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CITY SLANG

José González

Local Valley

    Few people have managed to become quite so celebrated worldwide, quite as quietly as José González has. Local Valley, his long awaited fourth album, serves as a relieving reminder that you don’t have to be loud to be heard.

    Since his debut single ‘Crosses’ back in 2003, both he and his music have remained dependably quiet and unassuming. Local Valley calmly exhibits his singular ability to communicate with such modesty and power. Beginning with the sun-dappled ‘El Invento’, the first song he’s recorded in Spanish (the native tongue of his Argentinian heritage), and ending with the intimate yet rhapsodic ‘Honey Honey’. Along the way it engages in his signature melodic and metrical hypnotism, showcasing his remarkable fingerpicking skills, while there’s further evidence of his love for music from around the world (he references an inspiring jam session in Gothenburg with Niger artist Bombino) and for the first time, the introduction of a drum machine on a few songs, further widening José´s musical spectrum.

    The record, full of his trademark bittersweet pastoralism, includes what González considers “my most accomplished songs to date”. While continuing his tradition of reinterpreting songs by other artists, with ‘Line Of Fire' he picks one written for Junip, the band he formed with friends in 1998. That the original version has now been streamed some 60 million times suggest it, like other songs he’s covered, is now part of the songwriting canon.

    Local Valley, González cheerfully acknowledges, “is similar to my other solo albums in sound and spirit, a natural continuation of the styles I’ve been adding through the years both solo and with Junip. I set out to write songs in the same vein: short, melodic and rhythmical, a mixture of classic folk singer songwriting and songs with influences from Latin America and Africa. It’s more outward looking than my earlier works, but no less personal. On the contrary, I feel more comfortable than ever saying that this album reflects me and my thoughts right now.”

    TRACK LISTING

    A1. El Invento
    A2. Visions
    A3. The Void
    A4. Horizons
    A5. Head On
    A6. Valle Local
    B1. Lasso In
    B2. Lilla G
    B3. Swing
    B4. Tjomme
    B5. Line Of Fire
    B6. En Stund På Jorden
    B7. Honey Honey

    Lambchop

    Showtunes

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

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

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

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


      TRACK LISTING

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

      Sophia Kennedy

      Monsters

        Sophia Kennedy’s music sometimes sounds like a soundtrack to a world disintegrating, hanging on by a thread of memories, it combines the glamour and the morbid charm of tin pan alley show tunes from the 1960s or 70s and yet it fully embraces the deconstructed modernism of club music. Her new album Monsters, is full of plot twists, moments of prettiness dashed with paranoia. The title itself, is a self-ironic, comic-like commentary of being an artist trying to tame own creations like “monsters” gone wild but also a nod to a generally threatening tension in the world. Monsters is pop music teetering on the verge of ruin.

        Kennedy’s creative approach has always been unusual. Growing up in Germany after her family emigrated from Baltimore, she developed an ear for off-centred songcraft picking through her mum’s record collection: Whitney Houston and Simon & Garfunkel at first, Karen Dalton and the Velvet Underground later. With no equipment to hand, she started recording audio on a camcorder, blurring the lines between music and her other passion, film. Obsessed with the work of John Cassavetes and 70s horror films like Carrie, Kennedy moved to Hamburg to study film and ended up making music for theatre productions. Her involvement in the local creative community led her through the doors of the “Golden Pudel”, a techno nightclub. Immersed in Hamburg’s dance music scene she met Mense Reents, a musician best known for his work with the celebrated house act, Die Vögel. The pair formed a writing and production partnership, and would make Sophia’s eponymously-titled debut record together in 2017 which was released through DJ Koze’s label Pampa.

        One step further is where Kennedy has taken her sound on Monsters. It’s full of hints of a former life, abstract melodic turns, instrumentation that shouldn't work, but does, wrongness that’s right. “Seventeen” is acid-washed Americana with creeping sub-bass, closer “Dragged Myself Into The Sun” is a full-on left hook, drones stacked like lasagna and pumped with steroids. There is pop centre pieces like “I Can See You” and the velvet-lined anthem “I’m Looking Up”, dealing with grief and death, recalling the rawest edges of Krautrock and, for Kennedy, nods to Baltimore artists Panda Bear and the strange currencies of Animal Collective.

        TRACK LISTING

        A1. Animals Will Come
        A2. Orange Tic Tac
        A3. I Can See You
        A4. Francis
        A5. Seventeen
        A6. Loop
        B1. I’m Looking Up
        B2. Chestnut Avenue
        B3. Do They Know
        B4. Cat On My Tongue
        B5. Brunswick
        B6. Up
        B7. Dragged Myself Into The Sun

        Noga Erez

        Kids

          Musician and producer, Noga Erez finds her feet on KIDS, her bold second album for City Slang made with her creative and life partner Ori Rousso. Building from the raw politics of her 2017 debut, Off The Radar, KIDS moves closer to home while retaining her signature smarts and swagger. Its earworms and crisp productions are locked around lyrics that deal with the personal and the political; mortality and loss; war and peace, insecurity and ambition. As with Off The Radar, Erez never pulls her punches, whether that’s with politics or production. 

          After a series of singles, KIDS comes packed with chart-worthy outspoken pop anthems for the 21st century. KIDS replaces the shadow and fury of Off The Radar with neon brights, bold lines, in determinedly audacious and confident productions that swap ferocity for bounce, gloomy moods for fierce swagger. Erez has truly found her style, growing into a crisp bombastic sound she crafts with Rousso, that contains tension and release, anxiety and remedy, and masterly melodic licks in swipes of stomping brass, all wrapped around Erez’s versatile vocals that quickswitch from clipped flow to smoky purr; from stadium chorus to streetready beats.

          TRACK LISTING

          A1. KTD
          A2. Cipi
          A3. VIEWS (feat. Reo Cragun & ROUSSO)
          A4. YOU SO DONE
          A5. End Of The Road
          A6. Bark Loud

          B7. KIDS (feat. Blimes)
          B8. Story (feat. ROUSSO)
          B9. Knockout
          B10. NO News On TV (feat. ROUSSO)
          B11. Fire Kites
          B12. Candyman
          B13. Switch Me Off

          Junip

          Junip - Repress

            The long awaited re-press of sophomore album by Junip, the Swedish folk-rock band featuring José González, is finally here.

            Now on coloured vinyl!

            TRACK LISTING

            1. Line Of Fire
            2. Suddenly
            3. So Clear
            4. Your Life Your Call
            5. Villain
            6. Walking Lightly
            7. Head First
            8. Baton
            9. Beginnings
            10. After All Is Said And Done

            Junip

            Fields - Repress

              The long awaited re-press of the debut album by Junip, the Swedish folk-rock band featuring José González, is finally here.

              Now on coloured vinyl!

              TRACK LISTING

              1. In Every Direction
              2. Always
              3. Rope & Summit
              4. Without You
              5. It's Alright
              6. Howl
              7. Sweet & Bitter
              8. Don't Let It Pass
              9. Off Point
              10. To The Grain
              11. Tide

              "Suddenly", Caribou's critically acclaimed seventh album get remixed by Shanti Celeste, Kareem Ali, Logic1000 and India Jordan - a smogasboard of nu-talent ready to elevate Snaith's tracks into the heavens!

              Beginning with staccato, powerful, early-session house banger, Shanti Celeste’s remix of “Ravi” is as pumping and upfront opening to the EP as one could want. Just wait for those M1 licks!

              Personal favourite is the Logic1000 remix; taking holygraphic fractals from "Sunny's Time" and adding her own pneumatic, rigid, breaks-n-bass finesse. Definintely one of the hottest producers around at the moment.

              India Jordan squdiges the stems of "Like I Loved You" into a sloppy house refix; dropped shoulders and snaking hips a likely result of these liberal grooves while the falsetto vox from the original is an unusual but effective juxtaposition.
                

              STAFF COMMENTS

              says: Shout outs to Logic1000 once again for perfectly marrying old school energy with new school flavour. Her soundsystem-ready tickles and touches an absolute delight to behold. That said, I'm feeling Shanti Celeste's contribution too. Bought!

              TRACK LISTING

              1. Ravi (Shanti Celeste Remix)
              2. Sunny's Time (Kareem Ali Remix)
              3. Sunny's Time (Logic1000 Remix)
              4. Like I Loved You (India Jordan Remix)

              Tindersticks

              Distractions

                Just before the end of the year 2020, a mere 12 months, after the release of their celebrated record “No Treasure But Hope”, Tindersticks surprised everyone with mentioning a new album to be released in 2021.

                Stuart Staples was already nurturing seeds for a different kind of Tindersticks album before lockdown halted their tour in early 2020, singer. If 2019’s “No Treasure but Hope” saw the band rediscovering themselves as a unit, the follow-up reconfigures that unit so that everything familiar about Tindersticks sounds fresh again. “Distractions” is an album of subtle realignments and connections from a restless, intuitive band: rich in texture and atmosphere, it lives between its open spaces and details, always finding new ways to connect with a song.

                If it’s an album that resists easy summation, at least one thing is clear: though it isn’t untouched by the lockdown, “Distractions” is not ‘a lockdown album’. As Staples says, “I think the confinement provided an opportunity for something that was already happening. It is definitely a part of the album, but not a reaction to it.”

                STAFF COMMENTS

                says: Distractions is swimming with that classic Tindersticks sound, propulsive but underlined with a sort of post-punk gothiness and metronomic bassy groove. Brilliantly immersive and perfectly produced, this is sure to prove a big hit.

                TRACK LISTING

                A1. Man Alone (can’t Stop The Fadin’)
                A2. I Imagine You
                A3. A Man Needs A Maid
                B1. Lady With The Braid
                B2. You’ll Have To Scream Louder
                B3. Tue-moi
                B4. The Bough Bends

                Anna B Savage

                A Common Turn

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

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

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

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

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


                  TRACK LISTING

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

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

                  Casper Clausen, frontman of Efterklang and adjacent project Liima, kicks off a new year with his first ever solo record. Landing via City Slang, ‘Better Way’ was trailed by the juddering, krautrock-tinged, 9-minute opening jam “Used To Think”.

                  “Used to Think” was one of the first songs I wrote for “Better Way” a couple of years ago” Clausen comments. “I had a run of some small shows around Portugal testing the new songs I was working on at the time, and this one became one of my favourites, I really like the energy of it. It was also the song that made me reach out to the producer Sonic Boom. He ended up mixing / co-producing the entire album. There is some inspiration from his band Spacemen 3 luring around in there and he lives in Sintra, very close to Lisbon where I’ve been the past couple of years, so it all made sense.”

                  “To me “Used to Think” is like a Kaleidoscope with interchangeable lenses, each section of the song, a different pallet of colours and shapes. Before I stopped thinking I thought, open up, share more and think less.”

                  Always restless and brimming with creative energy and zeal, on this first solo venture Casper Clausen exhibits a new sense of ingenuity and musical exploration, unrestricted by formats, genres and collective goals. He presents a kaleidoscopic album journeying new terrain, twisting dense textures and swirls of sound into tales of alienation and love.

                  "It’s a record about finding a better way, loving stronger, falling harder” he says. “It’s about being far away, and it’s about being myself, how I make music by myself. It’s my first album, though I’ve been in bands ever since I started making music in my teens. Most of the songs on this record were written in a similar way; I’d go to my studio every day, turn on some machines and find some sounds that I like and let my mind drift away. I would always leave one song behind every day I went to the studio.”

                  Through eight tracks of sparkling, light-filled explorations Clausen channels moods and sounds with a sense of unbridled freedom, optimism and inquisitive liberty, touching on elements of krautrock, avant-pop and progressive rock, whilst the delicate, bassy vocal refrains and expansive approach to composition is unmistakably the Casper Clausen fans have come to know. “I was trying to capture an intuition, rather than a fully composed song” he comments. “It was more about the jam, the experiment”.

                  Deeply rooted in his residency in Lisbon, Portugal, the songs came together through snatched moments between tours when he would use his downtime finding inspiration in the local music scene, in his daily commute across the Tejo to his studio in Almada, and in looking back across the water as he worked, watching cargo ships pass and the cobbled streets, coloured facets and terracotta roofs of the city cascading down the hills opposite. “I wanted something from my time in this city to last” he says. “To make an album seems like a good start.”

                  The album artwork was created by his long-time Portuguese friend Fatima Moreno, and the songs were mixed in the hills outside the city by Sonic Boom of Spaceman 3. “My very first introduction to him was listening to theSpacemen 3 song "Big City” in Berlin at 8mm bar years ago - there's a little nod to "Big City" on “Used To Think”” he comments, referring to the album’s opening 9+ minute jam. “I went out to meet him and his partner in their house. It’s magical. We decided to mix and produce the album there, in his studio. I was fortunate to co-pilot, while he was warping the sound of the record, I admire his incredible ear-mind. I learned a lot from him."

                  And so, here it is – the debut solo album from Casper Clausen. Not so much a record to be explained rather than to be experienced; a story in 8 chapters, a celebration of the universe and a call to arms: to dig deeper, reach higher, fall better, stand taller and find a Better Way.

                  STAFF COMMENTS

                  says: Clausen, of glitchy electronica titans Efterklang brings his newest solo LP, a much more upbeat and melodic affair. With the paddlings arps of 80's synthpop mixed with the psychedelic reverb drenched over huge anthemic choruses, it's an effective combo indeed.

                  TRACK LISTING

                  1. Used To Think
                  2. Feel It Coming
                  3. Dark Heart
                  4. Snow White
                  5. Falling Apart Like You
                  6. Little Words
                  7. 8 Bit Human
                  8. Ocean Wave

                  Calexico

                  Seasonal Shift

                    Calexico are back with a new album 'Seasonal Shift'. 

                    Speaking about "Hear the Bells", the first single from the album, Joey Burns of Calexico said "When writing songs for a seasonal album, I wanted to include some of the aspects of celebrations and traditions observed in Tucson around early November. This song is about holding time and space for memories. Dia de Los Muertos and The All Souls Procession are two events that have influenced Southern Arizona and remembering those who've passed away. But it could also be about giving memories importance, too. The story could be about two lovers or two family members."

                    Calexico’s 'Seasonal Shift' is less of a Christmas album and more of a cross cultural seasonal celebration. The themes are based around that familiar end of year feeling, of reflection, of ceremony and of recognition of the year gone by and changes it brought for better and for worse. It contains a few cover songs including classics by John Lennon and Yoko Ono, Tom Petty and a few more special guests, combined with a whole load of good will. It’s heartfelt but fun, and earnest but celebratory. It features Calexico in an assortment of guises, referencing Portuguese Fado and Old Mexican Folk Songs, from the stripped back two-man skeleton to the full party of international collaborators including artists like Bombino, Gaby Moreno, Gisela João, Nick Urata (DeVotchKa) and Camilo Lara.

                    Reflecting on the album, Joey Burns says, “It's more of a seasonal album and like all seasons they are about change and how those changes in the world resonate inside of you. I never thought this would have gone the way that it did. We were aiming to record a 6 song EP and we kept going. I guess I never thought I would be on permanent hibernation mode either, but I'm super happy and extremely grateful.”

                    STAFF COMMENTS

                    says: A gorgeous and perfectly fitting atypical Christmas album from Calexico. Though we've become used to the typical Christmas offerings, it's become all the more amazing when alt takes on the theme are done by bands we love (See : Low), and this could easily enter the 'Festive but not Phil Spector' playlist.

                    TRACK LISTING

                    A1. Hear The Bells
                    A2. Christmas All Over Again
                    A3. Mi Burrito Sabanero
                    A4. Heart Of Downtown
                    A5. Seasonal Shift
                    A6. Nature’s Domain
                    B1. Happy Xmas (War Is Over)
                    B2. Glory’s Hope
                    B3. Tanta Tristeza
                    B4. Peace Of Mind
                    B5. Sonoran Snoball
                    B6. Mi Burrito Sabanero (Reprise)

                    Dan Snaith, under the guise of Caribou (formerly Manitoba), has been producing critically-acclaimed albums for years now, each an impressive development on the previous one. For his Merge debut, he married the kaleidoscopic grandeur he's known for with pop melodies and harmonies crammed densely together. Andorra is so vividly three-dimensional, it's hard to believe it was performed and recorded entirely by Snaith at home, save for vocal and songwriting contributions by friend/tour mate Junior Boys' Jeremy Greenspan on one track. To make something so beautiful and vast from surroundings so constrained is surely Caribou's unique alchemy.

                    TRACK LISTING

                    A1. Melody Day
                    A2. Sandy
                    A3. After Hours
                    A4. She's The One
                    A5. Desiree
                    B1. Eli
                    B2. Sundialing
                    B3. Irene
                    B4. Niobe

                    King Hannah

                    Tell Me Your Mind And I'll Tell You Mine

                      Sometimes a band arrives out of nowhere, with a fully formed sound ready to fill a stadium. King Hannah are one of those bands. The Liverpool band led by the creative force of Hannah Merrick and Craig Whittle have arrived with ‘Tell Me Your Mind and I'll Tell You Mine’, an EP that is both soothing in its moods and intoxicating in its rushing soundscapes, containing a sound that is both brand new and completely mature. Their neon guitar lines and intimate torchlight vocals put the everyday on a pedestal, lifted by melodic licks that swell into dense and swirling atmospheric textures.

                      ‘Tell Me Your Mind and I'll Tell You Mine’ sounds like late nights and early mornings, from the beauty and closeness of acoustic guitar in opener "And Then Out of Nowhere, It Rained", to the final immersive thicket of distorted guitars in “Reprise (Moving Day)”. In between, "Meal Deal" is smoky backroom Americana transposed onto the precarity of finding somewhere to live; "Bill Tench" feels like melancholic euphoria of travelling in fast cars at night – drums flash past like lines on the asphalt with angular guitars. "Crème Brûlée" is a moody fugged-out ballad for the everyday, and "The Sea Has Stretch Marks" conjures a whirling post-rock exploration of cinematic memories. King Hannah lean in to immersive moments in their music.



                      TRACK LISTING

                      A1. And Then Out Of Nowhere, It Rained
                      A2. Meal Deal
                      A3. Bill Tench
                      B1. Crème Brûlée
                      B2. The Sea Has Stretch Marks
                      B3. Reprise (Moving Day)

                      Lambchop

                      Trip

                        In the fall of 2019, Lambchop’s Kurt Wagner had a unique idea: In lieu of going on what would become an economically disastrous tour, he would invite the band to Nashville to make a record as a way to provide them with similar financial support and realize something tangible in the process. Each band member was tasked with choosing one song for the band to cover, and leading the recording session to completion each day. Wagner says, “My idea was to see what might happen if I removed myself from the process and the content as much as possible. In doing so, what surfaced were elements that have always been there but maybe got overshadowed by my songwriting and process.”

                        Recorded December 2–7, 2019, at Battletapes in Nashville, TN, and produced, engineered, and mixed by Jeremy Ferguson (with the exception of “Reservations” which was co‐mixed by Ferguson and Matthew McCaughan), TRIP sounds like a culmination of the band’s older work and current work. There’s a looseness and freedom that recalls their older sound mixed with a group sophistication and innovation derived through the process of playing together for so long. The title TRIP refers to the circumstances surrounding its creation and the endeavor of “touring” itself. “It also seems to describe a life in music and the situations we created in our life as a band over the years,” Wagner adds. “It’s been a trip…”

                        STAFF COMMENTS

                        says: Some absolutely classic tracks here, and all presented in Lambchop's trademark moroose melodicism. It's equally haunting and tender, a brilliant illustration of how refined the band's processes have become, and most of all, a great listen.

                        TRACK LISTING

                        Side A:
                        1. Reservations (13:00)
                        2. Where Grass Won’t Grow (6:24)

                        Side B
                        3. Shirley (4:35)
                        4. Golden Lady (6:42)
                        5. Love Is Here And Now You’re Gone (3:28)
                        6. Weather Blues (3:26)

                        Calexico

                        Hot Rail - RSD Edition

                          THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE OCTOBER 24TH DROP DAY AT 6PM.
                          LIMITED TO ONE PER PERSON.

                          In 2000 the Tucson band returned with their second album proper and further refined their desert noir soundscapes. On this album Calexico opted for a more intimate form of expression, for a stylish, sombre, bleak ballad style that is often drenched in psychedelic reverbs and accented by jazz instruments. Then again it does contain their first forays into the semi pop song with The Ballad Of cable Hogue and eventually it was reissued with a version of "Crystal Frontier" that had quickly become a live favourite and went on to become their first pan European radio hit and calling card.

                          TRACK LISTING

                          A1. El Picador
                          A2. Ballad Of Cable Hogue
                          A3. Ritual Road Map
                          A4. Fade
                          B1. Crystal Frontier
                          B2. Untitled III
                          B3. Sonic Wind
                          B4. Muleta
                          C1. Mid-town
                          C2. Service And Repair
                          C3. Untitled II
                          D1. Drenched
                          D2. Track Scratch
                          D3. Tres Avisos
                          D4. Hot Rail

                          Caribou

                          Never Come Back (Four Tet & Morgan Geist Remixes)

                            About the Remixes:
                            Four Tet Remix: This is what it sounds like when the universe spontaneously synchronises. We give you the new Four Tet remix of Caribou’s latest single "Never Come Back” Kieran took the track and warped and bent it into a playfully hypnotic late night wormhole that lures you in with it’s repetitive claps, snares and synths. It will never let you go.

                            Morgan Geist Remix: Morgan is one of the architects of modern electronic dance music and electronic pop as we know it today, whether it was as a part of influential duo Metro Area and the label Environ, as the mastermind behind chart-topping project Storm Queen or his numerous remixes, Morgan left an undeniable mark. His rework of Caribou's excellent single "Never Come Back" pays respect to the early 90ies transatlantic house phenomenon that stretched from New York to London US to Europe.


                            STAFF COMMENTS

                            says: We get a couple killer club edits of the Caribou originals here, first up is Morgan Geist glitching out the melodic floorfiller 'Never Come Back' into a burning, acidic rework before our own Mr. Tet reworks it into his ring-modulated take, more chaotic but keeping the euphoric vocal sample to ground things.

                            TRACK LISTING

                            A1. Never Come Back (Four Tet Remix) 
                            B1. Never Come Back (Morgan Geist Remix)

                            Caribou

                            Never Come Back / Sister (Floating Points Remixes)

                            Three is the magic number! Following recent remixes by Morgan Geist and Four Tet for Caribou’s single NEVER COME BACK, Sam Shepherd completes the holy trinity. Sam outdid himself adding a dash of motor city oil to NCB and throwing in an extra remix for Caribou’s ’Suddenly’ album opener ‘Sister'.

                            STAFF COMMENTS

                            says: For the second one this week, we get Floating Points reworking 'Never Come Back' first up, brimming with all of the analogue click we'd expect from Sam, almost moving into trancey territory before slipping into the cool clear waters of 'Sister', a deep grooving beach-filler.

                            TRACK LISTING

                            A1. Never Come Back (Floating Points Remix)
                            B1. Sister (Floating Points Remix)

                            Ian Chang

                            属 Belonging

                              Belonging, Ian Chang’s first full-length album, is like a cyborg - part purring mechanism, part animate bio-mass rising from primordial ooze. In nine concise, largely instrumental pop songs, Chang conjures a personal cosmos: the listener feels as if we might reach out and touch Belonging's jagged and tender aural sculptures. At every level, his music sings with earnest and deceptive simplicity. The album's melodies are intimate, its rhythms rewarding, and yet, just beneath the surface glimmers innovation, as if the neurons firing in each melodic idea have become audible. From the tradition of Bjork, Burial, and Flying Lotus, Chang breathes a new kind of human vulnerability into electronica.

                              TRACK LISTING

                              A1. 舞狮 Lion Dance
                              A2. Comfort Me (feat. Kiah Victoria)
                              A3. Teem
                              A4. Swarm
                              A5. Audacious (feat. KAZU)
                              B1. Food Court
                              B2. 雀舌 Bird's Tongue (feat. Hanna Benn)
                              B3. Zoetrope
                              B4. 醉罗汉 Drunken Fis

                              In 2014 Dan Snaith aka Caribou released "Our Love" to overwhelming critical acclaim and massive fan support. Now Caribou returns with his seventh studio album "Suddenly", an album about family and the changes we go though as those relationships evolve. "Suddenly" is the most surprising and unpredictable Caribou album to date. Though it retains the trademark Caribou warmth and technicolour, this album is littered with swerves and left turns, and amazes with its yet unheard nuances, samples and hooks. As Snaith puts it, “these albums are like photo albums for me – when I look back at the old ones, they’re a snapshot of my life at that time, full of people who are close to you”. This is the drive to continue to make Caribou albums. Full bodies of work where Snaith is able to evaluate things, look at those around him and celebrate them. As his passion and joy in music making remains as fresh as ever, "Suddenly" is the purest example of this yet.

                              STAFF COMMENTS

                              says: Exciting times! Dan Snaith is back in the Piccadilly house with a brand new Caribou LP, infusing hook-heavy house jams, hip hop curveballs and sweet synthpoppers with the signature warmth and space of his previous work. I would imagine festival goers of all ages will enjoy losing their proverbials to this in the coming months.

                              TRACK LISTING

                              1 Sister
                              2 You And I
                              3 Sunny's Time
                              4 New Jade
                              5 Home
                              6 Lime
                              7 Never Come Back
                              8 Filtered Grand Piano
                              9 Like I Loved You
                              10 Magpie
                              11 Ravi
                              12 Cloud Song

                              Nada Surf

                              Never Not Together

                                With their ninth studio album, Nada Surf—Matthew Caws, Daniel Lorca, Ira Elliot, and their longtime friend and collaborator Louie Lino—continue pursuing their humanistic vision of the world through hooky, catchy rock songs with sharply drawn, yet tenderly felt lyrics. Never Not Together, is a wide-ranging collection of songs that revel in the group's ability to evoke and reflect grand and intricately wrought emotions, whether through sweeping guitar solos or hushed-whisper vocals.

                                TRACK LISTING

                                1. So Much Love
                                2. Come Get Me
                                3. Live Learn And Forget
                                4. Just Wait
                                5. Something I Should Do Side
                                6. Looking For You
                                7. Crowded Star
                                8. Mathilda
                                9. Ride In The Unknown

                                COMA

                                Voyage Voyage

                                  Fusing a pop sensibility with dance music’s communal properties, the German duo of Georg Conrad and Marius Bubat present their new album “Voyage Voyage”. Rich in melody and often melancholy, COMA’s repertoire occupies an emotionally driven corner of the electronic music spectrum, where dynamic soundscapes collide with honest lyrics. Across ten pristine tracks, the pair meld piano, guitar, drums, synths and electronic flourishes to futuristic vocal harmonies that amp up the melancholic pop factor and capture life’s fleeting moments, moods and adventures. The album is anchored in an analog-meets-digital universe that’s informed by the idea of memory where musical and personal flotsam floats around the body of the record. 


                                  TRACK LISTING

                                  1. Snurrebassen
                                  2. Spiracles
                                  3. A-Train
                                  4. Dream Sequence
                                  5. Inside Out
                                  6. Bits And Pieces
                                  7. Minor Matters
                                  8. Sparkle
                                  9. Myopic
                                  10. {…}

                                  Tindersticks

                                  No Treasure But Hope

                                    Three years since their last album proper, singer Stuart Staples decided Tindersticks’ return called for something special and No Treasure but Hope, is very much that! Rich in intuitive warmth, lush melodies and an inquisitive spirit, it’s an album that casts a fresh light on Tindersticks’ core qualities, bathed in the glow of a band intent on rediscovering what they can do. Expanding the horizon without losing the focus, No Treasure but Hope manages to collect some of the band’s most immediate work in one outstanding album. This is the bands twelfth record, the earliest Tindersticks release being in 1991. Over the course of the band’s rich history, Staples has found a voice in film composition as well. This includes a soundtrack to Claire Denis’ science-fiction film High Life (2019), which features vocals from actor Robert Pattinson.


                                    STAFF COMMENTS

                                    says: For their first album in three years, Tindersticks bring us a haunting collection of brittle piano-led ballads, rich in atmospheric ambience and shimmering with reverb. songs like 'Trees Fall' and 'See My Girls' revel in the sort of off-piste vocal turns you'd expect from Nick Cave, and help to cement Staples & Co. as one of the most creative musical forces out there.

                                    TRACK LISTING

                                    A1. For The Beauty
                                    A2. The Amputees
                                    A3. Trees Fall
                                    A4. Pinky In The Daylight
                                    A5. Carousel
                                    B1. Take Care In Your Dreams
                                    B2. See My Girls
                                    B3. The Old Mans Gait
                                    B4. Tough Love
                                    B5. No Treasure But Hope

                                    Wives

                                    So Removed

                                      City Slang are thrilled to announce the debut album of WIVES! The Queens, NY four-piece is the latest fit into a long lineage of New York’s gritty, melodic-meets-punk.

                                      WIVES as a band came together by happenstance — a random realization amidst friends busy with other musical projects. Jay met Adam Sachs, WIVES’ drummer, while interning at a New York recording studio where Adam worked as an assistant. The two became fast friends, their constant hanging out growing to include guitarist Andrew Bailey (DIIV) and bassist Gabe Wax, who’d eventually be replaced by another friend, Alex Crawford. All were embedded in New York’s DIY music scene through their respective projects, with years of playing house shows and booking their own tours under their belts. It wasn’t until a random day of extra studio time booked for another project that the four of them actually played together.

                                      So Removed is grungy dark-wave, tethered to daily anxiety without resorting to cynicism. The noisy dissonance of Sonic Youth, the edgy hooks of early Pixies, and the clever, cerebral sneering of The Fall simmer as touchstones within the album, sharp and prodding at the details, pulsing with urgency. So Removed plunges into the void of unknown, a tangle of contemporary dread and optimism, mapping the gray areas of alienation.


                                      STAFF COMMENTS

                                      says: Wives present a perfect mix between anthemic grunge, clashing post-punk and NY experimental, with a cohesive progression from snarling noise to chunky, blissfull riffage and sleazy vocal perfection.

                                      TRACK LISTING

                                      A1. Waving Past Nirvana
                                      A2. The 20 Teens
                                      A3. Servants
                                      A4. Hit Me Up
                                      A5. Whatevr
                                      A6. Even The Dead Side
                                      B1. Why Is Life
                                      B2. Sold Out Seatz
                                      B3. Workin’
                                      B4. Hideaway
                                      B5. The Future Is A Drag

                                      Calexico and Iron & Wine first made an artistic connection with In the Reins, the 2005 EP that brought Sam Beam, Joey Burns and John Convertino together. The acclaimed collaboration introduced both acts to wider audiences and broadened Beam’s artistic horizons, but it was the shared experience of touring together in the tradition of Bob Dylan’s “Rolling Thunder Revue” that cemented the bond. Their metaphorical roads diverged in the years that followed, but they kept in touch and cross-pollinated where they could. Although they often talked about rekindling their collaboration in the studio and on stage, it wasn’t until last year that their schedules aligned.

                                      Years to Burn can’t help but be different from In the Reins. Back then, Calexico entered the studio with a long list of previous collaborations (first in Giant Sand, then backing the likes of Victoria Williams and Richard Buckner) and the knowledge that they loved Sam’s voice and his songs, but wondered if his material was so complete and self-contained that it lacked a way in, so hushed and delicate that it might be overwhelmed. For his part, Beam had been intimidated by their virtuosic playing and their deep comfort in an encyclopedic array of styles. “In my mind, I was a guy who knew three chords and recorded in a closet,” Sam says. “They were playing big stages and were superb musicians.”

                                      Those fears were dispelled quickly. Calexico was bowled over by Beam’s many talents: “The arranging, the writing, his sense of rhythm, the quality of his vocals—and then there’s the experimental side of Sam,” Joey says. “They were the perfect band at the perfect time for me,” Sam adds. “I loved all their different sounds. They’re musical anthropologists, not regurgitating but absorbing what they discover.” Nearly 15 years on, “coming back to the project has to do with acknowledging how much impact the first record had for me in my life.”

                                      Years to Burn was recorded in Nashville with noted producer Matt Ross-Spang over the course of five days at Sound Emporium, a fabled studio founded in the sixties by Cowboy Jack Clement and the site of countless landmark sessions in country and rock over the ensuing decades. It features contributions from veteran Calexico trumpet player Jacob Valenzuela and Paul Niehaus on pedal steel, along with frequent Beam cohorts Rob Burger (Tin Hat Trio) on piano and Sebastian Steinberg (Soul Coughing, Fiona Apple) on bass.

                                      Years to Burn features ten new original compositions. While Beam wrote all the songs for In the Reins, this recording features contributions from both Beam and Burns as well as from Convertino and those featured on the record. While the two may have taken differing approaches to songwriting, the spirit of collaboration was alive and well in the studio; Sam shared demos ahead of time and was ready for the others to con-tribute with arrangement ideas and instrumental parts, while Joey spontaneous as ev-er, came in with concepts and an eagerness to improvise.

                                      “Life is hard. Awesome. And scary as shit. But it can lift you up if you let it,” Sam offers. “These are the things Joey and I write about now. And the title can encapsulate a lot of things. ‘Years to Burn’ could mean you’re cocky, you’ve got it made. Or, our life is ours to burn, to be inspired. Or you’re burned by life, brutalized. It’s an ambiguous title, because life is complicated. Let’s not talk like teenagers about love, desire, pain, ‘cause we’re not teenagers. And that’s not a bad thing.”

                                      “This project had to find the right time,” Joey concludes. “We’re all different people than we were in 2004, and music helps to bridge some of the gaps. For all the things going on in our world and in each of our lives, this connection, this friendship, this love that we have—this album is a vehicle for that bond. It’s a chance to see where we’re at, take stock and be there for our friends.”


                                      STAFF COMMENTS

                                      says: There couldn't really be any more of a dream pairing than Calexico and Iron & Wine, with both artists firmly rooted in the upper echelons of indie folk royalty, and both complimenting the others style perfectly. Swooning slide guitars and skilfully plucked acoustic form into a shimmering cascade of instrumental bliss beneath the contrasting vocals of Beam & Valenzuela.

                                      TRACK LISTING

                                      A1. What Heaven’s Left
                                      A2. Midnight Sun
                                      A3. Father Mountain
                                      A4. Outside El Paso
                                      B1. Follow The Water
                                      B2. The Bitter Suite (Pájaro / Evil Eye / Tennessee Train)
                                      B3. Years To Burn
                                      B4. In Your Own Time

                                      Sinkane is an artist with a real stake in our current cultural and political climate. Born in London to Sudanese parents, raised in Ohio, and now calling New York City home, Ahmed Gallab refines his sound and message to peak form on his new studio album, ‘Dépaysé’.

                                      “Sinkane is an American band comprised of people from all over the world,” says Gallab in his bio letter for ‘Dépaysé’. “Our collective experience as children of the diaspora helped bring the music to life in the most honest way possible.” He adds, “Dépaysé is the story of an immigrant’s journey of self-discovery in the Trump era. The music is loud and raw, and it's bursting with an energy unlike anything I’ve ever done before.”

                                      ‘Dépaysé’ is Sinkane’s seventh full-length and the follow-up to Sinkane's acclaimed 2017 album ‘Life & Livin' It’. The band features Gallab, Elenna Canlas (keys and vocals), Jonny Lam (guitar), Ish Montgomery (bass), and Chris St Hilaire (drums).

                                      Accompanying statement from Ahmed Gallab: -

                                      It’s easy to be angry in moments like now. And that’s OK. But it takes courage to turn that anger into productive energy. The previous Sinkane album, 2017's Life and Livin' It, was released at a very crazy time: things like the Muslim ban, police shooting unarmed people of color, massive corruption in my native Sudan, fake news, Donald Trump, Brexit and so many other calamities all really forced me to think about my place in the world as a musician. I began to think about how I could use my music in a constructive way — not only to help myself but to help others who feel frustrated and powerless.

                                      I’ve made a lot of music out of my life story but I’ve always kept things vague enough that anyone listening to my music could relate to it on their own terms. And yet I have to admit that I never truly felt satisfied with that. I eventually realized that, in order to truly connect with other people, I first needed to connect with myself on a deeper level than before.

                                      Throughout the making of MY NEW ALBUM I kept asking myself the same question: “As an immigrant to America, where do I belong?” So, during the writing process, I worked mainly by myself so that I could ensure the most honest and personal answers to that question.

                                      At some point, I discovered the French word dépaysé, which basically means “to be removed from one’s habitual surroundings.” By extension, it means to be disoriented, homeless. That's a feeling I relate to very much in these times — and I’m not the only one who feels this way. That word gave me clarity and made the journey inward that much more exciting.

                                      So here we are. Dépaysé is the story of an immigrant’s journey of self-discovery in the Trump era. The music is loud and raw, and it's bursting with an energy unlike anything I’ve ever done before. The album starts with “Everybody,” an anthem of inclusion. Every day we wake up to another horror story about racism, and it’s left many of us angry, confused and frustrated. But we can change the news for the better. We can show people that a multicolored world is a beautiful one. Celebrating our differences yields beauty in life. And that takes... everybody. On “Everyone” I continue that line of thought to its logical conclusion: love is the key to helping us understand one another.

                                      I confront my insecurities with identity on songs like “Ya Sudan,” “Dépaysé” and “The Searching.” Truly understanding one's duality means seeing beyond where you came from: let go of any definition that others put on you and then you can truly see the beauty of your life experience. This, along with the rest of Dépaysé, has given me peace. I’m no longer confused about the duality of my Sudanese and American identities. Now I accept it.

                                      I want Sudanese kids to see a person like them as a positive role model in the arts. And to everyone, I want to make it clear that the world is a better place because of our differences. We’re all strangers in this ever-stranger land of America. We are all the American Dream.

                                      Best,

                                      Ahmed Gallab

                                      TRACK LISTING

                                      A1. Everybody
                                      A2. Everyone
                                      A3. On Being
                                      A4. Dépaysé
                                      B1. Ya Sudan
                                      B2. Stranger
                                      B3. Be Here Now
                                      B4. The Searching
                                      B5. Mango

                                      Wives

                                      Waving Past Nirvana

                                        Wide-eyed and hyper-aware, Wives' sound pulses with urgency. The quartet are the latest fit in a long lineage of New York's gritty, melodic-tinged punk-hook-driven, grungy dark-wave that's tethered to daily anxiety without resorting to cynicism. Both the noisy dissonance of Sonic Youth and the clever, cerebral sneering of The Fall simmer as touchstones within the band's music.

                                        'Waving Past Nirvana' trudges forward, a sort of thesis for Wives' sound. It delves unabashedly into feeling removed, its narrator rejecting spiritual enlightenment, literally 'waving past nirvana'. The swaggering cut pulls from the swaying beat of '80s rap, while the chorus jumps forward a decade into a grunge-tinged, anthemic roar.

                                        The band's vocalist, guitarist and primary songwriter, Jay Beach offers: "'Waving Past Nirvana' is a literal interpretation of the bodhisattva—one who has achieved the release, the awakened eye, and yet wants to trade it back for the painful life of desire because she/he/they predominantly feels compassion. This "entering back into the world" to fight a fool's battle is the essence of 'Waving Past Nirvana', and the video depicts one young woman's journey along these lines."

                                        Said video comes directed by Milah Libin (Beach Fossils, Princess Nokia), who adds, "When I listened to 'Waving Past Nirvana' it evoked the beauty and the mundane in a never-ending routine. The closeness to finding some sort of fulfillment, or "nirvana," that keeps bringing one back. It happens to all types of people, but particularly in New York where the beat is so fast and so many come here searching. It's not quite sad; there's something admirable in that search – a sort of dedication.”


                                        TRACK LISTING

                                        A1. Waving Past Nirvana
                                        B1. Kinda Like You

                                        Stuart A. Staples

                                        Music For Claire Denis' High Life

                                        'High Life' was written and directed by Denis and stars Robert Pattinson and Juliette Binoche in the lead roles. It focuses on a group of criminals who are tricked into believing they will be freed if they participate in a mission to travel on a spaceship towards a black hole to find an alternate energy source while being sexually experimented on by the scientists on board. The soundtrack to the film was created by Stuart A. Staples of Tindersticks.


                                        TRACK LISTING

                                        A1. The Garden
                                        A2. Willow Lullaby
                                        A3. System Report
                                        A4. High Life Main Title
                                        A5. River Flashback
                                        A6. Fluids
                                        A7. The Fuck Box
                                        A8. Bad Genes / Revolution
                                        A9. Radiation
                                        A10. Rape Of Boyse
                                        A11. Insemination
                                        A12. Grow Baby, Grow
                                        B13. Boyse's Death
                                        B14. The Dog Ship
                                        B15. Monte And Willow
                                        B16. The Yellow Light
                                        B17. Willow
                                        B18. The Black Hole (excerpt)

                                        Jakuzi

                                        HataPayı

                                          Istanbul synthpop vanguards Jakuzi turned heads in 2017 with the release of their unique and exciting debut album 'FanteziMüzik’ which showcased modern Turkish underground music to the world. Two years later their new album, “HataPayı” (meaning literally ‘’a part of the mistake”), brings a more refined and darker sound to their arsenal, exploring the depths of relationships and the human condition.

                                          When Jakuzi released their debut FanteziMüzik as a cassette in 2016, no one expected that this would leave its circle in Istanbul. But the record was rereleased with new tracks in early 2017 via City Slang and immediately became a favorite amongst critics and music fans alike. The band embraced a manifold of musical elements, layering pop fragments with slabs of Low-Fi, New Wave and Post Punk. They effortlessly created one of the most unique sounding albums of the year and gained attraction internationally.

                                          The album is less heterogeneous than the debut but yet, the unique sounds stay intact. The first single “Süphe” (translates to “Doubt") is the saddest track you can cry dance to since A Flock Of Seagulls “Wishing“. Then there’s “Yangın” (“Fire") which writes synthpop history with its mad genius half-time / crescendo, or “GördüğümRüya“ ("The Dream I See") that starts with a very familiar guitar riff just to morph into an epic dreamwave anthem. “Toz” (“Dust") recalls the lively experiments of a young Martin Gore, and it doesn’t’ stop there. HataPayı is full of ideas and energy, the songs take well nuanced twists and turns and prove that even in the darkest hours, Jakuzi never shy away from glorious pop moments.


                                          TRACK LISTING

                                          A1. Sana Göre Bir Şey Yok
                                          A2. Şüphe
                                          A3. Yangın
                                          A4. GördüğümRüya
                                          A5. KalbimKöprüGibi
                                          B1. HâlâBerbat
                                          B2. KendineRağmen
                                          B3. İstemezdim
                                          B4. Toz
                                          B5. Bir ŞeyOlur
                                          B6. Ne Teselli Ne Avuntu

                                          White Denim

                                          Side Effects

                                            Less than a year after their last album Performance, the ever-prolific White Denim are back with their eighth record Side Effects. More in line with the experimental, freewheeling spirit of their fan-favorite record Last Day of Summer than anything else they’ve done since, Side Effects is a record that captures the essence of the band’s full-throttle live shows. Featuring a rotating cast of band members led by James Petralli and Steve Terebecki, these tracks draw on the sounds of different personnel to create a cohesive whole – the result being an album that’s as varied and vivacious as anything they’ve ever done.

                                            If you’re coming back to White Denim after a few years away, Side Effects most likely picks up exactly where you left off: a record showcasing a hugely energetic band bursting at the seams. And if you never checked out, then Side Effects is instead a wholly rewarding record – one that celebrates every form of White Denim to date and sets the stage for a brand-new chapter.

                                            STAFF COMMENTS

                                            says: Absolute belter again from White Denim, this time treading a slightly less psychedelic path than on shop favourite 'Performance'. There are hints of eastern timbres and residual lysergic progressions, but the main body is a less meandering and more direct slipstream of jagged rock and shimmering fuzz.

                                            TRACK LISTING

                                            A1. Small Talk (feeling Control)
                                            A2. Hallelujah Strike Gold
                                            A3. Shanalala
                                            A4. NY Money Side
                                            B1. Out Of Doors
                                            B2. Reversed Mirror
                                            B3. So Emotional
                                            B4. Head Spinning
                                            B5. Introduce Me

                                            Lambchop

                                            This (Is What I Wanted To Tell You)

                                              With ’This (Is What I Wanted To Tell You)’ Lambchop Continue To Establish Themselves As Forerunners And Innovators Of What Was Once Called Alt Country. Their Sound Has Morphed To Encompass Multiple Genres, Blending Folk Songwriting With The Tones Of Urban Soul.

                                              Following On From The Pioneering Sounds Of ‘Flotus' (2017), ’This (Is What I Wanted To Tell You)’ Showcases Lambchop At A New Peak In Their Career, Whilst Still Retaining The Ingredients Of Their Classic Albums. ’This’ Is Brimming With Ideas, Songs And Hooks. A Huge Influence On The New Direction Is Matthew McCaughan (of Bon Iver And Hiss Golden Messenger), Who Produced And Co-wrote Large Parts Of The Album With Kurt Wagner (Lambchop Frontman) Over A Period Of Two Years.

                                              STAFF COMMENTS

                                              says: Though we all know Kurt Wagner has a beautiful voice, this extensive use of the vocoder takes the focus away from his beguiling vox into the glitchy, dynamic instrumentation, as smoothly reminiscent as ever, but with a superb, fractured instrumental underclay coalescing into a huge, textured bed of bliss.

                                              TRACK LISTING

                                              A1. The New Isn't So You Anymore
                                              A2. Crosswords, Or What This Says About You
                                              A3. Everything For You
                                              A4. The Lasting Last Of You
                                              B1. The Air Is Heavy And I Should Be Listening To You
                                              B2. The December-ish You
                                              B3. This Is What I Wanted To Tell You
                                              B4. Flower

                                              Bayonne

                                              Drastic Measures

                                                Each song on Bayonne’s Drastic Measures is orchestral in texture, unfolding in countless layers and kaleidoscopic tones. With great intensity of detail, the Austin-based artist otherwise known as Roger Sellers deepens that sonic complexity by weaving in elegantly warped samples of the field recordings he’s gathered for over a decade. But in its powerful melodies and pristine arrangements, Drastic Measures ultimately bears a pure pop lucidity even in its most grandiose moments.

                                                Roger Sellers is a lot of things. He’s a minimalist composer with a knack for making hypnotic, enveloping songs from a few repeated musical phrases. He’s a gifted musician who is mostly self-taught, having abandoned formal study because it was draining the life from his work. He’s a self-described disciple of Phil Collins. What he is not, however -- despite multiple press reports to the contrary - is a DJ.

                                                STAFF COMMENTS

                                                says: Swimming in reverb, soaring melodies are twisted together delicately below echoed vocals, rich percussion and slowly developing melodic counterpoint. It's a well balanced and beautifully accomplished suite of dreamers.

                                                TRACK LISTING

                                                A1. QA
                                                A2. Drastic Measures
                                                A3. Same
                                                A4. Gift
                                                A5. Enders
                                                B1. I Know (Album-Version)
                                                B2. Kind
                                                B3. Uncertainly Deranged
                                                B4. Abillia
                                                B5. Bothering

                                                Quiet Signs is the journey of an artist stepping out of the darkened wings, growing comfortable as a solitary figure on a sprawling stage. Jessica Pratt is not a loud performer. She does not have to be. In a club of a few hundred, even the bar staff are known to go quiet while she's on stage. Her third album, Quiet Signs, feels like a distillation of this power. The album leads off with ‘Opening Night’, a nod to Gena Rowlands' harrowing, brilliant performance in the John Cassavetes film of the same name, as well as to where this spare, beautiful collection of songs falls within the course of the California artist's career. Quiet Signs is also Pratt's first album fully recorded in a professional studio setting, her songs and guitar arrangements have been pared back to include only what is essential, while the home recorded haze of previous efforts parts to reveal the full scope of her vision. On the first single, ‘This Time Around’, Pratt hits on a profound, late-night clarity over just a couple of deep chords, evoking Caetano Veloso's casual coastal brilliance.



                                                STAFF COMMENTS

                                                says: Tenderly plucked acoustic guitar and cavernous, gothic echoes provide a tense but atmospheric foundation for the whimsical and cherubic vocals of Jessica Pratt. From swooning, 50s swing to delicately plucked folk and sparse Americana. Pratt's dedication and impeccably honed sound palette is as effective here as it ever has been.

                                                TRACK LISTING

                                                A1. Opening Night
                                                A2. As The World Turns
                                                A3. Fare Thee Well
                                                A4. Here My Love
                                                A5. Poly Blue Side
                                                B1. This Time Around
                                                B2. Crossing
                                                B3. Silent
                                                B4. Aeroplane

                                                To celebrate its 20th anniversary, Lambchop’s 1998 album ’What Another Man Spills’ has been pressed to vinyl for the first time after it’s original release 20 years ago! Remastered from the original DAT and featuring refreshed artwork.

                                                What Another Man Spills (1998) represents a milestone in Lambchop’s career, but not in the modern sense of a ‘landmark’ release. Building on foundations that had once sounded almost literally creaky, it expands upon the tentative manoeuvres they’d undertaken with the previous year’s Thriller (1997) and gestures confidently towards its brassy successor, Nixon, which would arrive in 2000 to wild acclaim and previously unimaginable commercial success.

                                                Liner notes by Kurt Wagner himself.

                                                TRACK LISTING

                                                A1. Interrupted
                                                A2. The Saturday Option
                                                A3. Shucks
                                                B1. Give Me Your Love (Love Song)
                                                B2. Life #2
                                                B3. Scamper
                                                C1. It’s Not Alright
                                                C2. N.o.
                                                C3. I’ve Been Lonely For So Long

                                                Stuart A. Staples releases his first solo album in thirteen years. Arrhythmia is immersive and experimental, both recognisably the work of the Tindersticks’ frontman and simultaneously a stand-alone, unique piece of work. It's a provocative album where electronic experimentations and rare multi-instrumentations interweave, wrapping themselves around unconventional but utterly spellbinding song structures.

                                                Written in what Stuart A. Staples describes as “a lost year”, Arrhythmia began on Christmas day 2016 when he was drawn to the studio to record the beginnings of A new real, the album’s hypnotic opener of glitchy electronic loops with a sly nod to disco. A year later the entire album was complete, a process which involved Staples struggling between his own free sense of timing and more mechanical rhythms and what he describes as “a growing need for each song to take a turn, to lead them into strange places, keeping the feeling or effect of the song, but only as a memory.”

                                                The second track Memories of love is indicative of Arrhythmia’s time-less experimentation and musical exploration. A stark and delicate melancholy opens up to rich and increasingly vivid chiming bells. There’s a feeling that the song has two diversely distinct parts unexpectedly, yet perfectly, married. Closing side 1, Step into the grey offers a dark romanticism reminiscent of early Tindersticks with a crescendo of freestyle percussion and strings.

                                                Side 2 of the album consists of a 30 minute instrumental track Music for ‘A year in small paintings’. The piece began its evolution back in 2012 when filmmaker, and long-time Staples collaborator, Claire Denis first saw the serial of works by the painter (and Staples’ partner) Suzanne Osborne and wanted to turn these 365 oil paintings of the sky into a film. As friends and musicians passed through Staples’ studio he asked them to watch and react to the paintings. As Staples explains “From these recordings, I chipped away at its form, guiding and editing. Each time there was an exhibition of the work there was a newly evolved version of the music to accompany it.” Eventually the creative process came full circle when Claire Denis’ film Un beau soliel interieur (transl. Let the Sunshine In), featured the paintings, and their music became inextricably linked to the film’s soundtrack. Improvisations of the themes from Music for ‘A year in small paintings’ were also contributed by The Julian Siegel Quartet.

                                                STAFF COMMENTS

                                                says: Evocative of the new movement of outsider synth artists of the 70's and early 80's, Arrhythmia builds tension through the gradual addition of instrumental layers to the seemingly minimal beginnings, before things grow into a beautiful and many-faceted blanket of euphoric polyrhythms and his instantly recognisable tender vocals.

                                                TRACK LISTING

                                                A1. Real New
                                                A2. Memories Of Love
                                                A3. Step Into The Grey
                                                B1. Music For ‘A Year In Small Paintings’ (30.52 Minutes)

                                                Imarhan

                                                Temet

                                                When Imarhan released their self-titled debut album in 2016, they stepped into a genre already flooded with talent and exposure, but still managed to rise to the top and be heralded as the 'new wave Of Tuareg music'. It is with much anticipation that the band from Tamanrasset, Algeria have announced the details of their second album Temet, due out February 26 on City Slang.

                                                "Temet" is a huge leap forward in production, as well as creatively for Imarhan. Whereas their debut was anchored in the meditative Desert Blues tradition, "Temet" eclipses such notions, finding bounce and drive by stirring their sound with funk, fuzz, disco and rock. This is not a novel concept to the band, as anyone who has seen them play will attest. Imarhan's experience as a touring band has reinforced the focus and meaning behind their music.

                                                With "Temet", Imarhan have firmly established themselves as a band to reckon with. Rather than being distracted by meddling around with big producers or famous guests, they’ve focused this release on their inherent strength of songwriting, using the eternal bonds in their community, families and friendships as a blueprint not only for an amazing standalone album, but as a reference for generations to come. 'We hope that Imarhan will allow the younger generation to become aware of the fundamental importance of friendship. As long as someone is by your side supporting you, asking for your friendship, what more could you want out of life? You will want for nothing.'


                                                TRACK LISTING

                                                A1. Azzaman
                                                A2. Tamudre
                                                A3. Ehad Wa Dagh
                                                A4. Alwa
                                                A5. Imuhagh
                                                B6. Tumast
                                                B7. Tarha Nam
                                                B8. Tochal
                                                B9. Zinizjumegh
                                                B10. Ma S-Abok

                                                Son Lux

                                                Brighter Wounds

                                                  Son Lux reemerge with their forthcoming fifth full-length LP, Brighter Wounds, finding the trio in command of a daring, multidirectional sound, expressing naturally the proclivity for surprise and contrast that characterize the project's output. The new release explores the violence of love, the beauty of sacrifice, and the specter of impermanence.

                                                  Anchored by its cinematic heart, “All Directions,” the album ranges from the thunderous charge of “Dream State” to the sputtering, soulful lilt of “Slowly.” Ryan Lott’s devastating vocal on "Aquatic," guitarist Rafiq Bhatia’s blooming flower melismas on "Labor," and drummer Ian Chang’s nearly inhuman rhythmic calculus on "The Fool You Need" illuminate a curious and delicate balance of precision and pain.

                                                  Since 2015’s Bones, the band's profile has grown in the worlds of music, dance, and film. Each member now charts their respective solo paths, and their individual adventures find a home within the purview of Son Lux. On Brighter Wounds, collaborators range from longtime cohorts Rob Moose (Y Music, Bon Iver, The National) and DM Stith (Sufjan Stevens), to new friends trumpeter Dave Douglas and reedist/instrument builder Arrington de Dionyso.

                                                  Son Lux has made invention its hallmark through continued exploration and experimentation. With Brighter Wounds, the triad NPR proclaimed “the world’s most lethal band" now grips exhilaration and heartache in full embrace. In the words of the album's closing refrain, "is this what the resurrection feels like?"

                                                  TRACK LISTING

                                                  A1. Forty Screams
                                                  A2. Dream State
                                                  A3. Labor
                                                  A4. Slowly
                                                  A5. The Fool You Need
                                                  B1. All Directions
                                                  B2. Aquatic
                                                  B3. Surrounded
                                                  B4. Young
                                                  B5. Resurrection

                                                  Grandbrothers

                                                  Open

                                                    Grandbrothers are the sum of unique parts: Progressive Swiss engineer/mechanic/software designer Lukas Vogel and German-Turkish pianist Erol Sarp. Their second album ‘Open' twins Sarp’s piano skills with Vogel’s talent for both building the formidably intricate mechanics with which he exploits his partner’s instrument and also designing its software. Sarp works at his ivory keyboard while, from behind his own computer keys, Vogel live-samples his partner’s notes, triggering further effects with the aid of a homemade apparatus that physically manipulate the piano’s strings and body. They have essentially built an analogue drum machine out of a grand piano. Nerd out! Creating a new shade, a new dimension, a new generation of atmospheric krautrock with the piano at its core.

                                                    Their ambitious second album ‘Open' explores dimensions at which their debut ‘Dilation' only hinted. The greatest revelation for anyone hearing them the first time remains the element constant to everything they’ve recorded: every individual sound that Grandbrothers make stems from one single instrument, a piano. No wonder their music was once memorably described as “open heart surgery on a grand.”

                                                    “What makes things work,” Vogel concludes, “is that we are such different personalities, with different skills, which fit together so well.” Sarp concurs: “Our music comes from a mixture of really intense analysis and simply doing things. I can calm him down, and he can incite me. He’s not just a colleague, but one of my closest friends.” Such synergy – born of an innate understanding and intuition, personally and musically – can be heard throughout Grandbrothers’ technically innovative, thrillingly distinctive work: two ingenious minds, perfectly in tune, relentlessly exploring new ideas. Keep your mind Open.

                                                    TRACK LISTING

                                                    A1. 1202
                                                    A2. Bloodflow
                                                    B1. From A Distance
                                                    B2. Long Forgotten Future
                                                    B3. Honey
                                                    C1. Alice
                                                    C2. White Nights
                                                    C3. Circonflexe
                                                    D1. Sonic Records
                                                    D2. London Bridges

                                                    Cristobal And The Sea

                                                    Exotica

                                                      ‘Exitoca’ is a trip into an alternative reality where humans care for each other and the environment, value sensual experiences and dance their troubles away. The title is a reference to the genre known as “Exotica”, which represented the escapist dreams of a generation of American salary-men and housewives in the 50s and 60s. For Cristobal and the Sea, expatriates from Portugal, Spain, France, Egypt & USA, now based in London, the idea of “Exotica” is more than just an escapist plot to avoid workaday drollery; it is a proposed evacuation from the toxic mires of Brexit; the very notion that threatens the place they now call home.

                                                      This philosophy is narrated no greater than between the words and music of ‘Goat Flokk’ where longing, searching lyrics are mixed with both Brazilian Tropicalia-like speed and rhythm with a healthy Syrian-pop breakdown. The fusion of sounds and styles proves that harmony is very much possible when cultures are mixed.

                                                      Recorded and produced in a self-made studio on the outskirts of Paris with upcoming London-based producer and artist Yehan Jehan. The lush surroundings, combined with Jehan’s creative impetus, offered Cristobal a greater richness to their recording process.

                                                      The ecstatic quality of the band, whose personal manifesto calls for warmth, nakedness and polygamy (as opposed to the cold and sexless Brexit reality), is on display in ‘The Seed.’ This track brings images of lolling natural bodies, flesh and excitement, again with the production and arrangements in full force. Play it loud during your next late night foray with your best friends and you'll see what they mean.

                                                      Cristobal and the Sea's Balearic roots are inseparable from their essence. The bossa anthem ‘Uma Voz’ is a reach out to everyone in their situation, a passionate and all-encompassing hand to everyone facing the same nationless situation.

                                                      TRACK LISTING

                                                      A1. Porcelanosa
                                                      A2. Goat Flokk
                                                      A3. Totem Tennis
                                                      A4. Steal My Phone
                                                      A5. Father And Producer
                                                      A6. Salsa Dude
                                                      A7. The Seed
                                                      B1. Brother
                                                      B2. Smadness
                                                      B3. The Leaf Isn’t Turning Red
                                                      B4. Before Nine
                                                      B5. Uma Voz
                                                      B6. Sa Ou Che
                                                      B7. Take A Look At My Mind

                                                      After the success of 2011’s ‘Past Life Martyred Saints’ and 2014’s prophetic ‘The Future’s Void’, EMA retreated to a basement in Portland, Oregon – a generic apartment complex in a non-trendy neighbourhood, with beige carpeting and cheap slat blinds. Now, she returns, with a portrait of The Outer Ring: A pitch-black world of dark night highways, American flags hung over basement windows, jails and revival meetings and casinos and rage. In a year dominated by white working-class alienation and anger, EMA – a Midwesterner who never lost her thousand-yard stare -- has delivered an album that renders Middle American poverty and resentment with frightening realism and deep empathy.

                                                      “I want to explain to outsiders that the people where I come from aren’t beyond hope and reason”, says EMA, “I want this record to bridge a divide.”

                                                      The album, co-produced with Jacob Portrait of Unknown Mortal Orchestra, is a return to EMA’s roots in the noise-folk outfit Gowns, whose 2007 album Red State prefigured many of Exile’s core themes, along with its mix of stripped-back folk (“Always Bleeds,” originally a Gowns song), spoken word (“Where the Darkness Began”) and noise epics (“Breathalyzer”).

                                                      The album is unique in its mingling of gender politics with American working-class anxiety. The voices we hear in these songs — druggy, surly societal outcasts; Byronic nihilists bringing down fire — speak to a kind of rebellion that’s typically reserved for men, and the archetype of the “dirtbag teenage boy” dominates the album. Yet EMA claims some of that same dirtbag alienation for women — “a woman who swallowed a scumbag teen boy whole,” as EMA puts it – and uses it to interrogate both her own vulnerability and how male violence shapes the world, as on the anthemic “Aryan Nation.”

                                                      The result is a deeply personal, confrontational, but ultimately redemptive album from a quintessentially American artist at the peak of her form.

                                                      TRACK LISTING

                                                      A1 – 7 Years
                                                      A2 - Breathalyzer
                                                      A3 – I Wanna Destroy
                                                      A4 – Blood And Chalk
                                                      A5 – Down And Out
                                                      B1 – Fire Water Air LSD
                                                      B2 – Aryan Nation
                                                      B3 – 33 Nihilistic And Female
                                                      B4 – Receive Love
                                                      B5 – Always Bleeds
                                                      B6 – Where The Darkness Began

                                                      Timber Timbre

                                                      Sincerely, Future Pollution

                                                      On its fourth record – Sincerely, Future Pollution – Timber Timbre coats the stark, sensual sound of 2014’s Hot Dreams in an oil-black rainbow of municipal grime. It is the cinema of a dizzying dystopia, rattled by the science fiction of this bluntly nonfictional time.

                                                      Sincerely, Future Pollution stands out in Timber Timbre’s catalogue of imagistic records, with Taylor Kirk and band-mates Mathieu Charbonneau and Simon Trottier taking a unique approach to Timber Timbre’s process of sonic invention. Kirk wrote the songs in late 2015/early 2016, then arranged the music over a “very focused” Montreal winter with the veteran Timber Timbre members.

                                                      If each Timber Timbre record is framed in genre play, on Sincerely, Future Pollution, the components are the most askew: the glam of Roxy Music; the plaintive pop of Talk Talk; the disquiet of Suicide; the invincibility of Talking Heads; the haunting This Mortal Coil. All (and more) unlikely references are present, tethering Timber Timbre’s experimentation to points of familiarity. The range is an acute angle from New Age to Popular French Disco Revival like Daft Punk and Air, filtered through Timber Timbre’s painterly imagination. Freshly exhumed, Sincerely, Future Pollution is a portent from the bygone year 2016.

                                                      STAFF COMMENTS

                                                      says: Sleazy glam basslines, euphoric digital pads and funked out guitars sway and swarm into the visceral vocal stylings of Taylor Kirk. A meticulously crafted, and brilliantly emotive outpouring from beginning to end.

                                                      TRACK LISTING

                                                      A1. Velvet Gloves & Spit
                                                      A2. Grifting
                                                      A3. Skin Tone
                                                      A4. Moment
                                                      B5. Sewer Blues
                                                      B6. Western Questions
                                                      B7. Sincerely, Future Pollution
                                                      B8. Bleu Nuit
                                                      B9. Floating Cathedral

                                                      South African via Berlin Indie Pop darlings Dear Reader return with Day Fever, their fourth album on City Slang and the first, in four years. It was recorded in John Vanderslice’s San Francisco studio, Tiny Telephone. Well-known as a producer for acts like Spoon and The Mountain Goats, and a musician in his own right, Vanderslice has made a name for himself in analog recording, something Dear Reader hadn’t explored prior to the decision to record at his studio.

                                                      Already far from home in Berlin, the South African musician’s trek to San Francisco meant a huge adjustment in terms of her recording style. Recording on tape helped Dear Reader mastermind, Cherilyn MacNeil, commit to the performance and narrative act of making an album, and to break, in her words, the habit of “editing the life out of things.” In Day Fever, those old habits have died, and hard. The raw, melodious, at times discordant record has most certainly retained its life, left fresh and untrampled by infinite do-overs. In fact, each song on the album is the result of just one, or a maximum of two, studio performances.

                                                      Day Fever sounds more minimal, more vanguard than Dear Reader’s previous albums, bending to match the album’s thematic pitch: if Rivonia (2013) pulled us back into the MacNeil’s (and South Africa’s) history, Day Fever slingshots us into the present to confront life in real time.

                                                      TRACK LISTING

                                                      Side A
                                                      1 Oh, The Sky!
                                                      2 Tie Me To The Ground
                                                      3 So Pretty So Pathetic
                                                      4 Mean Well
                                                      5 Wake Him
                                                      6 Placate Her

                                                      Side B
                                                      7 If Only Is
                                                      8 I Know You Can Hear It
                                                      9 Nothing Melodious
                                                      10 Then, Not Now
                                                      11 The Run

                                                      Lambchop are back! Their new album, For Love Often Turns Us Still (in short FLOTUS … yes FLOTUS), arrives just in time for the bands' 30th Anniversary and in time for one of the most tumultuous years in history; not least in American history. Kurt Wagner is still painting musical miniatures as well as dramatic landscapes like no-one else right now. Though this year something is different, the fragile songs are as much about the tiny details of living in a struggling neighborhood in Nashville, which faces new challenges, as it is about the grand scheme of things without naming them.

                                                      Musically, the devil is in the details. The stylistic sound of Lambchop is thriving but it’s made out of pieces unheard of before. 2016 is a new chapter for a lot of people and a lot of bands and is certainly a new chapter for Lambchop, returning with their most ambitious and important record to date. Be surprised and be carried away by this quiet and beautiful masterpiece where it’s intensity rings louder than sirens.


                                                      STAFF COMMENTS

                                                      says: A slightly more electronic sound on this newest one from Lambchop, while retaining the same languid vibes and hazy-day melodies. Vocoders and smooth synths nuzzle up next to drifting ambience, silky drums and echoing guitar plucks. While their delivery has changed a little, this is all still clearly the Lambchop we know and love. Turn it up and get the (winter) barbecue out.

                                                      TRACK LISTING

                                                      1. In Care Of 8675309
                                                      2. Directions To The Can
                                                      3. Flotus
                                                      4. JFK
                                                      5. Howe
                                                      6. Old Masters
                                                      7. Relatives #2
                                                      8. Harbour Country
                                                      9. Writer
                                                      10. NIV
                                                      11. The Hustle

                                                      Tindersticks release their new album ‘The Waiting Room,’ a milestone not just numerically, but musically and creatively. Their first studio album since 2012’s critically acclaimed ‘The Something Rain' (9/10 DiS, 8.1 pitchfork, 8/10 the Quietus, 8/10 DIY, 4/5 Guardian, 4/5 Independent on Sunday, 4/5 Uncut, 4/5 Q, 4/5 Observer) is the most ambitious, diverse and elaborate album you’ll have heard from Tindersticks in recent years. 2 decades into their musical voyage Tindersticks, established masters of restraint and poetic human emotion, are a band now confidently making the best songs of their career.

                                                      ‘The Waiting Room' breathes gravity and features guest appearances by Jehnny Beth of Savages and a particularly poignant duet with long time friend of Stuart Staples, Lhasa De Sela. Not just an album but also an elaborate collaborative artistic project, each track is accompanied by a short film, each one a visual interpretation by it's own director. Christoph Girardet, Pierre Vinour, Claire Denis, Rosie Pedlow and Joe King, Gregorio Graziosi, Richard Dumas and Gabriel Sanna.

                                                      STAFF COMMENTS

                                                      says: Hazy and harrowing, The Waiting Room is an intimate album with soft lyrics which are told in a story-like manner holding incredible depth. It has remnants of Celtic folk influence from the percussion, orchestral choruses and tinkering sounds of loveliness!

                                                      TRACK LISTING

                                                      1 Follow Me
                                                      2 Second Chance Man
                                                      3 Were We Once Lovers?
                                                      4 Help Youself
                                                      5 Hey Lucinda
                                                      6 This Fear Of Emptiness
                                                      7 How He Entered
                                                      8 The Waiting Room
                                                      9 Planting Holes
                                                      10 We Are Dreamers!
                                                      11 Like Only Lovers Can

                                                      DVD  
                                                      1 Follow Me (Video)
                                                      2 Second Chance Man (Video)
                                                      3 Were We Once Lovers? (Video)
                                                      4 Help Youself (Video)
                                                      5 Hey Lucinda (Video)
                                                      6 This Fear Of Emptiness (Video)
                                                      7 How He Entered (Video)
                                                      8 The Waiting Room (Video)
                                                      9 Planting Holes (Video)
                                                      10 We Are Dreamers! (Video)
                                                      11 Like Only Lovers Can (Video)

                                                      Naytronix is the alter ego of multi instrumentalist Nate Brenner who spent much of the past four years touring the world as bassist for the mighty tUnE-yArDs. Consider Naytronix’s second full-length, ’Mister Divine’ (2015, City Slang), his treatise on the subject, which sees him turning from the disjointedly funky party dance anthems of his debut Dirty Glow (2012, Plug Research) to a surrealist stream of consciousness poignancy.

                                                      Conceived in tour busses, hotel suites, and basement studios initially as fodder for DJ sets, Mister Divine is the feeling of déjà vu between delirious post-show fevers and the road-torn sleep through the night on the way to the next city, driving the circumference of the Earth in nine weeks, dreams of Pangaea, of forever ago and infinity from now.

                                                      Imagine: impossibly, and without the recollection of flying, you’re in Europe maniacally driving through the pre-dawn to catch the first ferry to Belgium, to Spain, to Sweden. There is Dur Dur on the stereo, William Onyeabor, Khaira Arby, and Dizzy K, compilations and mixtapes of unknown origin and content. This too is a dream, and tomorrow you’re starting over, another opportunity to bask in the irrelevance of the present moment, “all we have,” while keeping one eye on the future and one on the past.

                                                      Brenner has digested a lot in the three years since introducing this world to Naytronix. tUnE-yArDs has turned into something of a perpetual motion machine, taking him to far corners of the Earth, as well as Carnegie Hall and the TV sets of Jimmy Fallon, Conan O’Brien, Jools Holland, and Austin City Limits. He did some recording and performing with music royalty Yoko Ono and Sean Lennon, got to collaborate and learn from Cibo Matto’s Yuka Honda, and even found some time to take the Naytronix band around the US and across the Atlantic, from London to Istanbul. His music as Naytronix keeps its characteristic reflection of the ‘70s of Onyeabor and Bootsy Collins, there is too a new face of the sincerity and vulnerability of the ‘70s of Arthur Russell he shows here amid the psychedelia, as if wishing to land the Naytronix Mothership down to stay with us for a bit.

                                                      STAFF COMMENTS

                                                      says: The product of a unique songwriter spending too many nights under the stars in Arthur Russell's Sleeping Bag, "Mister Divine" is the best off kilter pop album I've heard in years.

                                                      TRACK LISTING

                                                      1. Mister Divine
                                                      2. Starting Over
                                                      3. Dream
                                                      4. Back In Time
                                                      5. The Wall
                                                      6. I Don't Remember
                                                      7. Future
                                                      8. Living In A Magazine
                                                      9. Shadow

                                                      Cristobal and the Sea are a proper European union of a band, if ever there was one. The quartet hail from four corners of our diverse continent. They are: Alejandro Romero from Spain (bass/vox), João Seixas from Portugal (guitar/vox), Leïla Seguin from Corsica/France (flute/vox) and Josh Oldershaw from old Blighty (drums).

                                                      After signing to City Slang (Sinkane, Caribou, Junip, Lambchop) and releasing their debut EP ‘Peach Bells’ last year, the band spent the duration of February locked in Namouche studios in Lisbon (Portugal) working on their forthcoming debut album with producer Rusty Santos (Animal Collective, Owen Pallett, DJ Rashad, Ariel Pink). Entitled ‘Sugar Now’, the record is set for release later this year, with this new single ‘Sunset Of Our Troubles’ displaying the band’s mystical, dreamy & enticing sounds wonderfully, offering a little glimpse of what to expect from the forthcoming debut.

                                                      Young, enormously gifted, very charismatic and incredibly laid back, Cristobal And The Sea are devouring life as only the young and carefree know how.

                                                      TRACK LISTING

                                                      1. Counting Smiles
                                                      2. Sunset Of Our Troubles
                                                      3. Fish Eye
                                                      4. Bear Paws
                                                      5. Happy Living Things
                                                      6. Legs Gone Feathers
                                                      7. Out
                                                      8. New Carlton House
                                                      9. Mary Ann
                                                      10. Miasma

                                                      For the better part of two decades, the acclaimed band Calexico has crossed musical barriers, embracing a multitude of styles, variety in instrumentation, and well-cultivated signature sounds. With 'Edge of the Sun' they take inspiration from a trip to a place surprisingly unexplored by the band before in Mexico City, and with the benefit of many friends and comrades to help guide the way.

                                                      Encouraged by the experience, the guest list grew to include Ben Bridwell (Band of Horses), Nick Urata (Devotchka), Carla Morrison, Gaby Moreno, Amparo Sanchez, multi-instrumentalists from the Greek band Takim, and Neko Case. Burnsʼ brother John Burns lent a hand to some lyrics and songwriting, and the bandʼs keyboardist, Sergio Mendoza, stepped up to co-write and arrange certain songs, ultimately co-producing the album along with Burns, John Convertino, and longtime associate Craig Schumacher.

                                                      STAFF COMMENTS

                                                      says: Calexico have been honing their Latin-American infused dusty desert blues for the best part of 20 years, and here, they've got it bang on.

                                                      TRACK LISTING

                                                      1. Falling From The Sky With Ben Bridwell (Band Of Horses) 
                                                      2. Bullets & Rocks With Sam Beam (Iron & Wine) 
                                                      3. When The Angels Played With Pieta Brown & Greg Leisz 
                                                      4. Tapping On The Line With Neko Case 
                                                      5. Cumbia De Donde With Amparo Sanchez 
                                                      6. Miles From The Sea With Gaby Moreno 
                                                      7. Coyoacán 
                                                      8. Beneath The City Of Dreams With Gaby Moreno 
                                                      9. Woodshed Waltz With Greg Leisz 
                                                      10. Moon Never Rises With Carla Morrison 
                                                      11. World Undone With Takim 
                                                      12. Follow The River With Nick Urata (Devotchka)

                                                      Dan Snaith makes his highly anticipated return to the long player, faced with the unenviable task of following up an undeniable classic, 2010's "Swim". That universally adored album (placed in the Piccadilly Records End Of Year Top 3) saw Snaith complete the journey from the pastoral electronica of his early work as Manitoba, through the woozy hip hop inflected beats of "Milk Of Human Kindness" and "Andorra" to the undisputed champion of leftfield house. "Our Love" sees the producer joining the dots between the synth led euphoria of his dancefloor productions and the polyrhythmic rattle of his Daphni project while offering new take on warm and expansive future soul, while featuring his strongest songwriting to date.

                                                      Snaith makes his intentions clear from the off, with album opener "Can't Do Without You" picking up right where "Sun" left off, but with the euphoria turned all the way up to 11 thanks to crescendant synths and heartfelt vocals. Recent single "Our Love" falls into the same camp, pairing emotional vocals and melodies with a skipping garage beat, while organic synths and Owen Pallett's darting strings provide a richly textured backing. The warm analogue sounds of futuristic soul weave themselves deep into the record’s DNA, particularly on "Silver", "Second Chance" (featuring Jesse Lanza's seductive vocals) and "Back Home". These immersive synth ballads form intimate moments of calm between the driving house and garage of "Can't Do Without You" and "Our Love", the Daphni-styled dancefloor diaspora of "Mars" and the raving interludes "Dive" and "Julia Brightly". Snaith's mastery of these diverse styles, and the ease with which he moulds them into his artistic vision is a testament to his mature and accomplished songwriting. Nowehere is this so clear as on the LP finale and crowning moment "Your Love Will Set You Free", which combines the soulful with the driving, the melancholic with the euphoric, bringing the album to a gorgeous bitter sweet conclusion. Ultimately, Snaith has delivered a worthy follow up to "Swim", which is high praise indeed.

                                                      TRACK LISTING

                                                      01. Can't Do Without You
                                                      02. Silver
                                                      03. All I Ever Need
                                                      04. Our Love
                                                      05. Dive
                                                      06. Second Chance
                                                      07. Julia Brightly
                                                      08. Mars
                                                      09. Back Home
                                                      10. Your Love Will Set You Free

                                                      To Rococo Rot have carved an identifiable niche for themselves, and one which has crossed a variety of styles; neither wholly in the realms of ambient or pure electronics. The late 1990s albums of Veiculo and The Amateur View brought their fundamental and innovative landscapes of sound to the fore, whilst 2001’s collaboration with I-Sound, Music is a Hungry Ghost, showed their ability to blend disparate influences into something wonderfully cohesive. Remixed by Four Tet and Daniel Miller and heralded by the likes of Modeselektor, their influence extends as far as their unique approach deserves.

                                                      Returning to City Slang in 2014 for their first full-length since 2010’s Speculation (released on Domino) and their eighth album in total, Instrument is a landmark record for the electronic trio from Berlin. The serenely soft melodies of No Wave pioneer Arto Lindsay adorn three tracks (‘Many Descriptions’, ‘Classify’ and ‘The Longest Escalator in the World’), offering up a new perspective. As much a progression as a refresher course for older material, it is arguably their most refined record so far.

                                                      Lindsay’s laid-back and unhurried words lend themselves perfectly to the aesthetic of To Rococo Rot whilst pulling them through to an unfamiliar and occasionally pop-based space. Though melodies have always been a big part of their sound, the inclusion of a human voice is a distinctive modification. It sits perfectly within the warm timbres created by Lippok, Lippok and Schneider.


                                                      TRACK LISTING

                                                      1 Many Descriptions (featuring Arto Lindsay)
                                                      2 Besides
                                                      3 Down In The Traffic
                                                      4 Classify (featuring Arto Lindsay)
                                                      5 Baritone
                                                      6 Spreading The Strings Out
                                                      7 Pro Model 8 Sunrise
                                                      9 Gitter
                                                      10 Longest Escalator In The World (featuring Arto Lindsay)

                                                      The Notwist

                                                      Run Run Run

                                                        THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                        The Notwist release 12" single 'Run Run Run' from the critically acclaimed new album 'Close To The Glass' featuring two remixes and an exclusive B-side called "Magnificent Fall";

                                                        "The perfect blend of electronic trickery and broken hearts" 8/10 NME
                                                        “a wonderful reminder that nobody makes music quite like the Notwist” 4/5 The Skinny
                                                        “Sensitively poised and technically perfect” 8/10 Uncut
                                                        “will have you skipping back and hitting play again” 8/10 Clash
                                                        “brilliantly snaps together everything from digitalised tabla rhythms to surging power pop” 4/5 Q
                                                        "this is music of craft and accomplishment" Mojo
                                                        "a continuation of what The Notwist have always been best at" DIY
                                                        "The bonkers German kraut-prog-pop experimentalists are back" The Times
                                                        "Ecstatic" Independent on Sunday.

                                                        TRACK LISTING

                                                        A1. Run Run Run (Album Version)
                                                        A1. Run Run Run (Ada Remix)
                                                        B1. Magnificent Fall
                                                        B2. Into Another Tune (Nuel Remix)

                                                        EMA

                                                        The Future's Void - Bonus Disc Edition

                                                        City Slang is excited to announce the new album from EMA, "The Future's Void". The follow-up to her acclaimed 2011 LP, "Past Life Martyred Saints," “The Future’s Void” was written by Erika M. Anderson, recorded in Portland, Oregon, and produced by Erika and Leif Shackelford.

                                                        EMA recently told NME that the album was influenced by, among other things, NiN demos, the heavier side of early K Records, and William Gibson’s Neuromancer, and that the album looks at the digital commodification of our online lives. She says, “I gravitate toward hooks and melodies, and in some ways the structure of these songs are my poppiest yet,” while noting that the jarring production includes a lot of first takes and spontaneously-recorded ambient sounds “to keep the songs from sounding like advertisements".

                                                        Last month the first single "Satellites" was released to raves, garnering "Best New Track” from Pitchfork, who said, "It’s discontent composed to Carl Sagan proportion, and it’s easily the most bracing thing yet from an artist already more bracing than most.“ Spin said, “it’s a rumbling mammoth that feeds off canned, clapping percussion and waves of static feedback,” while Stereogum noted, “anxiety this ferocious is a timeless thing.”

                                                        TRACK LISTING

                                                        1. Satellites
                                                        2. So Blonde
                                                        3. 3Jane
                                                        4. Cthulu
                                                        5. Smoulder
                                                        6. Neuromancer
                                                        7. When She Comes
                                                        8. 100 Years
                                                        9. Solace
                                                        10. Dead Celebrity

                                                        Kevin Drew is the frontman of Broken Social Scene, solo recording artists, and co-owner of independent music company Arts & Crafts. His 2007 solo debut, Spirit If..., was widely loved for unearthing the affirmative grooves and experimental pop songwriting churning at the heart of indie vanguards Broken Social Scene. Darlings, his first solo recording since, showcases Drew's more mature pop sensibilities and his earnest and playful lyrics soaring over hook-laden songs like first single “Good Sex”.

                                                        In the tradition of post-Velvets Lou Reed or post-Genesis Peter Gabriel, Darlings shows Drew stepping out to create a breakthrough personal statement of true artistry. Darlings was recorded at the Banff Centre in Alberta with Graham Lessard and then taken to a house in Northern Ontario with Dave Hamelin (The Stills, Eight and a Half) for final recording and mixing. The album also features longtime collaborators Charles Spearin and Ohad Benchetrit (Do Make Say Think, Broken Social Scene) along with Dean Stone (Apostle of Hustle). Darlings was co-produced by Kevin Drew, Graham Lessard, and, for the first time, Dave Hamelin.

                                                        TRACK LISTING

                                                        1 Body Butter
                                                        2 Good Sex
                                                        3 It's Cool
                                                        4 Mexican Aftershow Party
                                                        5 You Gotta Feel It
                                                        6 First In Line
                                                        7 Bullshit Ballad
                                                        8 My God
                                                        9 You In Your Were
                                                        10 You Got Caught
                                                        11 And That's All I Know

                                                        In recent years songwriters have experimented more widely than ever with beats and bass, but only a few have succeeded in producing results worthy of mention. The underlying problem is that club music, when it comes to the punch, to put it crudely, needs to function on the dance floor. This can make life pretty difficult for the classic songwriter, and the resulting music can often sound a little over-thought and self-conscious. On the other hand, a functional fixation on dance floor compatibility can take over, and what is designed to work in the club can often, in album format, fall a little flat. Thus, one continues to put together brilliant, functional tracks and the other remains firmly in the domain of the song writing. Those artists who manage successfully to straddle both worlds can be counted on the fingers of one hand.

                                                        Canadian musician and producer Brad Weber, with his project Pick A Piper, joins the ranks of this charmed few. Pick A Piper was conceived in 2008 along with band mates Angus Fraser and Dan Roberts, and following two EPs, the band is set to release their debut self-titled debut album. The album is made up of eight very different songs, all with one thing in common: each is built upon the foundation of its own ingenious rhythm structure, with musical layers meticulously applied, up until the vocals, which are added right at the very end, if at all. Song writing done back-to-front, which is also fitting in this case because: Brad Weber? Isn’t that...? Yes indeed! Brad is also the drummer for Caribou. To give the whole the perfect finish and to avoid falling into the "functionality trap" (it exists!), Brad enlisted many of his friends as guest singers on these recordings. Amongst others, he asked Andy Lloyd of Born Ruffians, as well as members of the Ruby Suns and John Schmersal of Enon, Brainiac and Caribou. Brad sent them demos, allowing space for a very important and often underestimated element of the musical process, without which it would be about as exciting as a bank statement: chance. He couldn’t be sure exactly what the respective collaborators would contribute to the corresponding ideas, but that was the concept, and thus the resulting album sounds even less like a classic producer album, and more like a soundtrack to a movie - different topics but a common thread. A record that could not please us more, full of complexly layered yet catchy songs that display a very keen sense of rhythm, song writing and musical finesse. Attention to detail, but with the bigger picture in mind.

                                                        TRACK LISTING

                                                        01 Lucid In Fjords
                                                        02 All Her Colours
                                                        03 Cinders And Dust
                                                        04 Once Were Leaves
                                                        05 South To Polynesia
                                                        06 Zenaida
                                                        07 Hour Hands
                                                        08 Dinghy In A Quiet Cove

                                                        Lambchop

                                                        Is A Woman - City Slang Classics

                                                        The ever-modest Lambchop boss presented ‘Is A Woman’ to Cityslang with these words: "Here's my new album. I hope you'll like it. It's a bunch of samey, downtempo stuff that doesn't really seem to go anywhere." Little did he know. Is A Woman broke Lambchop to the same place on the European continent where Nixon had previously taken the band in the UK. It was instantly recognized as a modern classic and described by one famous German critic as "one of the best albums ever made". We couldn't agree more.

                                                        PRESS: quotes from original release:

                                                        ‘Another mature masterpiece from America's finest.’ AOTM 5/5 – Uncut

                                                        ‘It's a brave and curious record that, as on 'Bugs', occasionally resembles Willie Nelson fronting Labradford.’ 8/10 – NME

                                                        ‘A strange delight of a record.’ 8/10 – Popmatters

                                                        ‘A record that urges you to lean closer to the speakers in order to fully hear everything that is being played and sung.’ – The Wire

                                                        ‘These gradual pleasures fly in the face of today's pop/rock hardsell, for sure, but inexorably you are drawn into Kurt's world.’ 4/5 - Mojo

                                                        TRACK LISTING

                                                        1. The Daily Growl
                                                        2. The New Cob Web Summer
                                                        3. My Blue Wave
                                                        4. I Can Hardly Spell My Name
                                                        5. Autumn's Vicar
                                                        6. Flick
                                                        7. Caterpillar
                                                        8. D Scott Parsley
                                                        9. Bugs
                                                        10. The Old Matchbook Trick
                                                        11. Is A Woman

                                                        Calexico

                                                        Hot Rail - City Slang Classics

                                                        In 2000 the Tucson band released their second album proper and further refined their desert noir soundscapes. On this album Calexico opted for a more intimate form of expression, for a stylish, sombre, bleak ballad style that is often drenched in psychedelic reverbs and accented by jazz instruments.

                                                        Then again it does contain their first forays into the semi pop song with The Ballad Of Cable Hogue and eventually it was reissued with a version of "Crystal Frontier" that had quickly become a live favourite and went on to become their first pan European radio hit and calling card.

                                                        Sometime in the spring of 2012 the musicians that would go on to form the Chicago & Minneapolis based trio ON AN ON found themselves at a tipping point. The three of them—Nate Eiesland, Alissa Ricci, and Ryne Estwing—had played music with one another in various capacities for the better part of a decade. Most recently, they had shared the stage and studio as three fifths of the indie-pop outfit Scattered Trees, which had seen its fair share of success. But with the band’s studio time only a few weeks away and the other members now spread out across the country pursuing other endeavors, they would chart their own course and come out stronger for it. What emerged was ON AN ON.

                                                        For ON AN ON, the precariousness of breaking new ground only three weeks before recording with accomplished producer Dave Newfeld (Broken Social Scene, Super Furry Animals, Los Campesinos!) provided a jolt of creative energy. The musicians had become disenchanted with their past approach to songwriting and recording, finding the process of striving for polished pop both tiresome and constrained. Newfeld proved the perfect counterpart to their initial vision for the record, encouraging them to push boundaries and go with their instincts.

                                                        According to Eiesland, the sessions were something of an exorcism: “We really wanted to get away from the sterility of our previous approach to recording.” Eieseland, Ricci, and Estwing embraced musical risks that in the past it might have shied away from. In the studio, the band members explored a natural chemistry and honed their sound; synthesizers, scattershot electro beats and ambient ear candy gave guitars, bass and drums a ghostly sheen.

                                                        While the melodies might clue one in to the trio's evolved sonic palate, it's through the album's themes that the group member’s respective evolution becomes most apparent. Eiesland wrote the majority of the lyrics, in the process coming to terms with death and the traps that life springs upon us. Whether letting his intuition guide him on "I Wanted To Say More” ("You are a saint and you’re the devil/Every word I spoke to you, I thought that they were wings/ But they were only feathers”) or owning up to life's inevitability on "All The Horses" ("A family tree will split in two halfway through its life"), there's a tempered calm to the thought-provoking imagery he espouses through his words. Estwing offered up his own lyrical séance on his lead vocal track "Cops," although the bassist says his message—that the police can be surprisingly corrupt—is more direct. After smashing everything they knew to pieces, they pulled themselves together around Give In, ON AN ON’s ten-track debut album – a dream-washed textural journey armed with a biting perspective on life, love, and the commonality of loss. It is an affair that sizzles with electricity and calls one in with its unnerved openness.

                                                        TRACK LISTING

                                                        1. Ghosts
                                                        2. Every Song In The World
                                                        3. American Dream
                                                        4. The Hunter
                                                        5. All The Horses
                                                        6. Bad Mythology
                                                        7. War Is Gone
                                                        8. Cops
                                                        9. Panic
                                                        10. I Wanted To Say More

                                                        Get Well Soon

                                                        The Scarlet Beast O'Seven Heads - Bonus Tracks Edition

                                                          'Get Well Soon are one of Germany’s most prolific bands of the decade and certainly the most extravagant!

                                                          We would even go further and claim, that Konstantin Gropper is the Caspar David Friedrich of his generation; strictly musically speaking, of course. In case you don’t know, Friedrich was the most important romantic painter of the 19th century. Similarly, Konstantin’s musical vehicle, Get Well Soon is best known for its hugely romantic, allegorical songs, full of drama, morning mist and night skies. No gothic ruins though.

                                                          Their new album ‘The Scarlet Beast O'Seven Heads’ is one of the most sophisticated pop albums of the year. The album features 13 new, wildly imaginative and of course opulently arranged songs. It is, in certain moments, a colourful and beautiful nod to the genre we know as ‘Cinema Italiano’ (think Nino Rota or Argento), though these masters of the strange, wild and adventurous are just one of the 3,227 inspirations that went into the making of this new ornate Get Well Soon masterpiece.'

                                                          TRACK LISTING

                                                          1. Prologue
                                                          2. Let Me Check My Mayan Calendar
                                                          3. The Last Days Of Rome
                                                          4. The Kids Today
                                                          5. Roland, I Feel You
                                                          6. Disney
                                                          7. A Gallows
                                                          8. Oh My! Good Heart
                                                          9. Just Like Henry Darger
                                                          10. Dear Wendy
                                                          11. Courage, Tiger
                                                          12. The World’s Worst Shrink
                                                          13. You Cannot Cast Out The Demons, You Might As Well Dance

                                                          CD Disc 2: ITZTLACOLIUHQUI (Comes As Downloads With The Vinyl)
                                                          Lesson 1: You Are Welcome!
                                                          Lesson 2: Soon!
                                                          Lesson 3: Take Shelter!
                                                          Lesson 4: Absolution And Eternal Refuge
                                                          Lesson 5: Break The Cycle! Break Your Chains!


                                                          Lambchop

                                                          Mr M

                                                            MR. M is Lambchop’s eleventh album on City Slang and documents the band at its best, it encapsulates one of the most profound moments in Lambchop history. Kurt Wagner turned away from music and picked up his brushes to paint his way out of a funk that followed the premature death of friend Vic Chesnutt, who the band backed on 1998’s The Salesman and Bernadette. Incidentally the paintings, thickly layered black and white portraits forming a series called Beautillion Millitaire 2000, feature on the album sleeve and throughout the full artwork-

                                                            “As I worked, I was approached by Mark Nevers (former full time band member & producer for the likes of Andrew Bird and Will Oldham) with the idea of making another Lambchop record. He had a concept of a sound and a method that worked with the tone of my writing. His idea was a kind of ‘psycha-Sinatra’ sound, one that involved the arranging of strings and other sounds in a more open and yet complex way. It was a studio creation, not a type of recording based on band performance, and this was a radical approach for us. I felt Lambchop had one more good record in us, and this time I was going to do things as directly and true to my desires as possible.”

                                                            The resulting album stretches out as sonically as promised. It was recorded at Nevers’s Nashville Beech House studio cum bungalow with the usual core of musicians- Scott Martin (drums), Matt Swanson (bass), Ryan Norris (guitar, organ), Tony Crow (piano), William Tyler (guitar). Guests include original cofounder Jonathan Marx, Cortney Tidwell (who shared vocals on 2010’s KORT project) and fiddler Billy Contreras (who has worked with all from Charlie Louvin to Laura Cantrell) - spectacular string arrangements shared between Peter Stopschinski and Mason Neely.

                                                            TRACK LISTING

                                                            1. If Not I'll Just Die
                                                            2. 2B2
                                                            3. Gone Tomorrow
                                                            4. Mr. Met
                                                            5. Gar
                                                            6. Nice Without Mercy
                                                            7. Buttons
                                                            8. The Good Life (is Wasted)
                                                            9. Kind Of
                                                            10. Betty's Overture
                                                            11. Never My Love

                                                            Tu Fawning

                                                            A Monument

                                                              Portland’s Tu Fawning return this May with their sophomore release titled 'A Monument'. A mere nine songs short, but enough time to confirm the suspicion raised by the band's debut album 'Hearts On Hold: Can it be that this band sets itself apart from everything else out there right now? Yes, this is proof.

                                                              A Monument is in fact a very different record, all the more reason for us to appreciate this band and their artistic merits. Live Tu Fawning deliver a dense, romantic, highly energetic live show, much more powerful than their debut album would have led you to imagine. And on A Monument this sparkles through on every track.

                                                              A Monument offers exactly nine very different pieces to that beautiful and unusual Tu Fawning style. Tracks like 'Blood Stains' have moved Tu Fawning south, more the Down Under type of south, with the warped R’n’B styles of a Birthday Party or early Bad Seeds. Less the atonality and surely sans the testosterone. And likewise 'Wager' lifts some moment of orchestral nausea out of a Crime And The City Solution track, converting it into a real song. Not all gothic, but certainly all dark. Weird, eccentric, timeless are user-friendly adjectives for the simple minded when trying to describe a band such as this. And lets not forget dramatic! Does it get anymore dramatic than 'Build A Great Cliff'? Take a rollercoaster ride with the epic seven and a half minute album closer that is 'Bones'. The latter showing that there is indeed also a sense of playfulness here.

                                                              Above and beyond the usual guitar, bass, keys, drums, the record feautures instrumentation such as a ragini, a tuned down marching band drum, old 80’s synths, actually lots of synths, those samples of South American chants turned into chords. Not to mention the degenerated Four Track recorders, dying guitar pedals, but most importantly: "turning your back to the microphone and yelling...“. Monumental indeed!

                                                              TRACK LISTING

                                                              1. Anchor
                                                              2. Blood Stains
                                                              3. Wager
                                                              4. A Pose For No One
                                                              5. Build A Great Cliff
                                                              6. Skin And Bone
                                                              7. In The Centre Of Powder White
                                                              8. To Break Into
                                                              9. Bones

                                                              With the help of producer Billy Pavone (The Fall, Asobi Seksu, White Rabbits), the latest O’Death opus, Outside, is their subtlest work by far, but also the most impressive of the band's career. This is a record that lives up to its name with spacious and cinematic arrangements, layers of subtle percussion, and at times an impenetrable wall of found sound.

                                                              O'Death recorded the album over a two-month period, easily the longest they've ever spent on a production. The extended recording time allowed the band to write in studio, as well as cultivate the organic noise for the record in an intimate setting. As Pavone observed, "Creating the album in the recording, and not in the mix, was a leap of faith for me. It was challenging to let go and allow the album to breathe a bit, and be its own creation– unique and very different from some of the sounds we hear so often in the world of digital manipulation.

                                                              The result is a record that is both the most subtle and massive accomplishment of the band's career, a darkly triumphant and free-flowing album that represents exactly where the songwriters have found themselves in this moment. As Pycior notes, "I love the dynamic disparity in the album: the fragile parts of ‘Bugs,’ ‘Ourselves,’ and ‘Don't Come Back...,’ the huge endings in ‘Alamar,’ ‘Look at the Sun,’ and ‘Pushing Out.’ I know we have the right sequence this time around… and I love ending on a different and demented tone with ‘The Lake Departed.’”

                                                              TRACK LISTING

                                                              1. Bugs
                                                              2. Ghost Head
                                                              3. Alamar
                                                              4. Black Dress
                                                              5 . Ourselves
                                                              6. Look At The Sun
                                                              7. Howling Through
                                                              8. Don’t Come Back
                                                              9. Pushing Out
                                                              10. Back Of The Garden
                                                              11. The Lake Departed

                                                              Norman Palm

                                                              Shore To Shore

                                                              In the midst of the music industry crisis art student Norman Palm had an idea: Why not visualize the rough recordings he had made between Paris and Berlin, produce a 200-page artbook with a cd and throw it on the collapsing market via his own DIY-record label? Sometimes it seems one has to ignore all golden rules to make something work: Norman Palm's book did not only sell pretty well, soon he was also invited to play live shows all over Europe such as the renowned Austrian art festival Steirischer Herbst and Haldern festival where he played along with bands such as Fleet Foxes and Yeasayer. He played at countless art events, sang next to Jane Birkin in a Parisian radio studio, was hyped by music magazines such as Stereogum, got filmed by french Blogotheque and eventually even found himself featured on the world's most visited blog run by Hollywood gossip boy Perez Hilton. Norman Palm got around.

                                                              Norman Palm also gets around because he decided not to live his life at one place only. Taking the adventures of a long-distance relationship to a not always easy level he practically commutes between Berlin and Mexico City. Enough exercise for body and soul to make contacts, get inspired and write new songs.

                                                              While Norman Palm's DIY-debut was a loose collection of songs, "Shore to Shore" is a homogenic piece and a musical quantum leap! Palm gets rid of his singer-songwriter image, irony and shyness of his debut have vanished. "Shore to Shore" is pop and love-long-distance set to music. Start/Stop, the album's overture brings together what is later split up into its parts: Ukulele, electronic beats, crazy choirs, African vs. technoid vibes, warm vs. synthetic. Above all floats Palm's distinctive voice. In Smile Palm sets foot into the american indie-terrain normally conquered by the likes of Wilco, he designs a 2.0 version of Paul Simon's Graceland with Images, flirts with Beck and the Beta Band in Landslide and spins out of $20 with an extensive Krautrock steelpan synth loop. Easy, virtually the title track of the album and a lyrical centrepiece ("Let's all be friends with the telephone calls / Let's all be friends with the departure halls") layers voices, basslines and synthesizers thus providing a perfect soundtrack for an early morning after clubbing. It's almost like listening to the radio, only that radio stations of such quality are hard to find!

                                                              Norman sings about love and how it interferes with life. About distance and closeness, about intimacy and strangeness, about missing and losing, love in a digitalized and globalized design of life. Doing that he avoids kitsch and cliché, writes poetry without being corny, makes himself clear, honestly and humble, never awkward, never bigger-than-life. Palm throws his very personal and his musical influences into a pot, cooks his own soup and puts it right on the table of international contemporary pop culture.

                                                              TRACK LISTING

                                                              01. Start/Stop
                                                              02. Smile
                                                              03. Images
                                                              04. Landslide
                                                              05. $ 20
                                                              06. WDYD?
                                                              07. Easy
                                                              08. Sleeper
                                                              09. Phantom Lover
                                                              10. Go To Sleep

                                                              Caribou

                                                              Swim

                                                                If you think you know Caribou, think again. Dan Snaith’s new album, "Swim" is the sound of the musical glass ceiling being blown away. Dan’s latest recording sees him getting busy in the basement with some expertly constructed, rave-tinged sounds that sing with soul. But that’s not all. As a songwriter of considerable standing, Dan has not subsumed his uniquely recognisable touch in an orgy of technical bliss – although, there is plenty of euphoria in the musical alchemy on offer. From Dan’s perspective, he says, 'The most important thing for me with this record was finding my own sonic vocabulary. That’s why I’m proud of this record.'

                                                                "Swim" is full of brightly textured, rapturous gems that gleam with astonishing production – and then wrenches at your heart with soulful, thoughtful reveries on the passing of time, family history and the breakdown of relationships. 'There are songs about growing old in a relationship, about divorce and loneliness in old age but the lyrics are generally pretty abstract sketches of what’s going on in the situation in my head', says Snaith. If there is a link to previous album "Andorra", it would be in the ravishing explosions of sound pulsing through album closer "Niobe". A continuum of sorts leads us to 2010, but that finale gives mere hints as to the future Caribou. From the opening effervescent gambol of "Odessa" to the glorious odyssey of "Jamelia", it’s crystal clear that Caribou has made a massive leap forwards, upwards and sideways.


                                                                Get Well Soon

                                                                Angry Young Man


                                                                Having released an album on Nude Records back in 2008, songwriter and multi-instrumentalist Konstantin Gropper returns with "Angry Young Man", taken from the forthcoming album "Vexations".
                                                                Gropper is also a composer of film scores; his latest being for Wim Wenders’ (Paris, Texas / Buena Vista Social Club) film Palermo Shooting (nominated at the Cannes Film Festival 2008).
                                                                The B-Side of this limited 7” "Your Teenage FBI" is taken from a film score of a 2010 released film by German cult regiesseur Detlev Buck.


                                                                Nashville based Cortney Tidwell releases the follow up to her critically acclaimed 2006 album "Don't Let The Stars Keep Us Tangled Up". Recorded in Cortney's home and her friends' homes and co-produced by Cortney, her husband Todd Tidwell and Ryan Norris, "Boys" is, like its predecessor, an astonishingly eclectic and genre-defying mix of the many musical forms that have inspired her. It owes as much to Depeche Mode and Joy Division as it does to Loretta Lynn and Johnny Cash, and as much, if not more, to Great Britain as to The Grand Ole Opry. It's all held together by Cortney's extraordinary voice: athletic and graceful, as capable of immaculate innocence as banshee wails, and equipped with an irrefutable ability to strike right to the heart.

                                                                O'Death

                                                                Broken Hymns, Limbs And Skin

                                                                New York quintet O'Death's third album, "Broken Hymns, Limbs And Skin", feels like a giddy junkyard hoedown, from the panicked fiddle screeches of opener "Lowtide" to the celebratory gallop of closer "Lean-To". At times it sounds morose or contemplative, but underneath the melancholy is a gospel fervour — bashed from paint buckets, banjos, guitars and anything else in kicking distance — that defines their sound. Since 2007's "Head Home", the band have evolved the possessed Americana-meets-gypsy-punk of recent years into a more urgent, unrelenting celebration of life, death and everything in between. They've grown up a little, but haven't lost the underlying longing or the unruly jubilation in their songs.

                                                                Malajube

                                                                Trompe L'Oeill

                                                                  This sophomore effort by Montreal's Malajube is the best francophone indie-rock release in recent memory. Catchy, heavy, light, playful and exhilarating - it rocks non-stop, and in a multitude of ways. The underlying theme of sickness runs through the disc like death did on the Arcade Fire's "Funeral". But it's filtered through textured, sweeping and frequently beautiful songwriting. Guests include rappers Loco Locass, singer Pierre Lapointe and Dears members Martin Pelland and Valerie Jodoin-Keaton. This is a big record, a great record, by what could very well be your new favourite Montreal band.


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