 Profondo Erotico
B4 Polinesia
B5 Barracuda Beach Club
B6 Saigon Di Notte

'Headlights' is Alex G’s tenth full-length album and first with RCA Records. Written by Giannascoli and recorded across various locations in Philadelphia and New York, the album was co-produced alongside his longtime collaborator Jacob Portrait. A gorgeous collection of surreal storytelling over twelve new songs, 'Headlights' sees Giannascoli delve further into the reality-bending terrain that has made him one of the twenty-first century’s most celebrated and influential musical architects.

STAFF COMMENTS

Barry says: Propulsive, crepuscular driving music that's got as much in common with Springsteen or Elliott Smith as it does the cutesy playful melodicism of Weezer or Talking Heads' theatrical bombast. A wonderfully chameleonic performance from Alex G.

TRACK LISTING

1. June Guitar
2. Real Thing
3. Afterlife
4. Beam Me Up
5. Spinning
6. Louisiana
7. Bounce Boy
8. Oranges
9. Far And Wide
10. Headlights
11. Is It Still You In There?
12. Logan Hotel (Live)

Yore returns with a sleek and sexy EP from Ross Alexander. More techy than what you would usually expect on Yore, confidently making an entrance with rippling arpeggios and gliding synthlines on opener, "Soul Roots". "Cycles" quickly gets more deranged, upping the arp anti and adding a whole manner of off-it sounds and samples, as well a gnarly, underlying 303 line. 

"All I Need" sees fluttering synths and cushion soft pads supplimented by a fat kick and airy hats. A perfectly poised and balanced moment of electronic dancefloor perfect, and easily worth the entrance fee alone. "Reflections" quickly switches mood into a more argy bargy, late night rubdown. 

Strictly limited to 200 Copies worldwide (no repress).

TRACK LISTING

A1. Soul Roots (06:56)
A2. Cycles (04:44)

B1. All I Need (05:20)
B2. Reflections (04:56)

Recorded live on 9th November 2018 (their only UK show of 2018), ‘education entertainment recreation’ is a brand new live album from London’s Alexandra Palace.

Sonically spectacular, spanning 2 hours 20 minutes, the show joyously mixed New Order classics, their latest acclaimed album ‘Music Complete’ and Joy Division’s finest.

Opening with ‘Singularity’ from ‘Music Complete’, they eased back in time to 1993’s ‘Regret’, to ‘Love Vigilantes’ from 1985’s ‘Low-Life’ to ‘Ultraviolence from 1983 debut ‘Power, Corruption and Lies’.

Later, their power over the dance floor was proven by sublime performances in the manner of the celebrated extended 12 inch remixes they are synonymous with - on ‘True Faith’, ‘Blue Monday’ and ‘Temptation’ before a Joy Division mini set to end.

STAFF COMMENTS

Barry says: This superb set from Alexandra Palace sees New Order in peak form, and perfectly captures the raw energy and unbelievable musicianship of this legendary band. A perfect mix of older material and new, with all the hits being perfectly placed throughout. Presented in gorgeous triple LP, double CD and even one format with a blue ray of the show! Essential.

TRACK LISTING

2CD Set
CD 1:
1. Introduction
2. Singularity
3. Regret
4. Love Vigilantes
5. Ultraviolence
6. Disorder
7. Crystal
8. Academic
9. Your Silent Face
10. Subculture
CD 2:
1. BLT
2. Vanishing Point
3. Waiting For The Sirens Call
4. Plastic
5. Perfect Kiss
6. True Faith
7. Blue Monday
8. Temptation
9. Atmosphere
10. Decades
11. Love Will Tear Us Apart

2CD/ BluRay
2CD Tracklisting As Above
BluRay (Film)
1. Introduction
2. Singularity
3. Regret
4. Love Vigilantes
5. Ultraviolence
6. Disorder
7. Crystal
8. Academic
9. Your Silent Face
10. Tutti Fruitti
11. Subculture
12. BLT
13. Vanishing Point
14. Waiting For The Sirens Call
15. Plastic
16. Perfect Kiss
17. True Faith
18. Blue Monday
19. Temptation
20. Atmosphere
21. Decades
22. Love Will Tear Us Apart

3LP Set
LP 1 / Side 1
Introduction
Singularity
Regret
Love Vigilantes
Ultraviolence
LP 1 / Side 2
Disorder
Crystal
Academic
Your Silent Face
LP 2 / Side 1
Sub Culture
BLT
Vanishing Point
LP 2 / Side 2
Waiting For The Sirens’ Call
Plastic
Perfect Kiss
LP 3 / Side 1
True Faith
Blue Monday
Temptation
LP 3 / Side 2
Atmosphere
Decades
Love Will Tear Us Apart

In this intimate and open account - nothing like any rock-and-roll memoir you've ever read - Alex Van Halen shares his personal story of family, friendship, music and brotherly love in a remarkable tribute to his beloved brother and band mate. Told with acclaimed New Yorker writer Ariel Levy Brothers is seventy-year-old drummer Alex Van Halen's love letter to his younger brother, Edward, (maybe "Ed," but never "Eddie"), written while still mourning his untimely death.In his rough yet sweet voice, Alex recounts the brothers' childhood, first in the Netherlands and then in working class Pasadena, California, with an itinerant musician father and a very proper Indonesian-born mother - the kind of mum who admonished her boys to "always wear a suit" no matter how famous they became - a woman who was both proud and practical, nonchalant about taking a doggie bag from a star-studded dinner. He also shares tales of musical politics, infighting, and plenty of bad-boy behaviour.

But mostly his is a story of brotherhood, music, and enduring love."I was with him from day one," Alex writes. "We shared the experience of coming to America and figuring out how to fit in. We shared a record player, an 800 square foot house, a mom and dad, and a work ethic.

Later, we shared the back of a tour bus, alcoholism, the experience of becoming famous, of becoming fathers and uncles, and of spending more hours in the studio than I've spent doing anything else in this life. We shared a depth of understanding that most people can only hope to achieve in a lifetime."There has never been an accurate account of them or the band, and Alex wants to set the record straight on Edward's life and death.Brothers includes never-before-seen photos from the author's private archives.

Dynamic, multi-limbed house outfit Girls of the Internet have collaborated with Athens of the North for a special, limited edition two track tour 12", with the remaining few copies now available. Sampling a mystery gem from the AOTN catalog, Girls of the Internet create a proper party record with A side 'Somewhere Someone'. Smiles on faces all round this summer. On the B, James Alexander Bright's 'Your Love' (from '24's amazing LP 'Cool Cool' Dynamic, multi-limbed house outfit Girls of the Internet have collaborated with Athens of the North for a special, limited edition two track tour 12", with the remaining few copies now available. Sampling a mystery gem from the AOTN catalog, Girls of the Internet create a proper party record with A side 'Somewhere Someone'. Smiles on faces all round this summer.

On the B, James Alexander Bright's 'Your Love' (from '24's amazing 'Cool Cool' album) gets flipped into Gospel-tinged house track 'Where Is Your Love', a song that's been going down a storm on ts 'Your Love' (from '24's amazing 'Cool Cool' albumheir recent tour together.

Blink and they will be gone! No repress!

TRACK LISTING

1. Someone Somewhere
2. Where Is Your Love

Daughter of Swords is the solo project of North Carolina singer-songwriter Alex Sauser-Monnig (they/she), who has also released music with bands Mountain Man and The A’s. Their solo debut, 'Dawnbreaker', was a hushed folk record released in 2019; in the years since, Sauser-Monnig found a new understanding of self, personally and musically. Across the last several years, Daughter of Swords’ music has grown thornier, an unpredictable and knotty tangle of technicolor synths, heady guitar, bubbling rhythms, a sheen enveloping songs about raw human intensity writ large – crushes, desire, anger, alienation, the horrors of late-stage capitalism, the cascading paradigm shifts it seems we’re all hurtling toward.

Enter 'Alex', Daughter of Sword’s sinewy new record. Recorded at Betty’s (Sylvan Esso’s studio), 'Alex' was built out by Sauser-Monnig’s longtime friends/collaborators Amelia Meath (Sylvan Esso, Mountain Man, The A’s), Jenn Wasner (Wye Oak, Flock of Dimes), Nick Sanborn (Sylvan Esso, Made of Oak), TJ Maiani (Weyes Blood, Neneh Cherry), and Caleb Wright (Hippo Campus, Samia). There’s a sharp cerebral tension between the stories at the core of these songs and the electrifying, playful buoyancy of the sound, the wink with which Sauser-Monnig can deliver a withering observation.

Reckoning with pleasure-seeking, boundary-breaking, and their place in the world, 'Alex' heralds a fresh chapter of exploration and liberation for Sauser-Monnig, yielding the truest representation of their identity via song yet. A reassessment of inner systems, and relationships of all sorts — with art and creativity, with other humans, with gender – happened in tandem with Sauser-Monnig’s interrogation of the late-capitalist culture that makes life for working artists an inequitable grind. Forced out of their habitual ways of thinking and being, Sauser-Monnig found new energy in dissolving old limitations—be they about the music business or their concept of gender—and exploring in uncharted territory. Their priority became maximizing the mood of each track, borne out in Alex’s layers of synthetic textures and unorthodox flourishes.

STAFF COMMENTS

Barry says: Angular bursts of overdriven guitar and looped noises underpin the smoothly melodic vocals of Alex Sauser-Monnig, and result in something that's clearly influenced as much by art rock and folk as it is indie music. A hugely dynamic selection of wonderfully hummable oddities and soaring chorsues.

TRACK LISTING

1. Alone Together
2. Talk To You
3. Hard On
4. Morning In Madison
5. Money Hits
6. All I Want Is You
7. Willow
8. Dance
9. Strange
10. Vacation
11. Song
12. West Of West

North of Loreto is a side project of Bassi Maestro and Alex Fernet, concentrating on penning fresh and timeless new songs inna Italo boogie style. "Disco / Diavolo Blu" is the first work to bloom from this new partnership and fully shows of their sophisticated song writing and supreme production chops.

"Disco" utilizes Jomox drums and gleeful, cinematic chord progressions to conjure up a slice of synth-pop-boogie joy that's perfect for the day time, and could soundtrack any number of feel-good moments. Even though the Italian lyrics aren't understood myself, they certain impart evocative vibes through the track; I'd be dying to know what he's singing about! 

"Diavolo Blu" is the more dancefloor-centric track. Centered around a big synth motif and 4/4 drums, we get a funky vocodered hook, deep bass squelch and motorik drums; resulting in very captivating nightclub experience! 

Limited import copies, artwork by Riccardo Michelazzo - recommended!

TRACK LISTING

A1. Disco
B1. Diavolo Blu

Timeless soul, 'Cool Cool' is the standout title track from James Alexander Bright's recent album. It's an immediately enchanting gem, with tendermusicianship and a stripped back production highlighting James' voice, pitchedsomewhere between Eddie Chacon, Beck and Michael McDonald. Athens of theNorth's in-house band East Coast Love Affair add a delightfully psychedelic Balearicpiquancy with an beautiful dub version on the flip.

'Cool Cool' has been enjoying a plethora of worldwide support; seeing James insession for Gilles Peterson, suppling a Block Party mix for Huey Morgan, interviewedby Bandcamp Weekly.

The past six years has seen James release a veritable treasure trove of music:'Mallorca' and 'Strange Folk' EPs, debut album 'Headroom', joyous second 'Float', analbum of collaborations and reworks with cosmic Americana-disco DJ/producer duoFlying Mojito Bros, and a new project with Groove Armada's Tom Findlay as Bright & Findlay. 

TRACK LISTING

1. Cool Cool
2. Cool Cool (ECLA Beautiful Dub)

STAFF COMMENTS

Barry says: One of my favourite recording artists and producers, is yer man Four Tet. I've only seen him play once, but it was SUPERB and i've kept a good eye on his live shows since then, so am obviously incredibly excited that this one from last year is getting the full LP treatment. Glitchy, downbeat beauty mixed with KH's classic propulsive momentum.

TRACK LISTING

Vinyl Tracklisting:
Side 1: School Green Romantics (24:43)
Side 2: 4T Two Thousand (11:15)
Side 3: Baby Plastic Salad (24:53)
Side 4: Angel Feedback Mango (18:59)
Side 5: Lush FM Trance Fingers (22:21)
Side 6: Three Birdsong (15:16)

CD Tracklisting:
CD1:
1. School Green Romantics 24:43
2. 4T Two Thousand 11:15
3. Baby Plastic Salad Angel 31:22
CD2:
1. Feedback Mango 12:01
2. Lush FM Trance Fingers 22:21
3. Three Birdsong 15:16

There is nothing that can touch the sound made by a close-knit group of people who have been playing together for years and years and years, playing as though their lives depended on it. For many years, all our lives did, and actually, I’d suddenly realised, they did still. One winter’s night, Alex James received an unexpected call.

Blur had been invited to play their biggest gig ever: Wembley Stadium. The only trouble was, he and his bandmates hadn’t spoken to – or even shouted at – each other for years. And he now had five children, an out-of-control menagerie of cats, and a sprawling farm to run.

This is the story of what happened next. Taking us behind the scenes of a raucous, rollercoaster year, Alex describes how the band made a surprise – and emotional – return, recording an acclaimed album and playing sold-out shows around the world, from Colchester to Colombia and beyond. Plus: how he went on a crash diet to fit back into his ‘Britpop Trousers,’ somehow organised an entire festival of his own, and tried to perfect the recipe for a giant Frazzle.

Over the Rainbow is a heartfelt and hilarious account of what it feels like to be catapulted back into the limelight with one of the world’s biggest bands. It is a love letter to Blur, to friendship and to music. And it shows us all that, however old – or hungover – we might feel, nothing’s ever truly over: it’s always just the start of the next thing.

This is Northumberland songwriter, poet, raconteur and old friend of Piccadilly Records, Peter Alexander Jobson's debut solo album and it's an absolute treat.

Recorded at his home studio and produced by Ben Christophers, the album is an extraordinary collection that blends genres as diverse as country-flavoured psychedelia and cocktail jazz with the spirit of the Northern variety circuit. His vocals answer the question: what if Serge Gainsbourg had been born in the North East of England? Inspirations include Leonard Cohen, Tom Waits and Scott Walker, blues and country legends like Robert Johnson and Hank Williams, and Northern entertainers of days past like Les Dawson and the great Jake Thackray.

Jobson made his name as bass guitarist and keyboard player in I Am Kloot. After six albums and 16 successful years together the cult trio of Jobson, drummer Andy Hargreaves and singer/guitarist John Bramwell broke up after a final triumphant performance at the Royal Festival Hall as part of the 2016 Meltdown Festival on London's South Bank. I Am Kloot were noted for their distinctive sound, the jazzy swing of Jobson and built a fervent following both in the UK and across Europe, culminating in a Mercury Music Prize nomination for their lavish fifth album, 'Sky At Night' - produced by Elbow's Guy Garvey and Craig Potter in 2010.

Heavily autobiographical in inspiration, the songs on 'Burn The Ration Books Of Love' are deeply rooted in Jobson's lived experience, and in his geographical roots in Northumberland, with its wild, windswept coastline, rugged hills and moors, and extensive agricultural farmland where his family have worked the land for generations.

TRACK LISTING

Holiday (Live)
Mountain
The Night Of The Fire
Taxi Supplies
Go Go
Foolish Boy
Please Please Please
Home
Kesta
Just 'Cause I'm Dead
Burn The Ration Books Of Love

Multi-instrumentalist, composer and producer Alex Puddu (Al Dente/Schema Records) with a solo release discography of 16 albums, among which stand out the three original volumes of the red-light soundtracks of Danish films ”The Golden Age Of Danish pornography", and also known for his collaborations with Edda Dell'Orso (Maestro Ennio Morricone's legendary vocalist,) Joe Bataan, Lonnie Jordan of L.A funk band War, and Gene Robinson Jr of Breakwater.

Alex Puddu will follow the previews singles "Texas Blonde" and "Pullover Grigio" releasing after the summer, for the first time a brand new album in Italian language, called ”Deliria” proposing a new sound that drags us into the Italian funk music of the late seventies and early 80s, and the new music from the italian indie pop and new disco scene, within names like, Nu Genea, Pellegrino. Viscardi & Il Duo Magnetico, Frah Quintale, Marco Castello and up to the electronic sounds, between adult oriented soul and disco that are part of the unmistakable style of Alex Puddu's writing and production.

TRACK LISTING

A1. Oriental Blue
A2. Texas Blonde
A3. Liquore Alla Menta
A4. Il Cinem
A5. Pullover Grigio

B1. Champagne E Giochi Di Coppia
B2. Amori In Svezia
B3. Velluto Nero
B4. Manette E Fruste
B5. L'Inverno

Rex Orange County announces his new album The Alexander Technique for release via RCA Records. The album was produced entirely by Rex himself alongside Teo Halm (Rosalía, SZA, Beyoncé) and Jim Reed, the latter a member of the Rex Orange County touring band since its inception, in addition to James Blake who produced and features on “Look Me In The Eyes.”

The Alexander Technique is named for a therapeutic practice in which back pain is treated in order to address deeper health problems, and it’s an apt name for Rex's most raw album to date: what may have begun as a simple exercise in changing the purview of his writing ended up becoming his most confessional, open-hearted album. Stripping back his sound to a skeletal mixture of stream-of-consciousness R&B and indie-folk, while retaining the orchestral lushness that’s become his trademark, The Alexander Technique marks the beginning of Act Two of Rex Orange County's career: a new chapter on which he lays everything bare, no matter how painful that might be.

“The Alexander Technique is very much a look into my own brain and experiences over the last few years – it’s almost a diary,” he says. Longer than any project he’s ever made and more musically varied, The Alexander Technique was made over a matter of years, started before and finished after 2022’s WHO CARES?; listening to it feels like watching an artist grow in real-time, and face all the attending growing pains that come alongside. “I’ve made a lot of love songs over the years, and I feel as though this is the first time I’m trying to make a project about everything in life. In my mind, it’s exactly what I’ve always wanted to make.”

TRACK LISTING

1. Alexander
2. Guitar Song
3. 2008
4. Therapy
5. 4 In The Morning
6. Jealousy
7. The Table
8. Pure
9. One Of These Days
10. Carrera
11. Much Too Much
12. Sliding Doors
13. Lost For Words
14. Look Me In The Eyes Featuring James Blake
15. New Years
16. Finally

As Alex Izenberg was piecing together the sweeping, psychedelic opuses on his full-band debut Alex Izenberg & The Exiles, the Los Angeles artist was focused on a simple goal: making something built to last. At the heart of his songs are bold ideas that take inspiration from the heady musings of philosopher Alan Watts, the multi-layered storytelling of King Crimson, and the imagistic vistas of Fleet Foxes. While the subject matter may feel esoteric—“My unconscious named the tongue/Of the lights of closed eyes” goes a characteristic lyric—Izenberg and his band let the music drift pleasantly to earth. The melodies are romantic and warm, and the arrangements are invitingly expansive, making expert use of a new ensemble formed around the strongest songs of his career.

TRACK LISTING

1. The Gospel Of Exiles
2. An Obscured Odyssey
3. The Wraith Behind Our Eyes
4. Drinking The Dusk Away
5. Dreams Of Déjà Vu
6. Threaded Dances
7. Only The Moon Knows
8. Pareidolia
9. United States (of Mind)
10. Apophenia
11. As The Dawn Serenades The Dark

A vibrant kaleidoscope of sound, colour and emotion, British multi-hyphenate James Alexander Bright's new album 'Cool Cool' is set for release on 26th July via Athens Of The North. A dynamic set of urgent funkers, gentle soul ballads, head-nodders, fuzzy folkers and straight-up disco bangers span 10 songs that soundtrack fertile daydreams, esoteric dancefloors, languorous reflection, and wild excursions in nature and beyond.

James' voice, pitched somewhere between Eddie Chacon, Beck and Michael McDonald, takes a confident lead on this new record. Whether tenderly caressing on the title track's beautiful soul minimalism or deployed passionately on boogie machine 'Straight Line'; it's an immediately recognisable signature. Impressive multi-instrumentalism sees him perform on guitar, bass, keys, programming, percussion, production and myriad quirky effects; across song subjects that cover searching for truth, imagining the distant future, teen nostalgia, relaxation exploration, aspirations of freedom, and classic tales of love and romance.

"'Straight Line' started out as a wonky homage to 80s & 90s radio", says James. "It's based on the memory of meeting someone you want to stay up all night listening to music with". Disco highlight 'Your Love' is"based on the feeling of love and chasing it. It has a certain kinetic charm but holds a melancholic note also". Similarly, on soulful paean to romance 'Fall For You' James explains"You know when you've loved. To love is a magical thing whether it's an experience, an object, or a person; we've all loved and lost".

"'Cool Cool' is the most stripped back song I've ever written,"he confesses."Recorded in one afternoon with no special effects or production tricks, it feels quite timeless". In contrast the uninhibited 'Aguas Blancas' flexes with exuberance. James explains"It's a homage to one of my favourite beaches on the island of Ibiza. I was imagining being there as I made this. What's not to like about big waves, a buzzing beach shack bar, and nudity?".

As always with James' music, what started as a solo endeavour organically morphed into more of a family affair. Initially written and recorded at his home studio in the rolling hills of the Hampshire countryside, the tracks on 'Cool Cool' were completed in sessions with regular collaborator Peter Lyons in East London and Linkwood at Athens Of The North in Edinburgh. Old friends and new contribute vocals (Kerry Leatham and Katharine Alice), drums (Gillan McLaughlin and Joris Feiertag), and synths (Reuben Vaun Smith on 'Aguas Blancas'), plus collaborations with Wolverhampton electronic duo Letherette on 'I Feel Alive' and Ugandan/Nottingham singer-songwriter and guitarist Daudi Matsiko on 'Hear'.

James says"Some of these people I was in bands with as a kid, which is a pretty magical thing. I've been a fan of Letherette for years so it was a buzz when I asked Andrew to work on some tracks together and he was really into it. When Daudi shared a guitar part he wasn't sure what to do with on his Instagram stories, I messaged him to say "I'll make a track out of this!" and that then became 'Hear'".

The past six years has seen James release a veritable treasure trove of music: 'Mallorca' and 'Strange Folk' EPs, debut album 'Headroom', joyous second 'Float', an album of collaborations and reworks with cosmic Americana-disco DJ/producer duo Flying Mojito Bros, and a new project with Groove Armada's Tom Findlay as Bright & Findlay.

James balances music alongside the creative duality of a job in illustration and the responsibilities and constraints that come with raising a young family. Utilising any spare moment to write and record new ideas, his creative output under various projects had been relentless. Turning his back on apathetic major label offers in his early 20s, he's released through cult DIY label Tape Club Records, German stalwart !K7 Music and now with Scottish tastemaker Athens Of The North, presenting an evolving vision of a sound that has touched on everything from outsider art-rock to machine funk, mystic folk to experimental jazz.

TRACK LISTING

1. Straight Line
2. Your Love
3. Fall For You
4. Cool Cool
5. Catch My Breath
6. Aguas Blancas
7. I Feel Alive (feat. Letherette)
8. YSYSYS
9. Fuzzy Yellow Magic
10. Hear (feat. Daudi Matsiko)

Electro-boogie-machine 'Straight Line' is taken from 'Cool Cool', the upcoming third album by British multi-hyphenate James Alexander Bright. "'Straight Line' started out as a wonky homage to 80s & 90s radio", says James. "It's based on the memory of meeting someone you want to stay up all night listening to music with".

James' passionate voice, pitched somewhere between Eddie Chacon, Beck and Michael McDonald, takes a confident lead over a melange of body-popping LinnDrum beats, a host of swooping, fuzzy synths, and backseat-rocking bass. Initially written and recorded at his home studio in the rolling hills of the Hampshire countryside, 'Straight Line' was completed with regular collaborator Peter Lyons in East London.

It's backed on 7" vinyl with the wonky dancefloor wobbler 'Oh My', sounding something like Theo Parrish producing Arthur Russell after a sleepless night.

The past six years has seen James release a veritable treasure trove of music, including 'Mallorca' and 'Strange Folk' EPs, debut album 'Headroom', joyous second 'Float', an album of collaborations and reworks with cosmic Americana-disco DJ/producer duo Flying Mojito Bros, and a new project with Groove Armada's Tom Findlay as Bright & Findlay.

James balances music alongside the creative duality of a job in illustration and the responsibilities and constraints that come with raising a young family. Utilising any spare moment to write and record new ideas, his creative output under various projects had been relentless. Turning his back on apathetic major label offers in his early 20s, he's released through cult DIY label Tape Club Records, German stalwart !K7 Music and now with Scottish tastemaker Athens Of The North, presenting an evolving vision of a sound that has touched on everything from outsider art-rock to machine funk, mystic folk to experimental jazz.

A dynamic set of urgent funkers, gentle soul ballads, head-nodders, fuzzy folkers and straight-up disco bangers.

TRACK LISTING

1. Straight Line
2. Oh My

The Stone Roses shows a band sizzling with skill, consumed with drive and aspiration and possessing an almost preternatural mastery of the pop paradigm. This book explores the political and cultural zeitgeist of England in 1989 and attempts to apprehend the magic ingredients that made The Stone Roses such a special and influential album.

Oasis' incendiary 1994 debut album Definitely Maybe managed to summarize almost the entire history of post-fifties guitar music from Chuck Berry to My Bloody Valentine in a way that seemed effortless. But this remarkable album was also a social document that came closer to narrating the collective hopes and dreams of a people than any other record of the last quarter century. In a Britain that had just undergone the most damaging period of social upheaval in a century under the Thatcher government, Noel Gallagher ventriloquized slogans of burning communitarian optimism through the mouth of his brother Liam and the playing of the other Oasis ‘everymen’: Paul McGuigan, Paul Arthurs and Tony McCarroll.

On Definitely Maybe, Oasis communicated a timeworn message of idealism and hope against the odds, but one that had special resonance in a society where the widening gap between high and low demanded a newly superhuman kind of leaping. Alex Niven charts the astonishing rise of Oasis in the mid 1990s and celebrates the life-affirming, communal force of songs such as “Live Forever,” “Supersonic,” and “Cigarettes & Alcohol.” In doing so, he seeks to reposition Oasis in relation to their Britpop peers and explore one of the most controversial pop-cultural narratives of the last thirty years.

In this breathtaking memoir, acclaimed writer Alex Wheatle shows how music became his salvation through a childhood marred by abuse. Abandoned as a baby to the British care system, Alex grows up with no knowledge of his Jamaican parentage or family history.

Later, he is inexorably drawn to reggae, his lifeline through disrupted teenage years, the challenges of living as a young Black man in 1980s Britain and his imprisonment for protesting against systemic racism and police brutality. Alex's youth was portrayed in Oscar Award-winning director Steve McQueen's Small Axe series. In Sufferah, he tells his own story, urgently, vividly and unsentimentally.

Multi-hyphenate artist James Alexander Bright releases soulfully tender paean to romance 'Fall For You', backed with urgent funker 'Viper Flames'. This new music heralds James' third solo album, currently being recorded and mixed, which is planned for release via Athens of the North mid 2024.

On 'Fall For You' James says "You know when you've loved, to love is a magical thing. Whether it's an experience, an object, or a person; we've all loved and lost. The senses, vibration and elements have a wondrous strength and power. Love is the most powerful of all."

Following the release of !K7 debut album 'Headroom' ("Blissful choruses, sweetly nagging refrains and a lo-fi sensibility. Hard not to love" Mojo), James featured on Groove Armada's album 'Edge Of The Horizon', contributed 'Under The Sun' to the Too Slow To Disco: The Sunset Manifesto compilation and released single 'It's Alright' with Feiertag. His second album, the joyous 'Float' ("Vivid intermingling of buoyant breakbeat drum loops, sunkissed psychedelic folk song, retrofuturist synthesisers and hot buttered British soul" Test Pressing), was released in July 2022 with singles 'Drink This Water', 'Wheels Keep Turning' and 'Sundown' feat Fink paving the way. This was followed in early 2023 by 'Mirage In The Mojave' ("One hundred percent proof dancefloor ready" Louder Than War), an album of collaborations and reworks with cosmic Americana-disco DJ/producer duo Flying Mojito Bros. On radio his tracks have been played across BBC 6 Music (where he's recorded guest mixes for Tom Ravenscroft and Huey Morgan), Amazing Radio, Bandcamp Weekly, Worldwide FM, Soho Radio, KCRW, Triple J and BBC Solent (who chose his track 'Tigers Roar' to soundtrack Portsmouth FC's 2019 journey to Wembley – awkwardly James is a Saints fan).

A new project with Groove Armada's Tom Findlay as Bright & Findlay - married around their shared love of machine-led funk, outsider soul, 70s-80s nautica and 21st century basement disco - was released via Athens of the North in summer 2023. Solid tastemaker support included BBC 6 Music's Gilles Peterson, who included 'Slow Dance' amongst his tracks of the year, and Huey Morgan, for whom the duo recorded a Block Party mix.

STAFF COMMENTS

Paul says: Nestled proudly at the front of my record bag ready for my next Sunday session, Athens Of The North never fail to deliver the goods and this modern soul 7" is just the ticket.

TRACK LISTING

1. Fall For You
2. Viper Flames

When Bernie Wilcox and Geoff Brown approached Chris Hewitt in June 1978 about building a stage and providing a PA system for Alexandra Park, Manchester, Chris already had all the hardware booked for the Deeply Vale Festival which was a week later in July 1978 than the date Bernie and Geoff had proposed for the Northern Carnival Against Racism Concert. This then meant that all of the equipment, generators, scaffolding and fencing could simply have the hire period brought forward to cover Alexandra Park and that the costs would be far more reasonable than a completely ‘start from scratch hire’. So it was that about 12 days before Deeply Vale 1978 we started to build a stage and secure compound in Alexandra Park, Manchester. Three days before Buzzcocks were due to play on the Saturday we got a call to ask if Graham Parker and The Rumour could rehearse in the park on the stage on the Thursday night as he was supporting Bob Dylan and Eric Clapton at a festival at Blackbushe Aerodrome on the Saturday and Graham and the Rumour had never played outdoors before. So we finished the stage by Thursday lunchtime for a free concert by Graham Parker in the evening and then Buzzcocks played Alexandra Park Saturday afternoon.

Pete Shelley in 2016 – “I know Chris Hewitt obtained a recording of Buzzcocks at Alexandra Park, it would be great fun if it came out as an album”. Pete Shelley 1978 after playing his set at Alexandra Park –“This wasn’t politics it was fun, but the best kind of fun is with people and being with people is politics”. Paul Morley reviewing the concert – “Buzzcocks placed the emphasis on entertainment – a people’s celebration. Arriving on stage with no fixed set they played some pop music… They were a triumph”. 

TRACK LISTING

Side 1.
1 Spoken Word From People Involved
2 Ever Fallen In Love
3 Sixteen
4 Moving Away From The Pulse Beat
5 Fiction Romance
6 Love You More
Side 2.
1 Spoken Word From People Involved
2 Nothing Left
3 Breakdown
4 Noise Annoys
5 What Do I Get
6 Autonomy
7 Boredom

This ten-track album showcases Alex Pester's unique and unconventional sound, a blend of folk, baroque pop, psychedelia, and experimentalism, and is set to become a defining moment in his young career.

At just twenty-two years old, Pester has already established himself as a prolific singer-songwriter hailing from Bath, England. He has released three albums to date, each displaying his immense talent as a musician and songwriter. Influenced by the Incredible String Band, The Beatles, Robert Wyatt, Animal Collective, Harry Nilsson, and The Microphones, among others.

TRACK LISTING

1. Dear Friend
2. Big Black Second-Hand Book
3. I See You
4. You Love Me
5. So What?
6. In The Night
7. You're My Kind
8. Restless
9. Are You Gonna Make Her Choose?
10. Bye Bye, Teddy

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Never before released on vinyl, no plans to repress. True RSD exclusive. No digital release until far in the fuutre. This was recorded live in Belgium in 2004 with a pick-up band. colour vinyl. CD is long out of print

Alex Chilton’s Feudalist Tarts (1985) found the Big Star/The Box Tops front man re-making himself as a southern fried hipster offering up original tunes like “Stuff” and sly soulful covers “B-A-B’Y” and “Thank You John” while adding a horn section to his road tested rhythm section. Side Two features a number of rare Chilton tracks including “Rubber Room” and “Wild Kingdom.” Chilton had hit rock bottom in his home town of Memphis after 15 years of substance abuse and hard partying.

He chose New Orleans as the city where he would re-make himself. One of the benefits was exposure to all the music he would hear down there. He immediately immersed himself in the city’s laid back, stretched out grooves. The covers he chose for this record were songs he heard being played by older musicians around New Orleans

Expanded version includes a side of rare tracks. Out of print on vinyl since 1986. Includes seven original Chilton compositions. Original album release coincided with his most prolific touring schedule since his days in The Box Tops.

TRACK LISTING

SIDE A:
01. Tee Ni Nee Ni Noo - Tip On In
02. Stuff
03. B-A-B-Y
04. Thank You John
05. Lost My Job
06. Paradise
SIDE B:
07. No Sex
08. Magnetic Field
09. Rubber Room
10. Wild Kingdom
11. Junkyard

“God” figures in the new album from Philadelphia, PA based Alex Giannascoli's LP’s title, its first song, and multiple of its thirteen tracks thereafter, not as a concrete religious entity but as a sign for a generalized sense of faith (in something, anything) that fortifies Giannascoli, or the characters he voices, amid the songs’ often fraught situations.

Beyond the ambient inspiration of pop, Giannascoli has been drawn in recent years to artists who balance the public and hermetic, the oblique and the intimate, and who present faith more as a shared social language than religious doctrine.

As with his previous records, Giannascoli wrote and demoed these songs by himself, at home; but, for the sake of both new tones and “a routine that was outside of my apartment,” he asked some half-dozen engineers to help him produce the “best” recording quality, whatever that meant. The result is an album more dynamic than ever in its sonic palette.

TRACK LISTING

1. After All
2. Runner
3. Mission
4. S.D.O.S.
5. No Bitterness
6. Ain’t It Easy
7. Cross The Sea
8. Blessing
9. Early Morning Waiting
10. Immunity
11. Headroom Piano
12. Miracles
13. Forgive

‘I’m Not Here’ inhabits the shaggy, world-weary mode of Alex Izenberg’s favorite 1970s artists, folks like Harry Nilsson, John Lennon, Randy Newman, and Lou Reed.

Recorded at Tropico Studios, produced by Izenberg and Greg Hartunian in Los Angeles, CA, the album’s swelling string and woodwind arrangements - courtesy of collaborator Dave Longstreth of Dirty Projectors - bring to mind the technicolour sweep of Van Dyke Parks.

TRACK LISTING

1. Ivory
2. Gemini Underwater
3. Egyptian Cadillac
4. Breathless Darkness
5. Broadway
6. Our Love Remains
7. Ladies Of Rodeo
8. Sorrows Blue Tapestry
9. Juniper & Lamplight
10. Sea Of Wine

Best known as Hot Chip's clear-voiced frontman, Alexis Taylor also pursues a solo career as an introspective singer/songwriter, exploring distinct themes and ideas with each record. Alexis announces the release of his sixth and strongest solo album to date, Silence.

Partly about silence - and how we intersect with it, observe it, try to record it, and how we feel about it when it’s gone, as we remember it - the record is also about religion, transcendence, giving oneself over to something bigger than you, or beyond this world. “I’m not religious myself,” adds Alexis, “but the songs which deal with the idea of gospel music or religion, look at it from a distance (rather like the shaky hand-held lens through which we follow the action in Pasolini’s ‘Gospel According To Matthew’) and try to uncover its influence on music and on people in desperate circumstances.”

The genesis behind Silence started a few years ago with Alexis ruminating on silence as a subject and making plans to make a record of the sounds you hear in public spaces as people observe moments of silence. He then lost his own personal access to silence as tinnitus began in his right ear in 2019 at a Hot Chip show. As Alexis explains, “I started to think about what it meant to me to lose quietness, solitude, meditative head space - as that was no longer available to me.”

Mostly composed in enforced isolation, Silence is a beautifully rich and unexpected conceptual album that is also Alexis’ most accomplished solo record and one that has seen early comparisons with a notably eclectic range of artists including Mark Hollis, George Michael, Big Star, Epic Soundtracks and Maher Shalal Hash Baz. This record sees the first time Alexis has collaborated with Sam Becker (double bass), Kenichi Iwasa (horn, trumpet) and Rachel Horton-Kitchlew (harp), who due to lockdown had to work in isolation from Alexis. In one case Kenichi recorded musical passages which were then superimposed on songs he had never heard - in effect keeping the songs themselves silent from the playing until the mixes were played to him. 

TRACK LISTING

1) Dying In Heaven
2) Death Of Silence
3) House Of The Truth
4) Violence
5) Strange Strings
6) Thylacine
7) I Look To Heaven
8) Melting Away
9) Consequences
10) You’ve Changed Your Life
11) Silence
12) Wollongong Waves

The score reflects the mood of the lead character, played by Nicolas Cage, with the simple ‘folk’-like colours of the solo violin and acoustic guitars creating a richly mournful tone.

More modern, aggressive electric guitars, distorted colours and drums provide a strikingly ominous, propulsive backdrop to the character’s more intense moments.

Alexis Grapsas says this about the film’s score: “The score was born after lots of trial and error and experimentation under the guidance and vision of the filmmakers, where we tried very original acoustic and electric sounds. In the process of creating an environment that would capture the lead character’s emotional world, we landed on a very unique raw and gritty sound that remains true to the story while being self-aware.”

TRACK LISTING

Hunting
Out Of The Woods
Turquoise
Bottom Of The Ocean
Salted Baguette
Take Me To The City
The Trees Tell You Where To Look
Tell Him Who You Are
Things To Really Care About
Hotel Portland
Wasted Space
Pignapping
See You Thursday

Alex Cameron has always been a great storyteller, finding his ways into the depths of the places where not many others are looking, and Oxy Music continues on that trajectory. It’s filled with stories of people who fall outside the system and exist in the grey areas of life. And much like 2017’s Forced Witness, Oxy Music is a work of fiction. In its design - its music, lyrics and tracklist - lies the journey a person can take, if the circumstances present themselves - down the road of heavy drug and alcohol abuse. Initially inspired by Nico Walker’s Cherry, Cameron was spurred into yet another commentary on American Life, this time about the opioid crisis that has taken over the country. Alex says about Oxy Music: “The album is a story, a work of fiction, mostly from the perspective of a man. Starved of meaningful purpose, confused about the state of the world, and in dire need of a reason to live - a person can, and according to the latest statistics, increasingly will, turn to opioids. This is one of those people.”

While Oxy Music could be dark, it’s instead brighter and more buoyant than much of Cameron’s previous work, a shift in mood first seen across 2019’s Miami Memory. It’s told from a place of optimism and through the lens of Cameron, in the way that only he can tell it.

TRACK LISTING

SIDE A:
1. Best Life
2. Sara Jo
3. Prescription Refill
4. Hold The Line
5. Breakdown

SIDE B:
6. K Hole
7. Dead Eyes
8. Cancel Culture (feat. Lloyd Vines)
9. Oky Music (feat. Jason Williamson)

Peter Alexander Jobson: Musician, Composer, Performer. Ex member of Mercury nominated I Am Kloot. On occasion guitar player for Guy Garvey. On occasion bass player for Nadine Shah.

Ahead of the release of his debut album in 2022, adopted Mancunian Peter Alexander Jobson brings us this rather wonderful four track EP.

"I have been writing and recording my debut album for 50 years. It is now complete."

“When men do great things everyone knows it takes them a very long time”.

STAFF COMMENTS

Andy says: Imagine the plaintive beauty of Bill Fay, but with a wicked sense of humour. Or Richard Hawley's classicist vibes but topped with a barstool storyteller. Then you'll get some idea of the sound of PAJ. There's a real poise and deep sense of bruised beauty on display here. It's magnificent.

TRACK LISTING

Side A
1. Holiday (Live)
2. Just ‘Cause I'm Dead
3. Please Please Please

Side B
1. Kesta

Real Estate's Alex Bleeker steps out on his own for a first full solo album, taking his music back to his homespun indie-rock roots. Initially recorded in his bedroom before adding finishing touches in the studio, the tracks have a lo-fi warmth akin to Bleeker's American heroes The Feelies & Yo La Tengo.

I’ve known Alex Bleeker my entire life. Well, okay, maybe not since I was born, but there’s no doubt that I’ve shared a fair bit of memories with him over the years. We’ve acted in high school productions of Shakespeare together, gone on late-night diner runs, argued about which Weezer album is the band’s best, and swapped mutual appreciation for the music of Yo La Tengo on car rides careening around the snaky suburbia of our hometown. Just like his Real Estate bandmates Martin Courtney and Julian Lynch, we attended high school in the New Jersey enclave of Ridgewood, a place where sticky summer days yielded cool nights with a glow so nocturnal that you can practically hear the fireflies buzzing off of this sentence alone.

Indie rock—a type of music that can easily be made or listened to in someone’s garage—often dominates teenage suburban preoccupations, and both Alex and I were no exception. You can hear this legacy of listening on his new album Heaven on the Faultline, which departs from his last full-band outing as Alex Bleeker and the Freaks, 2015’s Country Agenda. Whereas that album had a more full-bodied explicitly folk-y feel, Heaven on the Faultline finds Bleeker getting back to his homespun roots over the course of its 13 songs, from the jangly guitar pop of New Jersey heroes the Feelies and YLT’s hushed, acoustic reveries to the open-hearted folk rock that marks so much of the Grateful Dead’s early catalog.

Written and recorded over the last several years, Heaven on the Faultline’s songs were initially recorded straight to GarageBand in Bleeker’s bedroom before receiving further studio refinement in co-producer Phil Hartunian’s Tropico Beauty space in Los Angeles. With contributions from Confusing Mix of Nations’ Josh Da Costa, Cameron Stallones of Sun Araw, singer-songwriter Kacey Johansing, and Parting Lines’ Tim Ramsey, Heaven on the Faultline achieves a warm and intimate feel that defines Bleeker’s mission for the album: “I wanted to capture the moment in which I fell in love with making music to begin with. This is music for myself—me getting back to music for music’s sake.”

The unsteady times we live in certainly creep into view on Heaven on the Faultline. The deceptively easygoing “D Plus” was written on the day of President Donald Trump’s inauguration with the cursed event in mind, while the anxiety of climate change hovers just above the lovely guitar loops of “Felty Feel.” “The album is very much about dealing with the anxiety of a sense of impending doom,” Bleeker states while discussing the album’s portentous vibes. “When is the hammer going to fall? How do we go forward in the face of such anxiety and experience the complexity of life?” 

TRACK LISTING

1 AB Ripoff
2 D Plus
3 Felty Feel
4 Heaven On The Faultline
5 Heavy Tupper
6 LaLaLa
7 Mashed Potatoes
8 Swang
9 Parking Lot
10 Reach For My Brain
11 Tamalpais
12 Twang
13 Lonesome Call

“I’ve always felt like more of a performer than a writer,” Alexis Marshall says when asked about the impetus behind his first solo album. “In the past I lacked confidence to guide the creative process, but now I just wanted to be entirely in control of something.” Marshall is best known as the frontman for Rhode Island’s notorious provocateurs Daughters, whose eight-year hiatus between their posthumous self-titled album and the critically acclaimed comeback album You Won’t Get What You Want found the ever-evolving band explode from down-and-out cult heroes to one of the biggest bands in the nebulous territory where abrasive noise rock fuses with high-art aspirations.

Whereas most music built around dissonance and tension feels like a cautious flirtation with nihilism or an excursion of role-playing the villain, Marshall’s loathsome oratory and self-flagellating performances always conveyed a sense of true emotional gravity and danger. For his debut album, he wanted to push that sense of chaos even further, by crafting an album around moments of spontaneity and sonic detritus, where a mistake could become a hook or the whip of a chain could become a beat. “I’ve never been interested in perfection because I’ve never even felt close to being able to achieve it.

I wanted this record to be a living, breathing entity, flaws and all” Marshall explains of the writing and recording process for the album. Soliciting help from his childhood compatriot Jon Syverson (Daughters), musical colleague Kristin Hayter (Lingua Ignota), and former tour-mate Evan Patterson (Jaye Jayle, Young Widows), Marshall and the band convened at Machines with Magnets studio in Pawtucket, Rhode Island with producer/engineer Seth Manchester. The strategy was to embrace new sounds, employ the element of chance, and capture the creative process in a song format. Drums were the first priority, so Manchester led Marshall into the basement of the studio to cobble a kit together out of various bits of broken drum parts and construction materials. A marching drum became the kick. Scrap metal served as the cymbals.

It was as if the team was attempting to make music from literal scratch. As the team assembled their collages of scrapyard percussion, no-wave guitar abrasion, and piano dirges, Marshall threaded together his poetic diatribes and acidic litanies from stream of consciousness exercises. Age has not tempered his vitriol. As a man that delved deep into self-destructive behavior in his twenties, it’s a small miracle he crossed the threshold into his forties earlier this year. With his recent introduction to fatherhood came a new perspective on youth, and the conflict between nostalgia for lost innocence and disdain for naivety became a focal point on the album. 

TRACK LISTING

1. Drink From The Oceans . Nothing Can Harm You
2. Hounds In The Abyss
3. It Just Doesn't Feel Good Anymore
4. Youth As Religion.
5. Religion As Leader
6. No Truth In The Body.
7. Open Mouth.
8. They Can Lie There Forever
9. Night Coming

Musician, composer, producer and visual artist Alex Somers releases his debut album Siblings in tandem with his other debut album Siblings 2 on April 16th 2020. Two double albums housed in a beautiful single sleeves Siblings and Siblings 2 have been a long time coming, being written between 2014-2016.

Siblings and Siblings 2 have 13 hauntingly beautiful, impressionistic tracks apiece, the records draw on the composer’s main musical interests - film composition, ambient, post-classical, post-rock and electronica - combining grandeur and intimacy, broad brushstrokes and subtle detail, minimalism and maximalism.

A known composer Somers has worked on an already prolific amount of film and TV music, such as Captain Fantastic, Honey Boy, Here We Are: Notes For Living On Planet Earth, Audrey, Taylor Swift’s Miss Americana and (with Sigur Rós) the Black Mirror episode Hang The DJ on Netflix. In parallel, Somers built a studio where he recorded the likes of Sigur Rós, Jónsi, Julianna Bardwick, Death Vessel and Damien Rice, and continued with his own recordings. Remarkably, given his vast experience, Siblings and Siblings 2 are the first albums under his own name.

Musician, composer, producer and visual artist Alex Somers releases his debut album Siblings in tandem with his other debut album Siblings 2 on April 16th 2020. Two double albums housed in a beautiful single sleeves Siblings and Siblings 2 have been a long time coming, being written between 2014-2016.

Siblings and Siblings 2 have 13 hauntingly beautiful, impressionistic tracks apiece, the records draw on the composer’s main musical interests - film composition, ambient, post-classical, post-rock and electronica - combining grandeur and intimacy, broad brushstrokes and subtle detail, minimalism and maximalism.

A known composer Somers has worked on an already prolific amount of film and TV music, such as Captain Fantastic, Honey Boy, Here We Are: Notes For Living On Planet Earth, Audrey, Taylor Swift’s Miss Americana and (with Sigur Rós) the Black Mirror episode Hang The DJ on Netflix. In parallel, Somers built a studio where he recorded the likes of Sigur Rós, Jónsi, Julianna Bardwick, Death Vessel and Damien Rice, and continued with his own recordings. Remarkably, given his vast experience, Siblings and Siblings 2 are the first albums under his own name.

The music of Alex Maas has always mesmerised. Now, on his soul-baring solo debut Luca, the Texan and Black Angel's singer journey is taking an equally hypnotic detour along the wild trails of his indigenous homestead. Driven by the force of nature, each phase of life is celebrated through songs of love, hope, human connection whilst navigating perils of modern society and tentatively facing the darkness. 

TRACK LISTING

1 Slip Into
2 The Light That Will End Us
3 Special
4 Been Struggling
5 500 Dreams
6 What Would I Tell Your Mother
7 All Day
8 Shines Like The Sun (Madeline's Melody)
9 American Conquest
10 The City

In June 2020, mid lockdown, Nick Cave performed a live set in the vast grandeur of in the West Hall of London's Alexandra Palace. The performance, featuring just Nick at the piano, was filmed and streamed in July and was a beautifully sombre affair that sat perfectly with the mood and uncertainty of the time. 

In recent years Nick has performed several solo shows with just a piano, covering material spanning his entire career, but whether it is the shadow cast by the global pandemic or the majestic splendour of the location, this songs here seem somehow more poignant than ever. Although recorded in such a vast space it is the intimacy of the performance that makes it such a compelling listen. Wonderful.

The Telegraph ****
"Cave's solo live stream could be the most the beautiful and sombre performance he's ever given"

The Guardian ****
"Cave’s performance in an empty hall, with just piano and voice, seems to try and ward off the terrifying silence of the Covid-19 age”

Evening Standard ****
"Gravitas echoes beautifully in the void of an empty Alexandra Palace"

The Independent ****
"‘Idiot Prayer’ performance is stately and beautiful”

The Arts Desk ****
"The dramatic minimalism of this setting is perfect for an expressive face, and such powerfully emotional songs”

STAFF COMMENTS

Barry says: There is absolutely no stopping Nick Cave. Even a global pandemic can't halt his transformative live show, and the bleak solemnity of one man and a piano only serves to exacerbate the intoxicating experience.

TRACK LISTING

Spinning Song
Jubilee Street
Far From Me
Idiot Prayer
Sad Waters
He Wants You
Brompton Oratory
Higgs Boson Blues
Palaces Of Montezuma
Stranger Than Kindness
Into My Arms
Girl In Amber
The Ship Song
Man In The Moon
Nobody's Baby Now
Papa Won't Leave You, Henry
Black Hair
(Are You) The One That I’ve Been Waiting For?
Galleon Ship
Waiting For You
The Mercy Street
Euthanasia

Following a four-year silence, enigmatic LAoutsider Alex Izenberg presents his sophomore album ‘Caravan Château’ via Weird World / Domino.

Recorded largely at Tropico Beauty with Greg Hartunian (Young Jesus) and Derek Korat, and with the help of a handful of collaborators including Chris Taylor (Grizzly Bear), Jonathan Rado (Foxygen, Whitney, Lemon Twigs), Ari Balouzian (Tobias Jesso Jr) and others, Izenberg creates songs that are easy to adore but hard to define. Izenberg’s sharp songs are the bait that first brings you into ‘Caravan Château’ but that deliberate ambiguity is what brings you back repeatedly, hoping to tease out the riddles of being inside these stunning tunes.

TRACK LISTING

Requiem
Sister Jade
Anne In Strange Furs
Disraeli Woman
Saffron Glimpse
Dancing Through The
Turquoise
Bouquets Falling In The
Rain
December 30th
Lady
Revolution Girls
Caravan Château

Love Record Stores Edition available from 9am on Saturday June 20th.
Limited to one per person.

James Alexander Bright's music is as visual a voyage as it is a sonic one; a kaleidoscope of colours that swirl, swoon, soar and sing. Stepping into his musical world is a multi-sensory experience, one where smooth grooves, wonky rhythms, dreamy melodies and immersive atmospheres coalesce to form their own sphere. “Sound as vision,” says Bright of the audio aesthetic he relates to and aims for. “Music you can bite into.”

Based in the Hampshire countryside and an illustrator by day, Bright’s world is often a dual one but one where elements overlap and inform one another. “I spend a lot of my day creating things visually and everyday life can be an assault on the senses, ”says Bright.“ Evening is my quiet time; time for my ears. Invariably I’m inspired by the things that people and creatures do in the dark.

”This creative duality extends beyond just the visual and the music too. It’s found deep rooted in the music itself, which explores a mix between lo-fi and hi-fi, possessing an intimate bedroom recording-like quality but with production that sounds glowing and golden. Similarly, the sunny sheen found in the music-via a kind of psychedelic pop meets electronic soul-is one born from dichotomy.“I feel at home in the deep south of England,” he says. “I’m in the middle of nowhere with lots of green land, fresh air and head space. I feel like the sunshine in the South in the summer months really reflects in my music. However, I tend to make music in the dark hours and winter months, so it’s almost like the music is my sunshine and happy place in these moments.

”The end result is also an album that exists in a dual world, one that at times has enough bounce and buoyancy to fill a dance floor-as on the disco funk strutting “Lead Me Astray”- and others feels perfectly suited to introspective headphone listening as on the breezy, woozy ambience of “Cala Llenya”.The latter track pays tribute to the Ibiza beach of the same name, whereas “Dancing with the Birds”- a delicate exploration of pastoral folk-is a nod to one of Britain’s most beloved treasures. “It’s based on a late night walk having just watched a David Attenborough documentary, featuring these beautiful birds that have a crazy mating dance. I love his documentaries and I was listening to a lot of Bert Jansch. The next night I had this vision of dancing birds come into my mind.

”Elsewhere Headroom touches upon, in Bright’s own words, 60’s sunshine doo-wop, mutant disco, and mystic mountain top vibes. It’s an album that explores a great deal yet even amidst its dualities it retains a sense of cohesion throughout. It’s a mixture that Bright feels pleased to have managed to juggle so seamlessly. “I think there is a good balance around experimentation on the record-a nice mix between fun and substance.”

TRACK LISTING

A1. Go
A2. Outside
A3. Lead Me Astray
A4. Cala Llenya
A5. Dancing With The Birds
B1. Gold
B2. Damn
B3. 6AM
B4. Kip On The Highline
B5. Friends (Lovers Lost)

Swiss DJ Alex Attias returns to BBE with a second helping of uptempo cuts, perfectly encapsulating his LillyGood Party! sound. Founder of the recently revived Visions imprint, a long-time collector and a revered selector, Alex Attias is, before everything, a refined producer whose musical craft has seen him travel the globe, most notably with an extended stint in the birthplace of the bruk sound, London. The tracks you’ll find on this compilation are all current favourites, or proven classics that have never left Alex's record box at the LillyGood Parties, a gathering Alex and his brother Stephane run in their hometown of Lausanne, Switzerland. LillyGood Party! Vol.2 is another testament to Attias’ unswerving taste for smooth yet intricate, subtly layered yet deeply rooted dance compositions; some subtly edited for maximum dance-floor effect. Featuring instantly recognisable names such as Louie Vega's Elements Of Life, Peven Everett and even Pharoah Sanders, LillyGood Party 2 also sheds light on some lesser-known artists, digging out some gems, buried deep across the jazz, disco and electronic musical strata. 

STAFF COMMENTS

Sil says: More jazzy than my usual preferences; this great compilation has got me shacking my arse in ways not previously known! Someone put me on a dancefloor!

TRACK LISTING

SIDE A
1. How Bad I Want Ya (GU Peak True Time Mix) – Stacy Kidd Feat. Peven Everett
SIDE B
1. Children Of The World (Ben Brophy Edit) – The Elements Of Life Feat. Josh Milan
SIDE C
1. Gwotet (Alex Attias Edit) – David Murray & The Gwo-Ka Masters Feat. Pharoah Sanders
2. Freedom Flight – Mausiki Scales (Alex Attias LillyGood Party Edit)
SIDE D
1. Open Up Your Mind (Honeycomb Vocal Mix) – Universal Tongues Feat. Elle
2. Star Child Going Home – MJ Lallo

Honey Boy OST by Alex Somers. Beautiful and transcendent soundtrack to accompany the Shia LaBeouf written and Alma Har'el directed Honey Boy.

TRACK LISTING

Side A

1. Honey Boy (Feat. Zach Shields) / 2. Apologize / 3. A Good Day / 4. Where You Come From / 5. Blood Family / 6. Treehouse / 7. Without A Net / 8. Play The Tape Out / 9. Blackout

Side B

1. A Mirror Behind You / 2. Save Yourself / 3. Fair / 4. Mother Fell Out Of A Window (Feat. Zach Shields) / 5. Real World / 6. None OfIt's Real / 7. Trust Me Honey Boy / 8. I Want You To Be Here (Feat. Zach Shields) / 9. You're A Fucking Star (Feat. Zach Shields) / 10. A Violent Act / 11. All I Ever Wanted

Alex Cameron’s newest and most musically expansive LP, the glistening Miami Memory, takes a surprising turn. Cameron’s flair for narrative and character are still on full display; yet Miami Memory’s most frequent narrator is, for the first time, Cameron himself—singing with stunning candor of his three-year relationship with his girlfriend.

“When you listen to these songs, and you’re waiting for the twist, or the joke, or any kind of discomfort, I can assure you none of those things were there when I wrote them,” says Cameron. “These are true stories, of actual events. Specific but never esoteric. And graphic but never offensive. Miami Memory is the story of a couple balancing sex with contemporary family values...It’s my gift to my girlfriend, a symbol to hoist on the totem of love.”

Though remnants of his synth-driven earlier work sneak in to unsettle the tone, the bulk of Miami Memory, produced by Jonathan Rado (Weyes Blood, Father John Misty) and recorded and mixed by Marta Salogni (Björk, Kelela), revels in the emotional overdrive of classic dad rock, its warm, anthemic songs driven by bass, guitar, sax, and layers of Vegas wedding chapel-ish organ.

Cameron’s dad rock funhouse of an album ultimately twists and subverts the genre: it recalls classics the white male ego has historically visited for its regular adrenaline injection, and morphs them into a singular “stepdad” rock that largely turns its lens away from the dads, celebrating the demise of old norms of gender and power. In his depiction of his relationship, Cameron reveals a striking honesty about love and sex in a time where a palpable fleetingness hangs over everything from relationships to human life on this planet—but also where constricting mores have deteriorated enough to let “family life,” in all its morphing forms, exist outside of social obligation. With arresting straightforwardness, Cameron now sings as himself, paying tribute

STAFF COMMENTS

Barry says: Huge stadium-rock choruses and growling synths provide a glitzy and sturdy backdrop for Cameron's soaring vocals and robust 80's-tinged pomp. Huge, overblown, and great fun all round.

TRACK LISTING

SIDE A:
1. Stepdad
2. Miami Memory
3. Far From Born Again
4. Gaslight
5. Bad For The Boy

SIDE B:
6. End Is Nigh
7. PC With Me
8. Divorce
9. Other Ladies
10. Too Far

Alex Jann returns to Censor for the label’s second excursion into the unknown with three direct communications and a mix of the title track from Rotterdam’s Animistic Beliefs.

The EP’s title track "Computoid.Transmission.X" is a pulsating drum workout laced with dystopian pads, laser-cut leads, anxious bass lines and an evocative mutant vocal from an A.I. system gaining consciousness.

Animistic Beliefs create a darker texture on their 'Electric Eye Mix' of the title track, sending the vocal and lead sound straight through the stratosphere via complex bass and arp phrases that filter and stalk around the lead bringing a deeper and more contrasting A2.

"Firewall Culture" comes as an intoxicating trip on the B1 with off-world FX, feral acid lines and a spacetime-defying style of vocal that haunt Alex’s work.

"Jupiter Storms" on the B2 ascends the EP to a higher plane with deep washes created from evolving pads adding space and movement to the final track of the release, all accented with glacial micro drops, syncopated beats and tight trickling synth sections. The release was mastered by Keith Tenniswood at Curve Pusher.

Look, I know you're totally barraged with nu-electro vibrations at the moment, but you can rely on us to sort the wheat from the chaff. And this is wholegrain goodness for all the 'fam! Keith Tenniswood's even involved for Christ's sake - it may as well have Her Majesty's seal of approval!

TRACK LISTING

A1. Computoid.Transmission.X
A2. Computoid.Transmission.X (Animistic Beliefs Electric Eye Mix)
B1. Firewall Culture
B2. Jupiter Storms

On her sophomore LP, The Best of Luck Club, 26-year-old Melbourne, Australia native Alex Lahey navigates the pangs of generational ennui with the pint half-full and a spot cleared on the bar stool next to her. Self-doubt, burn out, break-ups, mental health, moving in with her girlfriend, vibrators: The Best of Luck Club showcases the universal language of Lahey’s sharp songwriting, her propensity for taking the minute details of the personal and flipping it public through anthemic pop-punk. Lahey’s 2017 debut I Love You Like a Brother encases Lahey’s knack for writing a killer hook and her acute sense of humor delivered via a slacker-rock package and, in a way, The Best of Luck Club picks up where that record left off.

Lahey co-produced the album alongside acclaimed engineer and producer Catherine Marks (Local Natives, Wolf Alice, Manchester Orchestra), and dives headfirst into a broader spectrum of both emotion and sound through polished, arena pop-punk in the vein of Paramore with the introspective sheen of Alvvays or Tegan & Sara. Here, Lahey documents the highest highs and the lowest lows of her life to date. After a whirlwind of global touring in support of breakout debut I Love You Like a Brother, Lahey wrote the bulk of her follow-up in Nashville during 12-hour days of songwriting. There, she found the inspiration for The Best of Luck Clubís concept: the dive bar scene and its genuine energy.”Whether you’ve had the best day of your life or the worst day of your life, you can just sit up at the bar and turn to the person next to you - who has no idea who you are - and have a chat. And the response that you generally get at the end of the conversation is, "Best of luck", so The Best Of Luck Club is that place.

TRACK LISTING

1. I Don’t Get Invited To Parties Anymore
2. Am I Doing It Right
3. Interior Demeanour
4. Don’t Be So Hard On Yourself
5. Unspoken History
6. Misery Guts
7. Isabella
8. I Need To Move On
9. Black RM’s
10. I Want To Live With You

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.

Third album from Liverpool born singer-songwriter Alex Highton. Rather than the acoustic bucolic musings of "Woodditton Wives Club" ("a masterpiece," according to Heaven Magazine in Holland, "World class," said the Guardian) or his disconcerting take on existence that was "Nobody Knows Anything" ("Sufjan Stevens like audacity....4 Stars" Mojo Magazine"), his new album expands his sound into a something much more complex and sonically adventurous.

As a kid his time was split between his native Liverpool and Florence, Italy, after his parents' divorce. Liverpool has a musical heritage that is impossible to escape but it was during the summers, whilst devouring his Dad's amazingly eclectic record collection , that his musical education began, taking in everything from Talking Heads & Penguin Cafe Orchestra to David Ackles & Bowie. He lost his twenties to bad decisions and then struggling through some kind of breakdown, he started to take songwriting seriously. The songs he wrote (part therapy / part love letter his new life) formed the basis of his debut album, a record replete with tales of rural S&M, mental, emotional and economic collapse, and ultimately salvation through love and family. For the new album Alex locked himself away in the studio with producer/multi instrumentalist Jonathan Czerwik, and started putting together the songs that would fill "Welcome To Happiness".

In their downtime they discussed artists they loved and would inform the new album - Can, The Flaming Lips, Beck, Prince, Steely Dan, Bon Iver, Serge Gainsbourg, Here We Go Magic, The Beach Boys, Bowie, Neu, tons more..."We threw all this stuff into the pot and just said 'let's see what happens'. Witness "Benny Is A Heartbreaker" reminiscent of Hot Chip & Talking Heads with it's electro beats and slick grooves and "Love Is Enough", referencing David Ackles & Luis Bunuel but sounding like something cooked up by Luke Temple and ELO. 

A landmark in cinematic wildlife fi lmmaking, Earth: One Amazing Day dramati cally brings to life the crucial role the sun plays in shaping the destinies of life-forms on the planet, including ourselves. It’s a spectacular vision of the rhythms of day and night and how a relati onship with the sun binds every species together.

The score is produced by Alex Heffes, one of fi lm world’s most exciting composers, with credits such as Touching The Void, The Last King Of Scotland and Queen Of Katwe.

This vinyl edition is packaged as a gatefold double LP on blue and green translucent heavyweight vinyl. The artwork contains numerous photos from the
film itself.

TRACK LISTING

LP 1:
Earth
Sunrise
Serval
Iguanas Vs. Snakes
Waltz Of The Flowers
Baby Panda
Cloud Building
Zebra River Crossing
Narwhales
Brown Bears
Sleepy Lions
Giraffe Battle
Sand Dunes
Sperm Whales

LP 2:
Sloth Story
Penguin Colony
Penguin Raiders Return
Penguins Reunited
Racket Tailed Hummingbird
Field Mouse
Mayflies
Zebra Survives Another Day
White Headed Langurs
Creatures Of The Night
Click Beetle
Bioluminescence
Night Sky
Fireflies
Another Ordinary Day
End Credits

The first thing that hits you is the voice. Alex Lipinski’s caressing sympathy, full-throated resentment, and the raw rockabilly excitement of earliest Elvis have grabbed unwary listeners from the West Country to Krakow, Berlin and New York, since he first left Somerset to become a crucial habitué of Soho’s legendary, lost 12-Bar Club. He has followed in the footsteps of his hero Dylan to write in the Chelsea Hotel, and sung Elvis songs in the home of an admiring Liam Gallagher, who responded with a roaring “Acquiesce”. With older brother and fellow musician Adam Lipinski by his side at Newcombe’s residential studio in Berlin, ‘Alex’ basically took six hours. “Anton put a lot of time and energy in.

I recorded with an old guitar, because he wanted to capture the effortless, timeless ‘60s records that he had in his mind. We had initially planned to be in the studio for three or four nights. The first evening we rattled though the songs, a take or two of each and in those six hours everything clicked. By midnight we were done. We ended the evening by going to a great bar called 8mm. Anton set up a gig there the following night and played old folk records, then we played a live set. We added small overdubs on the record later. But the album captures the character of the songs live with no frills. The slight imperfections add to the feel. Anton taught me about perfect mistakes.”

TRACK LISTING

1) Going Nowhere Fast ,
2). Dandylion Blues ,
3). Carolyn ,
4). Hurricane ,
5). Come On People ,
6). Sophie’s Song
7). The Devil You Know ,
8). Lonely Kid ,
9). Another Travellin’ Song ,
10). This Girl

I Love You Like A Brother is the highly anticipated album from Melbourne’s Alex Lahey. An infectious debut that shines with a rare confidence, I Love You Like A Brother is a riotous record, packed with relatable fuzzpop gems. 

After finishing school, Lahey initially went to university to study jazz saxophone, but unimpressed with “learning music in such a regimented way” she switched to an arts degree. While studying, Alex cut her teeth as a member of cult party collective Animaux, which allowed her restlessly rebellious streak to flourish. Alex began to form the blueprint for her own solo material by writing songs inspired by the two people she considers the greatest songwriters of all time, Dolly Parton and Bruce Springsteen, whilst retaining the punk spirit of her first musical outing. These songs found themselves on her first solo EP, the acclaimed B-Grade University.

The EP included the single. ‘You Don’t Think You Like People Like Me’; a mainstay on Australian radio, landing on triple j’s prestigious Hottest 100 of 2016. The song’s universal tale of rejection took Lahey global - its message, she says, is the flipside of the usual break-up scenario: “Yeah, you’re right. It’s not me. It IS you”. This no-shit-taken attitude forms the backbone of I Love You Like A Brother as evidenced by the uproarious opening track ‘Every Day’s The Weekend’.

Throughout the records’ ten songs, Alex’s lyrics deftly move between wry, often hilarious witticism to heartbreaking poignancy. For every uplifting anthem, such as ‘I Love You Like A Brother’ and the unruly ‘Perth Traumatic Stress Disorder’, there’s painfully relatable tracks like ‘Backpack’ and ‘Awkward Exchange’. Despite the instant pop chops of I Love You Like A Brother, there’s introspection, self-doubt and sense of working out the complexities of growing up in this limbo period between youth and adulthood.

The themes of Alex Lahey’s album might be universal, but it’s the unique approach she takes unpacking them that’s earned her millions of Spotify streams, buzz-worthy showcases at SXSW and festival sets alongside the likes of Flume, The Kills, At The Drive-In and James Blake as well as guesting on tours with Tegan & Sara and Blondie.

TRACK LISTING

1 Every Day's The Weekend
2 I Love You Like A Brother
3 Perth Traumatic Stress Disorder
4 I Haven't Been Taking Care Of Myself
5 Backpack
6 Awkward Exchange
7 I Want U
8 Lotto In Reverse
9 Let's Call It A Day
10 There's No Money

Weird World introduce Los Angeles’ Alex Izenberg and his debut album, ‘Harlequin’.

‘Harlequin’ may be Izenberg’s debut album proper but it also marks the culmination of over five years of highly prolific writing and recording under a variety of pseudonyms.

‘Harlequin’ is almost a study in distraction - a restless, feverish dream sequence which variously invokes Scott Walker’s obtuse, off kilter worlds of sound, Simon and Garfunkel’s psychedelic yet practical string arrangements, the vaudevillian pomp and preening of Wild Beasts’ early material and Grizzly Bear’s pastoral early steps. All this is cut through with moments of total silence, patches of noise, found sound and countless dynamic leftturns and moments of non-sequitur.

TRACK LISTING

The Farm
Grace
Libra
Archer
Hot Is The Fire
Changes
To Move On
A Bird Came Down
The Moon
Waltz Of The Roots
People

'My name is Alex Cameron and I won't waste your time. When you're talking about me and my business partner, Roy Molloy, you're talking about the online cowboys in the wild-west days of the World Wide Web. And if you want to know what we're really about just look at all the things you wish you'd done differently. All the things you stopped yourself from doing on account of the fear of failure, or rejection. Weigh that up against your ambitions. Think about your work ethic. We're reclaiming failure as an act of progress. An act of learning. Something to celebrate.

A word's meaning can change depending on who utters the thing; and so we present characters - shapes are morphed and stories are delivered. This is a collection of 4-minute tales written to provide you with insight into the inner workings of failed ambitions and self-destruction. Unedited, uncensored, and without inhibition. I've learned to reveal what I want to unlearn. I cast a light on the darkness and in doing so understand love and compassion. Fear is to be confronted, and to learn strictly requires failure - over and over. Celebrate failure with Jumping The Shark.'

TRACK LISTING

1 Happy Ending
2 Gone South
3 Real Bad Lookin
4 The Comeback
5 She's Mine
6 Internet
7 Mongrel
8 Take Care Of Business

Hot Chip front man Alexis Taylor pares everything back to just piano and voice for an intimate record of new songs, reinterpretations of his own writing, and a selection of favourites both well-known and unheard before by other artists. Recorded at Hackney Road Studios by Shuta Shinoda, Piano invites the listener to be privy to a very private recital, with Alexis’ vocal and piano captured live and up-close, preserving each beautiful moment.

“The idea with this record was to choose songs of my own and others' that were personal to me and to document live performances which were intimate and unadorned. I wanted to reduce everything to the barest elements, record a great piano well and do as little as possible to the recordings eq or effects-wise. The mood created on the record is pretty different from that on other records I have been involved with. It feels like a special place to be able to go to."

“After it was completed 'Piano' struck me as a sort of gospel record in places - albeit an atheist's gospel album, if that's possible. 'In The Light of the Room', Elvis's 'Crying In The Chapel', the hymnal 'I Never Lock That Door', and the miracle-referencing 'So Much Further To Go' - they have that feel to them for me lyrically and musically. But the Miracles in 'So Much Further' are Smokey's as much as anything Biblical, and the reference to both silence and music filling the air reflects the album’s observations about absence, loss, repair and surrender to love and sound. The song is one I was really happy with when I first wrote it partly because it offered some mystery to me - I didn't fully understand it. After a close friend and collaborator passed away during the making of this record - actually someone who I had asked to contribute small string parts to it - I felt I understood it all too well:

'Life a miracle - a miracle that's hard to bear'”

TRACK LISTING

01. I’m Ready
02. So Much Further To Go
03. Crying In The Chapel
04. Without Your Name
05. In The Light Of The Room
06. Lonely Vagabond
07. Repair Man
08. Don’t Make My Brown Eyes Blue
09. I Never Lock That Door
10. Just For A Little While
11. Don’t Worry

Philadelphia’s Alex Giannascoli aka Alex G releases ‘Beach Music’, his forthcoming new album and his first for Domino.

The album, his seventh full-length, follows on from previous beloved albums ‘DSU’ (Orchid Tapes), ‘Trick’ and’ Rules’, all which have led to a fervent cult fanbase and a number of Artist To Watch designations from publications such as Fader and Rolling Stone.

The album was mixed by Jacob Portrait of Unknown Mortal Orchestra.

TRACK LISTING

‘Beach Music’
Intro
Bug
Thorns
Kicker
Salt
Look Out
Brite Boy
In Love
Walk
Mud
Ready
Station
Snot

Alex G Live At The Headroom
(Bonus LP - With Deluxe Vinyl Edition Only)
Look Out
Black Hair
Bug
Kicker
Wicked Boy
Mary
Ice Head
Boy
Snot
Rules
Soak
Mis
After Ur Gone

Flying Fantasy was recorded and mixed by Scott Solter, known for his work with St. Vincent, Superchunk, The Mountain Goats, and many others. As an accomplished 12-string guitarist/composer, Alexander Turnquist was naturally alarmed when the ulnar nerve in his left hand seized up in 2013, but after a surgical procedure he gratefully started the process of learning to play guitar again. His recovery was cut short when not long after the surgery he was hospitalized with meningitis. Though his recovery is ongoing, and he continues to struggle with a weakened immune system and memory loss, he was inspired to soldier on, rather than being deterred by his physical struggles.

Turnquist's latest full-length Flying Fantasy confirms the idea that out of great hardship can come great art. As he wrote the material for the new album it became clear that his sensitivity had sharpened, his empathy magnified, and his sense of purpose blossomed. The unfortunate circumstances he endured ostensibly forced his metamorphosis from a remarkable guitar player to a truly great composer. Much like the butterflies that adorn the album cover, he seems to have changed form and taken flight.

The album opens with the sparse harmonics of "House of Insomniacs", which are soon joined by lush swells of vibes, cello, and even wordless vocals. On the tracks that follow, Turnquist continues to make use of this dynamic sonic pallet, even adding organ, piano, marimba, steel drums, violin, and french horn to the mix. From "Red Carousel", which was inspired by Ray Bradbury's Something Wicked This Way Comes, to the somber lilt of the love song "Wildflower", to the truly arresting title track "Flying Fantasy" which uses only 4 open strummed guitars and loops of damaged tape and wire recorders, every note vibrates with life as Turnquist ushers us though his intoxicatingly colorful worlds of sound.

"By embedding both new age and noise-oriented electronic themes into his pastoral pieces, Turnquist unites disparate traditions and ideals, essentially employing sonic counterweights to construct 57 minutes that are as surprisingly dynamic as they are perfectly beautiful." PITCHFORK (8.2) .

TRACK LISTING

1. House Of Insomniacs 7:30
2. Finding The Butterfly 5:46
3. Wild Flower 6:17
4. Red Carousel 8:45
5. Flying Fantasy 6:41
6. Cloud Slicing 2:19

A strong love for classic 60s/70s guitar pop (Beach Boys, Beatles) as well as soft spots for Prince and Hall & Oates display his self proclaimed 'fascination with pop music'. While his influences certainly shape his work, it is his natural ear for melody and movement which make Calder's work both fluid and engaging.

His knack and ambition both in his song writing and production provide a solid foundation for Calder's music to drift in an out of psychy realms. There are no over drenched chorus or walls of sound, instead leaving space for melody and texture to beneatly co-existent. Alex has found the sweet spot between slacker-pop jangle and snug rhymtic production to create reassurance his songs are going somewhere. Intimate handclaps and shakers make it easy for one to visualize the living from which it came as Calder's questions what to do with his time both literally and existentially.

TRACK LISTING

1. Sukie And Me
2. Light Leave Your Eyes
3. Location
4. Time
5. Captivate
6. Fatal Delay
7. Lethargic

MMW1 and DFA are proud to present a special duo release from Dan Bodan and Alexis Taylor (Hot Chip). A call and response, the release features an original demo recording from 2009 by Bodan and a recent cover version by Taylor.

Written and recorded in New Orleans during a summer of too much JT Leroy and True Blood, Dan Bodan’s original demo of ‘Under a Cancer Sky’ is a Ballardian ballad dedicated to the gods of Sex, Cars and Zodiac.

Taylor’s take on the song is decidedly more sensual, abandoning the gothic highways of Route 66 for a night ride through Dubai or Neo-Tokyo, effortlessly zipping along between blinking skyscrapers in a self-driving car.

A six track mini album of original songs from the film ‘Submarine’, recorded by Arctic Monkeys’ Alex Turner and released by Domino.

The tracks here are much more stripped down than anything the band have released, and this suits Alex’s wry, poetic songwriting perfectly.

‘Submarine’, the debut film from Richard Ayoade, based on the novel by Joe Dunthorne, will be shown nationwide in cinemas from the 18th of March.

The remarkable career of Scotland's Alex Harvey is one laced with tragedy and wild creativity. His brother Les, guitarist with Stone The Crows, died on stage in the early 70s and the accident seemed to galvanise Alex into a burst of creative energy, forming a new band, one that cemented his own legend as leader of the Sensational Alex Harvey Band. His career began in the early 60s, (he won a competition as Scotland's answer to Tommy Steele), through a stint in "Hair" and then the SAHB's always fighting the bottle and fate. This comprehensive double is a perfect overview of the career of one of rock's true characters.

A kettle drum roller with enuff lush sweeping synth washes to satisfy. Flip for "Brainwash" and "Northwest".