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DANIEL O'SULLIVAN

Daniel Bachman

Brother Green / Honeysuckle Reel

    Daniel Bachman is a 22 year old musician born and raised in Fredericksburg, Virginia. He has been playing what he describes as "psychedelic appalachia" since he was a teenager, releasing small run editions of tapes, CDs and LPs for the past three years, with a sound that evolved from drones and banjos to a now guitar centered focus.

    Touring off and on since the age of 17, Bachman has managed to cover thorough ground across the US, sharing stages with like minded folk such as fellow Fredericksburg native Jack Rose, for whom he fashioned the artwork for the posthumous release of 'Luck In The Valley'.

    His newest effort is the full length LP 'Seven Pines', sprung from a year living and working in the city of Philadelphia. The sound results in a combination of homesick worried blues and the ecstatic buzz of fresh experience and a new life in unknown territory. Familiar and known, but also seeking to access memories from lives past, dead and gone.

    This 7" was available only (until now!) on Bachman's Spring 2013 full US tour. Limited to 500 copies.


    Daniel Bachman

    Jesus I'm A Sinner

      Jesus I'm a Sinner is the 4th LP by Daniel Bachman. The album was recorded in Rappahannock County Virginia at Forrest Marquisee's studio inside his father's woodshop in May of 2013 after spending just around 8 months on the road. The first song Sarah Anne is a song for one of his best friends and sister Sarah Anne Bachman, and is also his first full song for the lap guitar. Honeysuckle Reel is a springtime tune. For that first day when the heat and humidity sets in and the smell of the honeysuckle bloom creeps in your open windows driving. Happy One Step is a guitar/fiddle duet with Sally Morgan of the Black Twig Pickers/The Freight Hoppers. It is a Cajun tune by Dennis McGee. Jesus I'm a Sinner is for cutting loose. Variation on Goose Chase is a version of Virgil Anderson's Goose Chase.

      Although attempted to adapt to the guitar, playing it on the banjo was the only way to keep the feel of the original version. Under the Shade of the Trees has the undertone and drone of the 17 year cicada hatch that hit Virginia summer of 2013. The title is taken from Stonewall Jackson's last words on his deathbed "Let us cross over the river, and rest under the shade of the trees". Chattanooga is played by Sally Anne Morgan (fiddle) and Charlie Devine (banjo). This version was taken from Blaine Smith. Blenheim is the name of the Latané family's property in Westmorland Co. Virginia. Its a song for good food, drinks and solid company nestled on the banks of the Potomac River. Leaving Istanbul (4 AM) is a frustration song and the feeling of being very tired thousands and thousands of miles away from home.

      Every major record released by Daniel Bachman has rightly been greeted by critical acclaim. Starting with 2012’s Seven Pines and running through 2014’s Orange Co. Seranade, each album has been lauded as his best release to date. In each of these instances, the critics have been correct. Even more impressive than the breadth and depth of each album has been the fact that Bachman has continued to top himself with respect to composition, technique, instrumentation and artistry on such a consistent basis. Given this sort of track record, what can we expect from River?

      Simply stated, River is Bachman’s best album. Everything written previously by the critics about his albums applies once again with one change: he just got better. Unconventionally, it opens with the breathtaking and robust fourteen minute epic “Won’t You Cross Over To That Other Shore.” Proving his ability to write music that keeps the listener engaged (even across such a long tune), Bachman successfully uses tempo changes, varied picking patterns and melodic exploration, all without ever getting lost in pointless improvisation too far from the overall theme.

      Bachman has always been quick to have his music serve as a homage to his musical and geographical roots in Virginia. River is no exception. Here he tips his hat to Jack Rose (“Levee”) and William Moore (“Old Country Rock”) through his interpretations of their songs. Bachman’s playing and flourishes on these tracks simultaneously acknowledge the influence each of these men has on his development and style. His love for old American music and deft skill at adapting traditional tunes allows listeners of all levels of sophistication to feel welcome at his musical table.

      Whether one is newly discovering the world of American primitivism, or is already deeply into the experimental world, Bachman’s playing draws the listener in and takes them places.

      On three of River’s successive tracks – “Farnham,” “Song For The Setting Sun I” and “Song For The Setting Sun II” – Bachman takes the listener on an aural journey through the back roads of the foothills of the Blue Ridge to calm coastal waters. Much like driving by a stunning vista and feeling compelled to pull over and take it all in, “Song for the Setting Sun I” continually surprises with a beautiful set of melodies that cause you to stop anything else you are doing in anticipation of how the music will continue to unfold. This track alone demonstrates the leap that is River in Bachman’s maturity of both artistry and compositional understanding. The album closes with a reprise of “Won’t You Cross Over To That Other Shore.” As its notes play out, it is almost certain that you will continuously hum one or another of the album’s rich melodies long after play has ended.

      Over the course of the last several years Daniel Bachman has stepped out of the shadow of influential solo guitarists past and present. River, the definitive document of his skill and talent, proves that Bachman is pushing the boundaries of solo acoustic guitar. 

      FORMAT INFORMATION

      LP Info: LP version pressed on 140gram Dutch vinyl and housed in a gatefold jacket with download card.

      One half of the group Vault, Daniel Holt makes his solo 12 inch debut on L.I.E.S. with a killer three tracker of VHS soaked synthery. 
      Spending zero time fucking around, Holt immediately locks in on the a-side with the massive 11:00 minute electro-wave groover "Demonic City", a vital blend of heavy fm synth bass, graveyard strings, and Alesis drum machines all coming together to create a sullen and hypnotic gothic-funk cut - yes that's right, gothic funk (you heard it right). Turn to the B-side for two more wave style jams, each with the finest production...exploring the realms of downbeat electronics throughout. Huge debut by this up and coming American artist.

      STAFF COMMENTS

      Patrick says: Oh BARRY! As if he picked this week to go on holiday?! His loss is my gain though, and allows me to wax lyrical about this moody synth wave bomb from Daniel Holt on LIES. Allegedly the work of one half of Vault, this 12" sounds like a Dutch electro gremlin re-scoring Carpenter from a place of sociopathic paranoia and extreme VHS fuzz - so brilliant then...

      Daniel Pemberton

      Black Mirror: USS Callister - OST

        THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

        1000 only - soundtrack from much loved cult episode of ‘black mirror’.

        first time on vinyl, bespoke artwork from butcher billy, includes ltd edition poster art print. 2lp red vinyl. “a brilliant take on star trek homages, gaming and toxic geekery” the guardian // the emmy nominated soundtrack from the much-loved emmy winning episode of black mirror. daniel pemberton’s score for black mirror’s ‘uss callister’ is available for the first time on vinyl with bespoke artwork from butcher billy and limited-edition poster art print. taken from the first show of the show’s fourth season, it’s the ‘star trek’ episode when a gifted programmer becomes frustrated with his job and creates digital clones of his co-workers for his own dark adventures in space. the ivor novello award winning, golden globe award and multi bafta nominated and acclaimed composer shifts effortlessly between symphonic and electronic instrumentation. “a brutal star trek scenario that’s half comedy, half indictment of silicon valley leadership” the verge // “one of hollywood’s most sought-after composers” screen daily.

        Folly is O’Sullivan’s second album under his own name and embodies a confident, evolution from his acclaimed debut Veld (2017, O Genesis), an album which distilled the multiverse into a rich and complex soundworld; textured and allusive, alive with sonic diversions, hypnotic mantras and ornately arranged songcraft.

        Folly was written around the birth of his son Ari and the passing of his friend Ian Johnstone, and both events were significant in the album that followed. O’Sullivan explains, “Joy is inseparable from suffering and sometimes those polarities arrive at the same moment. Music offers a vessel to contain the unspeakable.”

        This cycle of twelve songs deftly illustrates O'Sullivan's ascent as a unique and multidimensional songwriter. Moving from the familiar pantheon of experimental music and arriving upon a universal narrative probing the human condition from the inside out. Both lyrically and within the intricate lattice of arrangements, traditional forms are reshaped into transcendent pop symphonies. Both intimate and alien, archetypal and atypical, joyous and melancholic, the aperture of Folly is wide open and light streams in.

        O’Sullivan explains the solo writing process, “Writing songs alone can take some time even if a song arrives fully formed in your mind. The execution of it involves long durations with each individual part of the arrangement until it reaches something concise. The song tells you what it needs and I try not to force ideas onto it.” and goes on to say, “These songs are outside in rather than inside out, there was always a latency between the birth of the song and my understanding of its purpose. Folly is looking at who is doing the shaping, most of these songs are about writing songs.”

        Folly was recorded and mixed by Thighpaulsandra (Coil, Julian Cope Band, Spiritualized) at his Aeriel studio premises in Wales and mastered by Matt Colton at Alchemy.

        Written mostly in London, O’Sullivan explains the inspiration for the title, “There's a folly of a medieval abbey in these gardens that surround where I live. My family and I spend a lot of time roaming around there, amongst the frogs, foxes, mushrooms, owls, and the many strange "introduced" plants and trees. It was landscaped to be a rabbit hole sort of place.”

        Daniel O’Sullivan is a composer, songwriter and multi-instrumentalist living and working in London and has been contributing a vibrant, chameleonic brew to the music landscape since the late 1990's. He has achieved international acclaim writing, recording and performing with Grumbling Fur (with longtime friend and collaborator Alexander Tucker), Ulver, Sunn O))), Guapo, Miracle, Æthenor and the recent reincarnation of This Heat in the form of This Is Not This Heat.

        Daniel Avery

        Song For Alpha Remixes : Two - Inc. Luke Slater / Obscure Shape & SHDW / Richard Fearless Remixes

        Daniel Avery broadens the exquisite sonic universe established on last year’s critically-acclaimed sophomore LP "Song For Alpha", presenting the collected B-sides & remixes. Showcasing cuts from the album’s writing and recording process as well, Avery also invites a number of his contemporaries and some of the most vital underground producers in the world to rework his original material, with transformative results.

        Luke Slater takes care of the album’s high-tempo centrepiece, "Diminuendo", the obvious choice to take an already pummeling rave highlight in a direction that arguably hits even harder without sacrificing anything cerebral; Slater’s dense, swarming synths wrap around the original with catharsis.

        German duo Obscure Shape & SHDW twist "Projector" into an irresistible, warehouse-tooled rave weapon, transforming the understated source material into a groove-focused anthem that recalls the no-nonsense spirit of nineties rave.

        Avery’s studio neighbour and partner in PSSU, Richard Fearless offers up the most brooding cut with his take on "Days From Now", delivering a texturally rich and boldly minimal deconstruction that oscillates between industrial gristle and weightless suspense, ultimately shining light on a creeping, patient melody.


        Daniel Thorne

        Lines Of Sight

          On March 15th Erased Tapes presents the invigorating and powerful debut solo album Lines of Sight by Australian-born, Liverpool-based composer, saxophonist and founder of Immix Ensemble, Daniel Thorne.

          Deeply moving, full of otherworldly beauty and rapture, the album is alive, throbbing like a circulatory system, colourful and glowing. It literally dazzles – effectively capturing what the birth (or death) of a planet might sound like.

          In Daniel’s own words, “Thematically, this music was inspired by birds-eye aerial images and the idea of perspective - how something incredibly complex like a river or the surface of the ocean is reduced to a simple line or shape when viewed from the heavens. The line between natural and man-made becomes increasingly blurred.”

          Every strand is fresh, vital and purposeful. The description ‘seamless’ might suggest a smooth, bland fusion, but here elements overlap in intermittent, undulating layers of mesh. Avant-garde, noise, electronics, ecclesiastical, classical, a touch of jazz and traces of Wyatt-style contemporary folk come together, each occupying their own space while acquiescing with the whole.

          “Several compositions are derived from ratios and processes, and are highly calculated, while others evolved in a much more organic way. I wanted to create music that blurred lines between acoustic and electronic, organic and synthetic, composition and improvisation.

          I’ve long been a fan of studio-based composition, but have always found the infinite possibilities on offer daunting and, often, a stumbling block. To get around this I set myself a challenge of limiting myself to the physical instruments in my possession – a few different saxophones and a bass synth, with no more than four tracks to record them,” he adds.

          Lines of Sight follows Thorne’s work as artistic director of the acclaimed, collaboration-focussed group Immix Ensemble. Together with experimental electronic artist Vessel, he co-wrote Transition released on Erased Tapes in 2016, described by BBC Radio 6’s Mary Anne Hobbs as “a remarkable new piece of music”. More recently, he worked with acclaimed modular synth wizard Luke Abbott, to create a four-part suite, which was premiered live in June 2017. Immix Ensemble have also performed special live commissions with Kelly Lee Owens, Dialect, Jane Weaver and Bill Ryder-Jones, among others.

          Prior to leaving Australia, Daniel was fortunate to work with some of the country’s leading new music ensembles as both a composer and performer, receiving commissions from the TURA New Music Festival and the Australia Council, as well as being appointed as Composer in Residence at the Western Australian Academy of Performing Arts. In the UK he was the recipient of the prestigious Dankworth Prize for Jazz Composition, and also undertook a residency at Metal Liverpool, which provided him with the time and space to create Immix.

          As the first track under Thorne’s own name, ‘Iroise’ was recorded for the Erased Tapes 10th anniversary release 1+1=X, alongside works by Nils

          Frahm, Penguin Cafe, A Winged Victory For The Sullen and Rival Consoles. He also recently remixed Manu Delago, known as the live percussionist for Björk and Ólafur Arnalds.

          After a first solo performance at Sea Change Festival 2018, the new year will see Daniel tour across Europe, promoting the forthcoming release of Lines of Sight.

          STAFF COMMENTS

          Barry says: Dense synthetic soundscapes mix beautifully with shimmering post-apocalyptic drone into a richly textured and highly hypnotic suite of electronic soundscapes. With the tender touch of modern-classical (no surprise being an Erased Tapes release) slowly moving into soaring euphoric musique concrete.

          Chris Carter

          Chris Carter’s Chemistry Lessons Volume One.1: Coursework (Inc. Daniel Avery, Radiophonic Workshop & Chris Liebing Remixes)

          Remixes from Chris Carter’s "Chemistry Lessons Volume One.1: Coursework" alongside a new piece - "Bongo Glow".

          A work in progress at the time the album was completed, "Bongo Glow" was completed using the same processes as the rest of "CCCLV1", and it juusst about made the cut for the Japanese release date. But for you lucky listeners Mute have ensured its inclusion here. A slowly morphing, elasticated track with mangled, computerized vox, playful melodies and push-pull rhythms; it's deliciously quirky and textured and should appeal to both die hard electronica fans and lovers of leftfield pop.

          The additional three reworkings included here were created without direct instruction as an experiment to see how they changed with input from external sources. Daniel Avery’s remix of "Usyring" is a slow building, mesmerizing industrial pounder which fits perfectly with the producer's current MO. 

          Meanwhile The Radiophonic Workshop took "Blissters" and created a more experimental reworking exectued in their unique style and Chris Liebing gives "Tones Map" a brooding end-of-world type feel, adding his 'Slow Burn' remix technique.

          Daniel Romano

          Finally Free

            ‘Finally Free’ marks Daniel Romano’s eighth long playing album in the last eight years. He has had what understatedly would be considered a prolific output of incredibly entrancing, poignant and creative records in this span of time. Recording, producing, designing and landing his records into the minds and hearts of scores of fans the world over. He has been called a shapeshifter, contrived, a chameleon, a charlatan, the best living songwriter, an asshole and a genius. His last record, ‘Modern Pressure’, received outstandingly high acclaim and praise from every notable publication out there and was acknowledged by a plethora of voguish year-end lists. Despite being the bronze placeholder in most of these dogfights, he is most often noted as a person of astounding influence on all of his musically economic successors.

            “No matter what he does, everything he puts out is better than anything else being put out by anyone else.” - Unnamed Subjugate

            Romano’s new effort, ‘Finally Free’, could stand alone as being pivotal if it were only its profound and breath-taking prose on paper. Writing now like an agnostic Whitman in his prime, Romano explores and uncovers new language and meaning for old sentiments grown tired, stating, “these poems are most certainly my finest and most principled efforts to date.”

            ‘Finally Free’ sings like a radical revelation, exploring the concepts of music as a celestial being, flora as a consequential ancestor and singing, no matter its quality or sound, as the endmost important output of our species. This record contains a vivid religious articulation despite its clear condemnation of a god as a singular ruling white male. New words have replaced old words for new meaning and the definitions have been left up to interpretation.

            FORMAT INFORMATION

            Coloured LP Info: Indies exclusive split red / green 130g coloured
            vinyl.

            Stockholm's Born Free always bring it for the dancefloor, pushing their own distinct style of house and techno with no time for hype. Playful, soulful, deep or dirty, you always know a Born Free record when you hear one. This time out, it's Stockholm' underground legend Daniel Savio at the controls, serving up three unconventional house jams which pay homage to his immediate family, Lovisa, Valle, Hjalle and Manfred. Getting down to business Daniel infuses opening cut "Lovisa" with a galloping house rhythm, tripped out fx and a duet of trilling e-flute and squelching bass. Savio ups the intensity with the scuzzy and snapping "Valle A Hjalle", a freaked out flip on classic house tropes with just enough acid to get the blood fully pumping, before the emotive flange-odyssey of "NY Manfred" sees us home in hallucinatory fashion. The vibe is soulful, deep and simple, just like a warm heart pumping at 120 bpm.

            STAFF COMMENTS

            Sil says: Deep and dark grooves for the open-minded folk out there and for the beat hungry fella who wants to rock and roll! Not too fast not too slow, just the right speed, thank you.

            Daniel Johnston

            Hi, How Are You / Yip/Jump Music

              It’s 35 years since the release of Daniel Johnston’s cassette recordings ‘Hi, How Are You’ and ‘Yip/Jump Music’. Now available for the first time ever as a combined double album (across three discs).

              Out of print on vinyl for over ten years.

              ‘Hi, How Are You’ is best known for its artwork - from a mural in Austin and on to a T-shirt worn by Kurt Cobain.

              ‘Yip/Jump Music’ was amongst Kurt Cobain’s most beloved albums of all time.

              Daniel Brandt, co-founder of acclaimed German ensemble Brandt Brauer Frick, is set to release his second solo album for London imprint Erased Tapes on October 12th. Titled Channels, the new record follows the release of the London and Berlin based producer’s solo debut Eternal Something from 2017. The seven-track LP is Brandt’s biggest statement yet, with the album’s thrilling avant-garde framework interweaving chord-driven techno, orchestral flourishes, rich electronic textures and hints of dark cinematic pop. Following on from Eternal Something, which captured a contemplative kind of isolationism, with Channels Brandt set out to create an album that captures the essence of minimalism whilst lending it to a more playful context. After performing and recording Steve Reich’s Six Pianos in a group of six, Brandt began regularly composing long meditations on the piano, something that permeates the sound of the new record. Its frenetic energy and shape-shifting identity was also born out of touring with his new band Eternal Something — comprised of Brandt on piano, drums and synthesisers, Pascal Bideau on guitar and bass, plus Florian Juncker on trombone — and a desire to translate both the sound and spiritual unity of their live shows in which musicians locked together to create an intriguing meld of expansive works. Intricate floor-filler and lead track ‘Flamingo’ synthesises the measured pacing of Detroit techno with an orchestral background. As with all of the tracks on Channels, ‘Flamingo’ began life as a sketch with very basic instrumentation, before taking it into the studio to rehearse with his band members, giving the album a live and visceral sound that sets it apart from his debut; “It was a great experience to do it this way as I have always wanted to have the chance to try out something in a live setting before recording it in the studio and not the other way round,” explains Daniel. “The actual typical rock band recording style that I never had the chance to do before.”

              The album’s most immersive, club-ready track ‘Sailboats III’ is built with a vivid and pulsating bass line that takes inspiration from a Lichtenstein painting, as well as the UK bass scene and producers like Tessela and Lord Tusk. The blossoming cosmos of ‘Cherry Dream’ is informed by Tangerine Dream’s iconic soundtrack to the film Risky Business, a compelling reinterpretation of Love On A Real Train replete with darker, electronic elements and live orchestration. ‘Daze’, co-written with guitarist Pascal Bideau, chimes with an acoustic melody and is carried by a rhythmic percussive pulse, whilst the understated ‘Ltd’ was stylistically inspired by Steve Reich’s Electric Counterpoint as well as Daniel and his band’s live improvisations with orchestral collective Stargaze, whose founder and conductor André de Ridder contributed violin on the album. Title track ‘Channels’ melds instrumental ambient with melodramatic embellishments, whilst the record’s closer ‘Twentynine Palms’ takes its name from the vast Californian desert, and was written while Daniel was travelling there, evoking the widescreen and rapturous sound of open space and nature. With Brandt also being skilled as a filmmaker, directing and producing visuals for BBF and Eternal Something, much of the new album’s creative ideas reference a rich visual palette. He directed the video for ‘Flamingo’, a sideways glance at the art world that takes the concept behind John Cage’s 4’33” and turns it on its head. “The video for Flamingo is deliberately non performance — people sitting in a room and watching basically nothing, never really sure if anything is ever going to happen. It’s also a play on John Cage’s 4’33”, except in this instance there isn’t even a performer present.” — Daniel Brandt

              Daniel’s passion for film even prompted him to kick start his own online television channel Strrr.tv in 2017 that since attracted a lot of attention with guest moderators including BBC Radio DJ Gilles Peterson, modular synth legend Suzanne Ciani and Berghain bouncer Sven Marquardt counting amongst the most popular episodes.

              Recorded between Berlin and London, Channels is a deeply enthralling listening experience, which sees Daniel Brandt build upon his distinctive percussive sound whilst exploring new and expansive horizons.

              Daniel Rossen (Grizzly Bear)

              Deerslayer

                We are proud to announce the new single by Grizzly Bear & Department of Eagles member Daniel Rossen, to be released on 12” exclusively for Record Store Day 2018. It is the first official solo release by Rossen since 2012’s widely-acclaimed EP Silent Hour / Golden Mile (Warp Records). Those who have been lucky enough to attend one of Daniel’s rare but ever-spellbinding solo live performances of the last couple years may recognize the title track “Deerslayer”. As Rossen explains: “”Deerslayer” started as an imaginary dialogue with the hunters I constantly heard roaming around outside my place in upstate, NY. They were always heard but never seen, and a constant reminder that I didn’t really belong there. Stylistically this song doesn’t really fit with the rest of the material I am working with now, but it still feels true to the experience I had. So I’d like it to exist in the world, and record store day seems like a great opportunity to give it a special physical release.” The song is backed with a cover originally by Golden Suits. “”You’re Crossing A River” is a song by my old Dept. of Eagles bandmate, Fred Nicolaus, which he released as Golden Suits. I loved the lyric and Fred asked me to try a cover of it back when his last record came out. I tried to treat the song like I might have treated one of his tunes back in our Dept. of Eagles days, adding instrumental passages to mirror what’s going on in the lyric. If we were still making records together I would want to include this song.” Deerslayer will be released with original artwork by J. Penry on Record Store Day, Saturday April 21 on Warp Records.

                Daniel Blumberg

                Minus

                  Daniel Blumberg announces his debut album release for Mute, ‘Minus’, the first release under his own name.

                  An astonishing work, the record weds an improvisational, free-music ethos to the rawest emotional songwriting, rooted deep in the personal turmoil Blumberg experienced whilst making the record.

                  The album was recorded live with legendary producer Peter Walsh (Scott Walker’s collaborator since ‘Climate Of Hunter’) in just five days during a remote residential stay in Wales, amidst a debilitating breakup with his partner of seven years along with Blumberg's ongoing struggle with mental illness which resulted in his hospitalization just a week before recording.

                  Still only 27 years old, Blumberg has written himself a rich musical history; from his teenage band who signed to XL whilst he was still at school, onto and through the projects of Yuck, Oupa and Hebronix, whilst solidifying close creative partnerships with the likes of David Berman (Silver Jews), Low, Lambchop and Royal Trux’s Neil Michael Hagerty (with whom Blumberg has performed as a member of the Howling Hex).

                  With ‘Minus’, though, there is a sense that Daniel Blumberg has finally arrived at the place he has been searching for - an arresting and progressive work, one which is set to establish him as one of Britain’s most unique contemporary voices.

                  Five years after his critically acclaimed debut Drone Logic, London-based producer Daniel Avery announces his highly anticipated second album Song For Alpha, set for release on March 9th 2018 through Phantasy. The album is preceded on January 19th by a 4-track limited edition 12” vinyl EP titled Slow Fade.

                  The new long player, on which the track ‘Slow Fade’ will appear, follows 2013’s incendiary debut Drone Logic. Upon its release the latter was called “A mesmerising debut" by Mixmag, “Exceptional” by the Times and "A benchmark for so many other dance albums to aspire to" by Dummy, while Pitchfork proclaimed “Avery owns this space.” “Underground dance music with this sort of ambition hasn’t been heard in quite a while", noted Resident Advisor, and Q hailed  "The arrival of a new left­field dance superstar."

                  In the years since, Avery has helmed a DJ-Kicks mix CD, resided over a monthly radio show for NTS Live, curated an extensive remix compilation and collaborated on a series of side-projects including a recent collaboration with Nine Inch Nails synth specialist Alessandro Cortini; he has toured relentlessly, cementing a reputation as one of the defining techno DJs of the decade. He has also worked studiously on what he wanted to say next as a producer. 

                  With newfound energy and time to develop, Avery’s sonic vocabulary has expanded. Here, the booming sound of the big room is brilliantly countered by the music of the small hours. Where celestial ambient lullabies ‘First Light’ and ‘Days From Now’ sit perfectly next to the mesmeric techno assault of ‘Diminuendo’ and ‘Sensation’; where both ‘Projector’ and ‘Clear’ evoke early rave records, only ones engulfed by waves of beautiful cyclonic distortion. William Basinski, Warp’s Artificial Intelligence, Brian Eno plus his own excursions with Alessandro Cortini all serve as touchstones for a record that sees Avery take his signature psychedelic-electronic sound to new dimensions, a sound that plays to the head as much as the body.


                  STAFF COMMENTS

                  Barry says: Delicately presented electroacoustic compositions, supported with a finely honed backbone of melodic suggestion and hypnotic rhythmic pulse, Avery once again proves he is one of the masters of his craft.

                  FORMAT INFORMATION

                  2xLP Info: Double 180 gram vinyl.

                  2xLP includes MP3 Download Code.

                  From a young age I've envisaged numbers, letters and words in colour. Each day would have a specific colour in my mind as well as months of the year; enabling me to have an expansive long-term memory. I soon identified myself as someone who had both Grapheme Colour and Spatial Sequence Synaesthesia; a neurological phenomenon where a person perceives words, letters, shapes, and numbers in colour and sometimes in taste and smell.

                  When I left university I moved to London and began looking for things to inspire composition. I was fascinated with the London Underground and how it worked. The formation, the design, and the vast diversity of the commuters who travelled on it. The tube map instantly popped up as something I wanted to study. Each line I travelled on had contrasting atmospheres, a certain type of commuter and an overall feel. Different speeds, sounds and smells - but more importantly, a different colour! I wanted to write 11 pieces for piano, assigning the key signature in my mind to the colour of the tube line being represented (for example, A = Red, A major = Central line). I also studied literature regarding 'characteristics' of key signatures dating back to the 1800's and paired them up with my own descriptions of the tube lines (F# minor, a gloomy key = Green = District Line - full of delays and lethargic thoughts).

                  I aimed to bind the characteristics and emotions possessed by each key signature with the thoughts, feelings and descriptions of the Underground by London commuters who can be heard throughout the record. The composition, recording and production of the entire project has been an amalgamation of classical and contemporary formations. It pays homage to the Underground's history whilst using forward thinking / modern approaches to it's current service. Each recording took place between Manchester & London through the use of computers and mobile phones; mirroring the revolution in technology with the London Underground through the years.

                  https://www.changingstations.london/the-project

                  STAFF COMMENTS

                  Barry says: A beautiful, and conceptually superb suite of plaintive modern-classical utterances and spoken word narration. Somewhere between the grand, filmic post-rock of This Will Destroy You and the soundtrack work of Adam Wiltzie, Richter et. al. Beautiful.

                  Daniel Avery

                  Slow Fade EP

                    Daniel Avery returns to Phantasy for a 4-track limited edition 12” vinyl EP, Slow Fade, featuring the title track and first single from his much-anticipated sophomore LP, upcoming in April via Phantasy.

                    A prelude to the LP’s sonic exploration of the twilight world of a personal, transient life spent between clubs, hotel rooms, airports and home, Slow Fade captures the expanded foundations of Avery’s sonic palette. Arresting club moments linger under the surface, but the focus is on the smudged ambience that underpin Avery’s grasp on rave euphoria.

                    As a re-entry into a broader musical universe, ‘Slow Fade’ is immediately compelling, combining neo-acid, feedback loops and pure atmosphere at a patient but restrained pace. Meanwhile, ‘After Dark’ alters this aesthetic to it’s raw, pensive elements, stripping Avery’s distinctive drums completely, revealing a meditative, ambient fog.

                    ‘Radius’ announces itself with industrial intent, before unfolding seamlessly into a wistful electronic hymn, the perfect soundtrack to brooding London skies, and eventually evolving into slow-motion motorik. Closing the EP, ‘Fever Dream’ finds Avery at club tempo, but in a somewhat agitated state, on this occasion focusing on a paranoid rhythm that emerges clean from eerie, even paranoid territory.

                    Close your eyes, press repeat.

                    Includes heavy weight vinyl / download codes

                    FORMAT INFORMATION

                    12" Info: One copy in stock

                    Graham Coxon / Luke Daniel

                    Falling

                      Blur’s Graham Coxon releases a special new single on Parlophone Records on December 15th. ‘Falling’ is a double A-side single which was written by the talented, but unknown song-writer and musician Luke Daniel.

                      One side features ‘Falling’ recorded by Graham and the other features Luke Daniel’s original recording of the same track.

                      Proceeds from the sale of this single will be donated to CALM (the Campaign Against Living Miserably), an award-winning charity dedicated to preventing male suicide, the single biggest killer of men under the age of 45 in the UK.


                      Daniel Gadd

                      As If In A Dream I Drifted At Sea

                        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…

                        Daniel O'Sullivan

                        VELD

                          Tim Burgess’ curated imprint O Genesis Recordings present VELD, a new solo album of luminous pop incantations, electroacoustic music and shimmering drones from composer and multi-instrumentalist Daniel O’Sullivan. Whether solo or in his varied collaborative projects, O’Sullivan’s work is remarkable in the way it infuses familiar everyday experience with traces of the uncanny, the secret and the magickal. VELD distils these tangled realities into a wonderfully rich and complex record — one of O’Sullivan’s most immediate and moving pop albums to date, yet one that's strikingly dense and allusive, alive with enticing sonic diversions, hypnotic mantras and eerie biomechanical rhythms.

                          VELD was written and recorded between 2010 and 2016 while O’Sullivan was living on Tower Gardens Road, during the same phase that also nurtured other collaborative projects including Grumbling Fur (with Alexander Tucker) and Laniakea (with Zu’s Massimo Pupillo). This was also the space where O’Sullivan assembled and arranged Ulver’s 12th studio album ATGCLVLSSCAP and the last two Æthenor LP’s (O’Sullivan’s “automatic composition” group with Stephen O’Malley of Sunn O))) and Steve Noble). The house was a kind of parallel world, an oasis of the strange and the mystical in suburban North London belonging to Ian Johnstone (artist, permaculturalist and muse of the late Jhonn Balance of seminal English experimentalists Coil), who passed away in 2015. The album is dedicated to Ian and his home who, explains O’Sullivan, was a friend, inspiration and grounding space over the years.

                          Their influence has audibly seeped into O’Sullivan’s intuitive, exploratory approach to music. His varied work is united by a love of bricolage, a fascination for drawing sounds and ideas from across disciplines and aesthetic worlds into a shared orbit. Traces of his many projects all meet and mingle in VELD: from his solo music as Mothlite to the lysergic songcraft and space-time vortices of Grumbling Fur and Laniakea, the reality-distorting zones of Æthenor and Ulver, the electronic pop of Miracle (with Zombi synth maestro Steve Moore), and his recent involvement with another pioneering London group, This Is Not This Heat.

                          While distinctly a solo-led record, VELD is animated by the same roaming, impulsive compositional spirit as his collaborative work. While grounded in pop music — which O’Sullivan describes as the ideal vessel for channelling more celestial energies — its dreamlike soundworld draws inspiration from across both natural and human landscapes. Its influences range from Ray Bradbury (whose story ‘Veldt’ inspired the album’s title) and Gurdjieff to Borges and Anais Nin; St. John’s Wort and Psylocybin to Tottenham Cemetery and Streatham Common; Cocteau Twins and Judee Sill to Alice Coltrane and Tony Conrad.

                          Written during a time of great personal upheaval and growth, these are songs steeped in thoughts of change and growth: the joys, fears and strangeness of parenthood and family life, loss and grief, the passing of time. Yet they’re also inspired by the transformative, self-obliterating potential of sound and music — its ability, explains O’Sullivan, to weave together multiple voices, forms and aspects of the self into a unifying whole. So throughout you hear O’Sullivan’s voice merging and phasing with guest vocalists including Linn Carin Dirdal, Jael Reasoner and Astrud Steehouder, as the music surges from astral pop songs (‘Scorpio Rising Blues’, ‘Sabotage Devices’, ‘Luminous Fibres’) to dubbed-out electronics and burning feedback (‘Plutonians’, ‘The Projector’), fractal sound collage and spidery guitar pieces (‘Doe A Deer’, ‘Be Honour You’). The result is a record whose songs evoke multiple universes and other possible realities, making it O’Sullivan’s most unified and self-contained solo work to date.

                          This 1980 album from Venezuela shows all the trademarks of its creator Daniel Grau. The spaced-out disco grooves live on (and on and on!), though this time with some nifty female vocals aspirated gently upon the lightfooted waves of synthesizer melodies. While the title track takes us sky high with rhythmic guitar, laser fire and exotic disco vocals, continuing the futuristic vibe of "Disco Fantasy", "Aparte" marries a Chic-style rhythm section with woozy Latin synth licks and "El Fenix" funks us all the way out with some AOR breaks. Though deep disco is very much the order of the day, Grau throws us a genuine curve ball via the possible standout "Con En Cielo En Tus Ojos", a lush and utterly relaxed floating Latin pop number with a repetitive vocal line and truly laidback groove. If this psychedelic trip into pastoral folk found its way onto an Air LP or the recent Avalanches record you wouldn't be at all surprised - heavenly stuff. No wonder that this long out of print gem fetches triple figures among collectors. If you like your disco lithe and lysergic, you've gotta grab a copy of this beautiful reissue. 

                          Daniel Pemberton

                          Steve Jobs OST

                            180 gram audiophile vinyl
                            Gatefold sleeve / Insert / Printed innersleeves
                            PVC protective sleeve
                            Also featuring songs by Bob Dylan, The Libertines & The Maccabees
                            First pressing of 750 numbered copies on white vinyl

                            Composer Daniel Pemberton follows up his movie score for The Man from U.N.C.L.E. [MOVATM056] with not one but three different scores for Steve Jobs, the new Danny Boyle film starring Michael Fassbender as Apple's controversial visionary leader.

                            "There is not one side of music that could reflect Jobs' personality. There is a classical side to him, a rebellious side to him, a technical side to him, a soft side to him, and a cold side to him", Pemberton explains. The movie is therefore divided into three acts, each with a different musical theme.

                            The first act "Vision" is set in 1984 when Steve Jobs had his vision of what personal computing could bring to the world. Then there is "Revenge" in 1988 when he sets up this company pretty much to get revenge on the people he thought had betrayed him at Apple. Finally, "Wisdom" is the climax with his own personal realization of what his goals in life have been and what has been slightly misguided.

                            Pemberton wanted to have a sound that captured the times so for the first act he used synthesizers from the early '80s. The third act is performed on a Mac computer using Logic - modern technology which wouldn't be available weren't it for Apple. For Act II, he used "the oldest computer that still exists, which is the orchestra. You give them information which is notation and they interpret that in a way better than any piece of technology has managed to beat.



                            Daniel Romano

                            If I've Only One Time Askin

                            Not quite country, Americana, folk, songwriter or pop, Daniel Romano’s exquisite and expansive new album - ‘If I’ve Only One Time Askin’’, released on New West Records - is pieces of each but ultimately the work of asingular mind.

                            As hailed by Rolling Stone, the 11 self-produced and largely self-performed new songs “lead their baritone-voiced creator down a path filled with countrypolitan crooning, honky-tonk heartache and midcentury melodrama.”

                            In the two years since his critically acclaimed third full length ‘Come Cry With Me’, Romano has toured North America and Europe extensively, collaborating with and supporting a wide spectrum of artists, including Old Crow Medicine Show, Wanda Jackson, Hurray For The Riff Raff and Caitlin Rose.


                            Various Artists

                            Mixed By Daniel Avery

                              A Daniel Avery DJ mix pressed on white vinyl! Avery picks some cuts from Because Music, Phantasy Sound and Ed Banger and turns them into a continuous mix. We've only got  eight copies, so it's first come first served. One per person please!


                              Daniel (A.I.U) Higgs

                              The Godward Way

                              ★ Exclusive recording from Daniel Higgs, visionary artist and ex frontman of Lungfish
                              ★ 500 hand packaged CDs in foil blocked envelope style folder
                              ★ 1000 LPs: 500 x 180g black vinyl & 500 x 180g white vinyl with foil blocked custom sleeves
                              ★ Featuring artwork from Daniel himself 1 tracks, 24 minutes.

                              Daniel Higgs has always been held in the highest esteem by us here at Southern, becoming an almost totemic figure in the process. Certainly an appreciation for his work, and the canon of the band Lungfish, has been a job requirement for all the staff who've worked with us over the years. He has graced us with visits from time to time, and his London shows have always been mustattend events for Southern alumni. Naturally, a Latitudes recording would be the jewel in the crown for our catalogue, yet frustratingly, circumstance and opportunity always seemed to elude us. Ever patient, we tried not to get too giddy when the stars finally aligned, and a session was booked at the studio to coincide with a lightning tour to our shores. But given the timelessness of his vision, we needn't have worried about such trifling matters as scheduling. Like passages from some archaic ur-song, Higgs summoned the elements, and sound issued forth. We are incredibly grateful that he allowed us to capture it electrically and preserve it for your enjoyment and enlightenment. - Tony Sylvester, July 2012

                              For Fans of: Lungfish, Lichens, American Cloud Songs

                              Daniel Land & The Modern Painters return with their second studio album, 'The Space Between Us',. via Club AC30 Recordings. The album follows their debut album, 'Love Songs For The Chemical Generation', released in 2009.

                              Having spent his formative years listening to the likes of Brian Eno, Peter Gabriel and Cocteau Twins, Daniel's early musical compositions were more about experiments in sound and less about conventional songs. Mixing that with the trance that grabbed him on arrival at University and then filtering it further through the sounds that others handed to him during his student years from the likes of Red House Painters, The Verve and Slowdive, Daniel Land & The Modern Painters initial influences (and continuing interests) are less defined by artists and more informed by sonic experiment and the overall feel of the music. With 'The Space Between Us' adopting a band focus, that fascination with musical texture has filtered through a band dynamic to create modern pop songs that demonstrate an experimental edge but deliver moments of singalong bliss and visceral climaxes.

                              The first thing you'll notice about Daniel Martin Moore's debut, "Stray Age" is its simplicity. It's a folk record, evoking certain feelings (as all good records should), but there's a gentle approach to its sound and the way Moore's voice phrases his words. Those reference points are really just that, though. Moore is most captivating as a singer, one who doesn't seem concerned with usual folkie fodder. "Stray Age," is rich with understated complexities that take you to places that people like Nick Drake and Mojave 3/Slowdive principle Neil Halstead have been cited as doing and there's a soft swing in the vocals reminiscent of Chet Baker.

                              'Criminal Records presents this moving self-titled EP by Daniel. With elements of Tarrantino style soundtrack plus a lyrical honesty that many other writers would dare not acknowledge, the middle kid of nine – Daniel, has a truly unique sound.'

                              Tara Jane O'Neil & Daniel Littleton

                              Music For A Meteor Shower

                              Tara Jane O'Neil and Dan Littleton have been seminal figures in the indie rock scene for some time now. Tara first surfaced in 1991 as part of the influential, yet short-lived, band Rodan. Tara then assumed duties concurrently in Retsin and Sonora Pine before embarking on a solo career in early 2000. Over the last ten years or so, you can see Tara's transformation from post-punk rocker to intimate singer-songwriter. This album is reflective of her musical progression.

                              Daniel Johnston And His Hyperjink Tricycle

                              Alien Mind Control

                              The casual studio atmosphere naturally created when friends get together to record has brought out the best in Daniel. These four tracks, each fronted by Daniel, represent some of his most striking and compelling work in a long time. Included is a new version of the popular track "Long Lost Love".

                              J Daniel

                              Chemical Attraction

                              A cool and groovy garage tune with a strong vocal (also includes a dub). Nice sub-bassline and percussion. Limited promo.

                              FORMAT INFORMATION

                              12" Info: Was £4.99.


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