- Newly discovered, previously unknown tapes.
- Recorded on July 30, 1976 at the historic Jittoku in Kyoto.
- Same prime era lineup as the legendary ‘77 Live recording.
- Mixed and mastered from the original tapes by Rallizes member Makoto Kubota.
- Official recording fully authorized by The Last One Musique.
- Liner notes by Waki.
- New photos by Kyo Nakamura.
- Vinyl edition includes bonus guitar solos.

While Les Rallizes Dénudés often played in their hometown, fans always eagerly awaited their return to the old city. This newly discovered tape captures their July 30, 1976 performance at Jittoku.

Unearthed from the margins of Nosebleed Weekend, these two tracks offer a raw, revealing glimpse into The Coathangers’ creative process, capturing a band mid-stride, sorting through instinct and intention. “Hurry” and “Drifter” were both written and demoed during the sessions for that record but ultimately shelved, left to simmer in the archives. Years later, vocalist Julia Kugel returned to them with fresh ears and found something vital: a looseness, a spark. “Hurry” began as an instrument-swap experiment—Julia on drums, Stephanie on guitar—with a beat-up charm and feral momentum. Its rhythm section is propulsive, the guitars overdriven and wiry, the vocals echoing with a kind of private urgency. It doesn’t polish itself up, and that’s the point, it feels like a band finding something new in the act of not overthinking. “Drifter,” meanwhile, features an early version of a song that later appeared on the Parasite EP, this time with a lighter step—the distortion dialed back just enough to let the vocal melody lean forward, more assured. It feels like a bit of time travel to the band’s rawest instincts. There’s an immediacy to both tracks, sketches made during the chaos of album-making, alive with experimentation and risk. Pressed to 7” by Suicide Squeeze, the tracks are less about perfection and more about process: evidence of the Coathangers’ ability to trust their guts, and let things breathe.

TRACK LISTING

1. Hurry (Demo)
2. Drifter (Demo)

Where his acclaimed debut 'Counting Sheep' offered a smooth, soulful introduction, 'Praise Animal' steps deeper into raw, unfltered territory - a guitar- driven, indiepsychedelic soul record that explores the wilder, more instinctive sides of human nature. The animal that lives inside us all - primal, fragile, sometimes self-destructive, sometimes searching for love and belonging. The album's title refects both this inner confict and society's hunger for external validation.

Across its eight tracks, Max explores cycles of ego, vulnerability, self- sabotage, inherited patterns, and the tension between instinct and morality. It's deeply personal but universally human - unpicking the messy emotions we often avoid. His signature guitar work and distinct vocals ground every track, blending jagged blues, woozy electronica, 80s synths, soulful grooves and cinematic textures.

Recorded at The Church Studios in London, Praise Animal marks Max's most fully realised creative work to date. While previous projects saw Max collaborate as a writer and guitarist with artists like Mahalia, Yussef Dayes, and Tom Misch, this record is entirely his own voice and vision.

For fans of Tame Impala, mk.gee, Dijon, Royel Otis, and BORNS - 'PRAISE ANIMAL' is a soulful, psych-tinged indie record, driven by sharp songwriting, cinematic textures, and raw, instinct-led energy

TRACK LISTING

1. Borderline
2. I Keep Hoping
3. One Foot In Front Of The Other
4. Home
5. Right Or Wrong
6. Love Someone Self Destruct
7. Best Of Me
8. Love Is Dead

The third album proper for 'Country-got-Soul's finest, The Delines, on Decor Records sees them exploring the US Gulf Coast, not far from where Amy Boone grew up. The songs in this cinematic opus all focus around this area and are inspired by when Amy asked Willy Vlautin to write her a song like Tony Joe White's 'Rainy Night In Georgia' after her tragic accident being hit by a car in 2016 and her 3 year recovery. This follows on from 2019's The Imperial which was number one in the UK official AMA charts for two weeks. Written and partially recorded before lock down the rest of the album was finished last Summer, produced by John Morgan Askew at his Bocce studios just outside of Portland, Oregon.

The album features the classic line-up of the band with Amy Boone (vocals), Willy Vlautin (guitars, vocals, songwriting), Freddy Trujillo (bass), Sean Oldham (drums, vocals) and Cory Gray (keyboards, trumpet and arrangements) doing some of their finest work yet. 

TRACK LISTING

1. Little Earl
2. Kid Codeine
3. Drowning In Plain Sight
4. All Along The Ride
5. Lynette's Lament
6. Hold Me Slow
7. Surfers In Twilight
8. Past The Shadows
9. This Ain't No Getaway
10. Saved From The Sea
11. The Gulf Drift Lament

This is the album of a lifetime. Or rather half a life spent, since the age of eighteen, in the shadow of recording studios. Under the multi- faceted pseudonym of DRIFT, 'At The Party' is an album by one of the world's most renowned and sought-after French sound engineers and producers of the last three decades: Renaud Letang.

ManuChao, Chilly Gonzales, Feist, Mathieu Booagerts, Lianne La Havas, Philippe Katerine, Saul Williams, Jane Birkin, Seu Jorge, Micky Green, Connan Mockasin and Amadou & Mariam have regularly called on him, sometimes to the point of not being able to do without this producer with golden hands and rare hearing.

For years now, Victoires de la Musique award- winner and Grammy Award- nominee Renaud Letang has been secretly preparing an album project with all his artist friends, in the basement of Studios Ferber. His Canadian accomplice Chilly Gonzales, with whom he formed the successful producer tandem VV in the 2000s, has encouraged him to release his songs, which he composes in the dark between two recording or mixing sessions. Renaud Letang sees his compositions as "drift music", with a wide stylistic palette - from sunny disco pop ('At the Party', 'Working on Me') to naive jazz ('Papaya', 'A Night in Waimea'), from futuristic hip hop ('Cosmic Drift', 'That's All') to dreamlike tracks ('Tres Gentiment In Waimea').

"In the end, I made the record I had in mind, with a level of demand for official groove and sensitivity." Breathing in Californian music and collective energy for a fantasized musical comedy, 'At The Party' is a fascinating musical journey, to be listened to as much on a sunny day as after dark.

The soundtrack of the summer with the cast of the year.

TRACK LISTING

1. At The Party Feat. Connan Mockasin, Benny Sings, Feist, Philippe Katerine, Infinite Bisous
2. Cosmic Drift Feat. Chuuwee, Vladimir Cosma
3. Tres Gentiment In Waimea Feat. Philippe Katerine
4. One By One Feat. Mel D
5. That's All Feat. Benny Sings, Chuuwee, Connan Mockasin, Mel D
6. Papaya
7. Papaya (Chilly Gonzales Piano Version)
8. Working On Me Feat. Feist, Philippe Katerine, Jamie Lidell, Benny Sings
9. Puppy Love Feat. Benny Sings
10. Christmas In Waimea Feat. Infinite Bisous
11. Talking To A Wall Feat. Infinite Bisous, Jerry Paper
12. After The Party Feat. Connan Mockasin
13. Vision Feat. Saul Williams
14. A Night In Waimea Feat. Feist

Pittsburgh synth wonder and beatmaker BusCrates presses two brand new tracks onto translucent vinyl for this cutting 7". On the A side, Anda channels her inner Gwen Guthrie on "Drift," with an anthem for the uncompromising types who will never hide their bright burning light. Lifted from BusCrates upcoming EP Altitude, "Drift" finds Buscrates and DJ Epik combining their arsenal of vintage synthesizers to produce a sophisticated, yet lowrider-ready boogie jam that recalls Deodato's overlooked work with the aforementioned Guthrie. On the back side, vinyl-exclusive "Serenity" is an instrumental offering that picks up the pace without disturbing the Minimoog meditation session.

TRACK LISTING

1. Drift (feat. DJ Epik & Anda)
2. Serenity

Blame The Young is the third album by the Taunton based Alternative Rock Band October Drift, out on Physical Education Recordings. Blame The Young (the title song) explores denial and blame. It works on a personal and level but also on a societal & political level too. The housing crisis, the food crisis, poverty, the unravelling of the NHS - blame the young, blame immigration.. The albums central theme is ownership of our own decisions, actions and choices with an element of youthful defiance. (Kiran Roy)

TRACK LISTING

1. Blame The Young
2. Demons
3. Nothing Makes Me Feel (The Way You Do)
4. Wallflower
5. Don't Care
6. Everybody Breaks
7. Borderline
8. Tyrannosaurus Wreck
9. Hollow
10. Heal
11. Not Running Anymore

Lo-fi, low budget, and low key, The American Analog Set’s suite of hypnotic, neo-psychedelic, Texas sloth-kraut LPs appeared briefly on Austin’s Emperor Jones label and slunk quietly into the sprawling indie underground as the old millennium crested. Gathered here are 'The Fun Of Watching Fireworks', 'From Our Living Room To Yours', and 'The Golden Band albums', garnished with period b-sides, outtakes, and demos. Remastered from the original analog tapes, this early-career spanning 5xLP box includes lyrics, photos, and ephemera from the before times.

TRACK LISTING

LP1 - The Fun Of Watching Fireworks
1. Diana Slowburner II
2. On My Way
3. Gone To Earth
4. On The Run’s Where I’m From
5. Dim Stars (The Boy In My Arms)
6. Trespassers In The Stereo Field
7. Too Tired To Shine II
8. It’s Alright

LP2 – From Our Living Room To Yours
1. Magnificent Seventies
2. Using The Hope Diamond As A Doorstop
3. Blue Chaise
4. Where Have All The Good Boys Gone
5. White House
6. Two Way Diamond I
7. Two Way Diamond II
8. Don’t Wake Me

LP 3 – The Golden Band
1. Weather Report
2. A Good Friend Is Always Around
3. It’s All About Us
4. A Schoolboy’s Charm
5. The Wait
6. New Drifters I
7. New Drifters II
8. New Drifters III
9. New Drifters IV
10. The Golden Band
11. I Must Soon Quit The Scene
12. Will The Real Danny Radnor Please Stand?

LP 4 – Nine Legend Road
1. Diana Slowburner II
2. High Fidelity Vs. Guy Fidelity
3. Magnificent Seventies
4. Waking Up Is Hard To Do
5. Dr. Pepper
6. The Only Living Boy Around
7. It’s All About Us
8. On My Way
9. Thin Fingers
10. Living Room Incidental #2 / The Corduroy Kid

LP 5 – Nine Legend Road
1. Where Did You Come From?
2. Too Tired To Shine I
3. Queen Of Her Own Parade
4. Mellow Fellow
5. You Don’t Want Me To Arrive, Do You?
6. What Are We Going To Tell Guy?
7. Where Did You Come From (Reprise)

Drift is non-conforming and genre blending. Whilst hard to neatly fit in a box, the record feels like an avant garde blend of Electronic, Hip-Hop, Punk and Grunge music featuring soundscapes recorded from GAIKA's travels abroad. Shapeshifting and cinematic in style, GAIKA draws inspiration from musical greats; Prince, Wu Tang Clan, Massive Attack, and John Coltrane, with his approach akin to the Pink Siifus, A$AP Rockys, and Dean Blunts of this world.

GAIKA’s sound spans from grime, dancehall, R&B, electronic, and beyond, often weaving in political commentary through his lyricism. New album Drift is an ensemble record with GAIKA as the central writer working with collaborators BbyMutha, KIDÄ, Azekel, Charlie Stacey, Chamber 45, Brbko, The Narrator (Amber Joy), SAMANTHA, and more. 

TRACK LISTING

1. Drift On
2. Piñata
3. Gunz
4. First Among Misfits (Ft The Narrator)
5. La Vacanza (Ft Kidä)
6. Sublime
7. Exit To Cisco
8. Lady (Ft Bbymutha)
9. O Vampiro
10. Bonehead Behavior
11. Vicious Chambers
12. Ultra Scuro
13. And There Goes The Challenger
14. Less Burners Bigger Hearts (Ft The Narrator, Azekel)

Stellar Drifting is 10 tracks of widescreen, futuristic electronic music. With features from the likes of SOAK, London Grammar and Domino’s own Panda Bear, Stellar Drifting is George’s most ambitious project to date. George keeps his roots deep within the electronic music scene, bringing in pop melodies, club rhythms and other UK dance music elements whilst pushing the boundaries of his sound.

Thematically the record incorporates intergalactic utopian narratives; escapism, outer space and utopian vision of the future feature. The term ‘stellar drift’ refers to the movement of stars - far from being static and eternal, space is constantly in motion, and celestial bodies are changing over time. The album title hints at an otherworldly serenity that might be found within this continual flux.

The visual elements for Stellar Drifting have been created by designer, David Rudnick in collaboration with digital developer, Chris Shier. 

The third album proper for 'Country-got-Soul's finest, The Delines, on Decor Records sees them exploring the US Gulf Coast, not far from where Amy Boone grew up. The songs in this cinematic opus all focus around this area and are inspired by when Amy asked Willy Vlautin to write her a song like Tony Joe White's 'Rainy Night In Georgia' after her tragic accident being hit by a car in 2016 and her 3 year recovery. This follows on from 2019's The Imperial which was number one in the UK official AMA charts for two weeks. Written and partially recorded before lock down the rest of the album was finished last Summer, produced by John Morgan Askew at his Bocce studios just outside of Portland, Oregon.

The album features the classic line-up of the band with Amy Boone (vocals), Willy Vlautin (guitars, vocals, songwriting), Freddy Trujillo (bass), Sean Oldham (drums, vocals) and Cory Gray (keyboards, trumpet and arrangements) doing some of their finest work yet. 

TRACK LISTING

1. Little Earl
2. Kid Codeine
3. Drowning In Plain Sight
4. All Along The Ride
5. Lynette's Lament
6. Hold Me Slow
7. Surfers In Twilight
8. Past The Shadows
9. This Ain't No Getaway
10. Saved From The Sea
11. The Gulf Drift Lament

Hollie makes up one half of the duo Mint Julep also on Western Vinyl, and the album features performances from Keith Kenniff (aka Goldmund).

Director David Lynch once said “I long for a kind of quiet where I can just drift and dream. I always say getting inspiration is like fishing. If you’re quiet and sitting there and you have the right bait, you’re going to catch a fish eventually. Ideas are sort of like that. You never know when they’re going to hit you.” Inspired by this quote in both name and spirit, Hollie Kenniff’s The Quiet Drift is an ambient gallery of cloudlike synths, seraphic strings, echoing guitars, and other celestial textures guided to cohesion by Hollie’s own wordless singing. Though the album certainly creates (and originates from) the kind of space where Lynch’s proverbial “fish” can be caught, The Quiet Drift is a fitting title for Hollie’s own history, both recent and distant. During the course of the album’s creation, Hollie and her family moved cross-country from an island in Washington state, to an island in Maine before ultimately relocating to Canada. “As a child I visited Ontario year-round,” she explains in her own words. She continues “More than any other landscape, I think the lake, rivers, and woods there left the most enduring impression on me. The landscape and pace of life of these places will always stay with me.” But the reverberant spaces Hollie crafts need no physical headquarters. Instead of conjuring views of nature at the ground level, her sound more readily evokes a top-down perspective, with the distinct features of the land shrinking underfoot as the listener becomes untethered from geography altogether.

The Quiet Drift belongs more to the liminal spaces between life and afterlife, memory and fantasy, landscape and dreamscape, than any mappable locale. Describing her formative years, Hollie says “As a dual US/Canadian citizen who spent my childhood in a rural town one that I haven’t returned to in many years I have a sense of not entirely belonging anywhere. When I was a teenager my close friends were male musicians, so I was also an outsider to the degree that they were wild and anarchic in a way that I wasn’t. I was a quiet book reader and avid music listener who enjoyed being around a creative group. I was also a radio DJ for alternative and punk music throughout high school.” In this light, The Quiet Drift attests that creativity is placeless, and calls into question the stereotype of artists as scene-centric city dwellers. Having come of age in the absence of metropolitan sensory overload, Hollie learned to spot the muse in nature, and within herself, instead of the echo chamber of a frenzied peer group. On The Quiet Drift Hollie Kenniff wholly escapes from such pop-culture feedback loops into transcendent, shimmering realms, and she brings the listener along with her. In this age in which we have all been called to reevaluate our relationship to indoor spaces, and seek refuge in the great outdoors, The Quiet Drift provides an apt soundtrack for such rebalancing.

TRACK LISTING

01 Flourish 4:00
02 Quell 4:45
03 Some Day If Some Day Comes 3:52
04 Four Sides Of The Forest 5:19
05 Under The Loquat Tree (feat. Goldmund) 4:00
06 Sunset Chant 3:19
07 Still Falling Snow 3:54
08 Unfolding (feat. Goldmund) 2:57
09 A Feathered Fog 4:14
10 This Part Of You 3:53

The purveyors of 'Urban Country", Morton Valence release their dark 7th album on legendary UK label Cow Pie, established in 1978 by BJ Cole. ’Black Angel Drifter’ is an album of unorthodox ’country’ music and unlike anything you’ve heard before. This, the seventh studio offering from Urban Country duo Morton Valence (Anne Gilpin and Robert ‘Hacker’ Jessett), started life as their experimental side-project back in 2016. Notwithstanding more recent events, 2016 was quite a year, and whilst the band were preoccupied with other ventures Black Angel Drifter would bide its time. Fast forward to 2020 - a year that will unquestionably go down in the annals of history - and ‘Black Angel Drifter’s extraordinary sentiment could not resonate louder.

Legendary UK country label Cow Pie Ltd’s - established in 1978 by BJ Cole and Hank Wangford - sensibilities were especially tweaked and they were convinced it was time this spectacular album finally got the airing it has always deserved, remastered and repackaged for a new era. The album features ten tracks. From the explosive intro of ‘Skylines Change / Genders Blur’, coming at you like the illegitimate lovechild of The Jesus and Mary Chain and Ennio Morricone, to the down-at-heel ‘Black-Eyed Susan’, replete with sweaty priest and bullwhips, Morton Valence also flirt with the blues on ‘Sister Pain’, deliver sorrowful, divine love songs like ‘The Visit’ & ’Hymn Four’ and breathe fresh discordant life into the late 80s Bob Dylan classic, ‘The Man with the Long Black Coat’. As antithesis to a no regrets-type torch song, ‘If I Could Start Again’, where a man recounts his misspent life from a prison cell, could have been penned by Merle Haggard. The unrelenting ‘Trail of Tears’ is more akin to late-70’s Martin Rev robotics than anything ever created on a guitar. Alongside Gilpin and Hacker, Alan Cook’s sublime pedal steel guitar is omnipresent throughout the album. ‘Black Angel Drifter’ is an alt-country album that puts the rulebook through the shredder and starts again, set to put Urban Country on the map and give UK Alt-country an authentic new voice of its own, a voice that is genuinely original, new and exciting

TRACK LISTING

01 Skylines Change
02 Black Eyed Susan
03 Sister Pain 04 The Visit
05 The Man In The Long Black Coat
06 If I Could Start Again
07 Trail Of Tears
08 Lead On
09 Hymn
10 Crickets 8am

Viennese artist Conny Frischauf's music is a whirl of Kraut, leftfield electronica and synth pop. She playfully shines a new light on on tradition to create a fresh, contemporary sound. Having released a brace of EPs - Effekt & Emotion" (International Major Label, 2018) and Affekt & Tradition" (Kame House, 2019) - Frischauf now presents her debut album, Die Drift. The sheer immediacy of the album owes much to Frischauf's aptitude for integrating experimental sound structures into the microcosm of a pop song. A work of sonic depth, the record marries free music with irresistible pop appeal. Sam Irl, musician and engineer, takes on co-production, mixing and mastering duties. "Es geht rauf, rauf, rauf" - this single line heralds the journey which is about to begin, one on which Conny Frischauf's voice functions as a GPS: a rhythmic, chirping instrument interacting with electronic drum machine grooves, using language as sound to carry words, disorienting material which enhances the overall associative impact.

Texts which go beyond narration, opening up perspectives, locations confusions. Inside is outside is in-between, right, left, front, back, until you don't know whether you're coming or going. An endless drift, as the album title announces, the constant movement of waves generating currents on the water's surface. Frischauf deploys a wide range of instruments, adding a wealth of colour whilst balancing her playful approach with unfailing transparency, each element clearly arranged to create a particular sound. The complexity of simplicity. Sounds shimmer like kaleidoscopic reflections in a rush of echo loops, yet these are never used for mere effect, instead they represent careful brushstrokes on the broader fabric. All ten tracks on the album share an almost random, economically sketched intensity of effect, mirrored in Anna Weisser's cover art. Everything comes together on the closing track of the album, "Freundschaft" – in the end, friendship. Waves ripple outwards like a mantra, still in motion as they dissolve. All you have to do is let yourself fall in.

STAFF COMMENTS

Barry says: Bureau B are one of the greatest labels out there for weird electronic music (some of my favourite acts of all time have been on BB), and Die Drift is every bit as exciting and groundbreaking as the rest of their roster. Hypnotic psychedelia mixed with classic krautrock and *that* German bass sound. It's a beautiful journey, and a rewarding one.

TRACK LISTING

1. Rauf
2. Parapiri
3. Fenster Zur Straße
4. Sonntag
5. Auf Wiedersehn
6. Zeit Verdrehen
7. Roulette
8. Eingaben Und Ausnahmen
9. Private Geheimsache
10. Freundschaft

What is "Drift"?

• It’s precisely one year inside the minds of Underworld.

• It’s a journey that began on 1st November 2018 when Underworld released the track "Another Silent Way" and set off with no map, no fixed destination and a simple mantra ('Drift is the opposite of ‘normal’ or ‘usual’ practice; we’ll do this until we’re dust'). Rick Smith and Karl Hyde’s aim was to create and publish music and film episodically for 52 weeks and see where the journey took them. Within a few weeks, the experiment found its own path, prompting the electronic pioneers to react to previous releases and create new works accordingly. Over time, the duo’s innate curiosity opened up a unique space in which they could experiment, learn and explore new frontiers - together and with others (including Tomato’s Simon Taylor, Australian improv-trance band The Necks, techno producer Ø [Phase], Japanese noise band Melt-Banana, economics writer Aditya Chakrabortty and members of Black Country, New Road). During the 52 weeks, five self-contained episodes were released (respectively in November, January, March, May and August) - collectively, they form "DRIFT Series 1". 

STAFF COMMENTS

Matt says: An impressively on-going, interactive, year-long project from the band culminates in the album's actual release in October. Always keen to push the envelope, the idea behind this is very satisfying.

TRACK LISTING

Appleshine
This Must Be Drum Street
Listen To Their No
Border Country
Mile Bush Pride
Schiphol Test
Brilliant Yes That Would Be
S T A R (Rebel Tech)
Imagine A Box
Custard Speedtalk

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

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

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

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

TRACK LISTING

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

Drift is the seventh full-length by NYC rock polymaths The Men. The band’s last album, the self-released Devil Music, was the sound of a band who had been through hell hitting reset and looking to their roots to rediscover themselves. On Drift, The Men return to their longtime label Sacred Bones Records and explore the openness that Devil Music helped them find.

The immediately evident result of that exploration is the experimental quality of much of the material on Drift. Songwriters Mark Perro and Nick Chiericozzi chase their muses down a few dozen thrilling rabbit-holes over the course of the album’s nine tracks. The songs on Drift veer in a number of directions, but notably, almost none of them feature a prominent electric guitar. The lone exception, “Killed Someone,” is a rowdy riff-rocker, worthy of the finest moments of the band’s now-classic Leave Home and Open Your Heart albums. The rest of the album drives down stranger highways. “Secret Light” is an improvisation based on an old piano riff of Perro’s. “Maybe I’m Crazy” is a synth-driven dancefloor stomper for long after last call. “Rose on Top of the World” and “When I Held You in My Arms” are paisley-hued, psyched-out jams with big, beating hearts.

The album was recorded to 2" tape with Travis Harrison (Guided by Voices) at Serious Business Studios in Brooklyn. A whole pile of instruments was involved — synths, strings, sax, steel, harmonica, tape loops, on top of the usual guitar, bass, and drums. Unlike recent releases from The Men, there aren’t many overdubs on Drift — a reflection of the personalities of its makers becoming less frantic, Chiericozzi suggests. In fact, the band removed a lot of the additional parts they tried adding early on, giving the final product a bit of a ghostly feel. The songs on Drift took giant leaps and trips from their beginnings only to find the band returning to the first spark of creation.

TRACK LISTING

1. Maybe I’m Crazy (4:11)
2. When I Held You In My Arms (4:59)
3. Secret Light (4:16)
4. Rose On Top Of The World (4:28)
5. So High (3:26)
6. Killed Someone (2:30)
7. Sleep (2:45)
8. Final Prayer (5:46)
9. Come To Me (2:45)

The story began like this ...We heard Daniel Gadd by pure chance. A flickering neon sign occupied one corner of the stage. Daniel took centre stage. He plays guitar and sings. We happened to be there. Immediately we began to listen. That dark basement in central London, a haven far from the concerns of people on the streets above, was the best place to be in London that night. The audience was spellbound. And then just as he seemed to be finishing up, someone shouted out “one more!” “Okay, thanks…is it okay if I do one more?” asked Daniel, wondering for a moment, not sure if it was. The venue booker by the door did not hesitate and nodded the go-ahead. Daniel played on. And we were very glad to be there. It turned out that Daniel Gadd had somehow got to London via Spain, and he had been in London for a year. He’d trained at Berklee College of Music in Valencia, Spain. He composes and scores for film, and also works as a film composer’s assistant, during the daytime.

At night he likes to play gigs. He’d even recorded an album of songs by the sea at Kalk Bay, a small fishing village that’s now become part of Cape Town. But he hadn’t known what to do next. Well we said we love your music so let’s meet up soon. A few days later we met Daniel at Foyles bookstore café at 107 Charing Cross Road. The album he’d mentioned is his remarkable debut. So here it is…. the album will now be released on CD and digital through Cargo. Daniel named his label 107 Recordings in recognition of the Foyles meeting where the idea for the release of this album was born. Daniel Gadd is 26 years old. He’s British-South African. He grew up in South Africa, he lived in Spain for a year and after that he found his way to London…

TRACK LISTING

1 Siri Linn
2 Some Time Ago (On A Cold Winter Night)
3 Rolling On
4 Sleep Turns Her Face
5 The Trail I'm Tracking 
6 Just Like The Road
7 So Long Old Friend
8 Someways Down A Highway 

‘Music for Drifters’ is a recording of a newly composed, cinematic score for John Grierson's landmark 1929 film ‘Drifters’ on the UK's herring fishing industry, widely regarded as the first British narrative documentary.

The composition was originally commissioned for a live performance and screening of ‘Drifters’ at 2013's Berwick Film Festival and Field Music (featuring Peter and David Brewis plus original keyboardist Andy Moore) will be performing the score again at screenings of the film across April and May.

Silver colour vinyl, silver board gatefold sleeve.

Limited to 750 copies.

‘Drifter’s Temple’ is Plankton Wat (aka Dewey Mahood)’s second album for Thrill Jockey, following last year’s ‘Spirits’.

Mahood utilized 6 and 12 string guitars, lap steel, bass, organ, and synth to realize these richly detailed songs. ‘Drifter’s Temple’ harkens back to Mahood’s childhood in Northern California, both sonically and conceptually. A loose narrative is woven through these ten instrumental tracks, touching on the Gold Country and Mt. Shasta that populate his native countryside.

The album unfolds with the grace and contour of the landscape that inspired it, with fingerpicked melodies slowly growing to gigantic peaks of lysergic bliss. His guitar style is as far reaching as ever on ‘Drifter’s Temple’, which shows him seamlessly integrating his love of the Appalacian folk music of Dock Boggs and Roscoe Holcomb into the subtle Grateful Dead-isms, nods to 70s cosmic music, and overt Crazy Horse moves he has explored on recent releases.

‘Drifter’s Temple’ features contributions from Dustin Dybvig (Horse Feathers and Edibles), Matt McDowell (Sagas) and John Rau (Royal Baths and Edibles).

Dewey Mahood was a founding member of Eternal Tapestry and has performed in Gärden Söund (with Barn Owl), Edibles, Bloodbiker, and Jackie-O Motherfucker.

TRACK LISTING

Toward The Golden City
Changing Winds
Klamath At Dusk
Nightfall
Empire Mines
Hash Smuggler’s Blues
Dance Of Lumeria
Western Lament
Bread Of Dreams
Siskiyou Caverns

"Ceiling Sky" collects these previously rare, vinyl-only tracks onto CD for the first time. This includes the limited edition 12" singles "Streets" / "Nozomi" and (rmxs) - featuring remixes by Four Tet and Sybarite - as well as the two bonus tracks from the 2xLP vinyl edition of the "Noumena" album. In total this is an hour's worth of enchanting, haunting music that only a handful of people have had the pleasure to hear until now.