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DAUGHTER

Tunng

Mother’s Daughter And Other Songs - Reissue

    The first Tunng album!

    Originally released in 2005 on the magnificent Static Caravan (VAN88V), this is the first time this beloved album has been available on vinyl since 2006. Lovingly restored from the original masters, re-cut in December 2020.

    Back in 2003, Sam Genders and Mike Lindsay were introduced by a mutual friend at a gig Sam was playing. Mike had a strange studio underneath a woman’s clothes shop in Soho at the time, and after some discussion, Sam asked if he could record an EP there.

    Mike agreed, and after a while played Sam some ideas he’d been working on, fusing his vision of electronica and acoustic paganistic folk music. He then asked Sam if he’d sing on one, and then another one…and then another one. The pair began to write songs together from this point, and became totally immersed in this new album project, which would later come to be known as Mother’s Daughter and Other Songs.

    Inspiration for the name “tunng” came from electronic artists Mike was into at the time – Mum, Isan, Benge. From here, the pair sent CD-Rs to labels, and Static Caravan got back immediately, signing on a handshake deal. “Tale From Black” was released on 7” in 2004 and became a favourite of John Peel’s. The album itself came out in Jan 2005 and it was from here that Tunng was made complete. Made up of friends the pair had made in London, Tunng now included Phil Winter (electronics), Ashley Bates (nylon string guitar), Becky Jacobs (vocals / melodica) and Martin Smith (sea shells, bear’s toenails, clarinet, keys). Seventeen years, a few mini world tours, a million festivals and 7 albums later the band are still making music together.

    FORMAT INFORMATION

    Dinked Edition LP Info: • Exclusive alternative colours sleeve *
    • Yellow & black splatter vinyl *
    • ‘Tale From Black’ / ‘Pool Beneath The Pond’ 7” *
    • Dinked Archive Obi-Strip *
    • Dinked gold foil stickered *
    • Hand-numbered 1-500 *
    *Exclusive to Dinked Edition.

    Coloured LP Info: Clear vinyl edition, limited to 500.

    Laura Marling

    Song For Our Daughter

      Laura Marling’s exquisite seventh album 'Song For Our Daughter' arrives almost without preamble or warning in the midst of uncharted global chaos, and yet instantly and tenderly offers a sense of purpose, clarity and calm. As a balm for the soul, this full-blooded new collection could be posited as Laura’s richest to date, but in truth it’s another incredibly fine record by a British artist who rarely strays from delivering incredibly fine records.

      Taking much of the production reins herself, alongside long-time collaborators Ethan Johns and Dom Monks, Laura has layered up lush string arrangements and a broad sense of scale to these songs without losing any of the intimacy or reverence we’ve come to anticipate and almost take for granted from her throughout the past decade.

      STAFF COMMENTS

      says: Laura Marling returns once again for more of her unmistakeable plucked guitars and brittle, Americana-tinged folk progressions and tender, effecting vocal. Song For Our Daughter is as much a progression as it is a comforting hark back to the songwriting of the early years. Beautifully orchestrated and an enchanting journey throughout.

      FORMAT INFORMATION

      Love Record Stores LP Info: Limited purple vinyl.

      Coloured LP Info: Indies exclusive marble vinyl.

      LP Info: Single LP, black 140g vinyl, gatefold packaging.

      CD Info: Digipak CD with booklet.

      Anna McClellan

      I Saw First Light

        The third album from Omaha, NE-based songwriter, Anna McClellan entitled I saw first light obliquely relates a tumultuous year in the life of its composer. Moving, geographically, from the heart of New York City to a bucolic retreat upstate, and finally back to her midwestern hometown of Omaha, NE, Anna also traversed emotional states - from the restless frenzy of urban life, to the enforced, depressive rumination of the country. Her vision - one artist's reckoning with her forebears and coevals, along with her ongoing obligation to use art as a tool for connection and understanding - coalesced, upon her return to Nebraska, with the help of local friends, into the album.

        Anna McClellan began performing original songs in her hometown of Omaha, NE at the age of seventeen and has been actively recording and touring ever since. Her debut, Fire Flames, earned her an opening slot on a Frankie Cosmos tour. Through the doors that tour opened, McClellan eventually met Father/Daughter Records which led to the release of her second full-length record, Yes and No, in 2018. After a stint in NYC, several subsequent tours and meandering, Anna returned to Omaha and recorded I saw first light, her latest effort for Father/Daughter. The album was recorded over two weeks with a multitude of local cohorts, and it documents Anna’s journey from the Midwest to the east coast and back again, probing both the roots of her creative impetus and her ongoing commitment to social issues. The process of composing and recording I saw first light has both reformed and renewed her dedication to exploration, be it inward or external, and to her own boundless creative energy

        FORMAT INFORMATION

        Coloured LP Info: Limited pink vinyl LP.

        Anjimile

        Giver Taker

          On Giver Taker, the gorgeous debut album by Anjimile, death and life are always entwined, wrapping around each other in a dance of reverence, reciprocity, and, ultimately, rebirth. Giver Taker is confident, intentional and introspective. Anjimile Chithambo (they/them, he/him) wrote much of the album while in treatment for drug and alcohol abuse, as well as while in the process of living more fully as a nonbinary trans person. Loss hovers over the album, whose songs grieve for lost friends (“Giver Taker”) and family members (“1978”) along with lost selves (“Maker,” “Baby No More,” “In Your Eyes.”) But here, grief yields an opening: a chance for new growth.

          “A lot of the album was written when I was literally in the process of improving my mental health, so there’s a lot of hopefulness and wonder at the fact that I was able to survive,” says Chithambo. “Not only survive but restart my life and work towards becoming the person I was meant to be.” Each song on the album is its own micro-journey, adding up to a transformative epic cycle created in collaboration with bandmate Justine Bowe of Photocomfort and New-York based artist/producer Gabe Goodman. “1978” and “Maker” both begin as Su an Stevens-esque pastoral ballads with Chithambo’s mesmerizing voice foregrounded against minimal instrumentation and swell into the realm of the majestic through the addition of warm, steady instrumentation (informed by the mix of 80’s pop and African music Chithambo’s Malawi-born parents played around the house) and harmonies by Bowe. “In Your Eyes” starts out hushed and builds to a crescendo via a mighty chorus inspired by none other than The Lion King. The allusion is fitting: each song encapsulates a heroic voyage, walked alone until accompanied by kindred souls. The choirs present throughout are equally deliberate. Chithambo grew up as a choir boy himself, and several songs (notably “Maker”) grasp not only towards reconciliation between his trans identity and his parents’ strong religious beliefs, but towards reclaiming his trans identity as an essential part of his own spirituality. (“[Less] Judeo-Christian, more ‘Colors of the Wind.’”) There is a boldness to this borrowing and shaping, a resoluteness that results from passing through hardship and emerging brighter, steadier. As a closing refrain on “To Meet You There” might sum it up: “Catalyst light of mine / now is your time.” 

          FORMAT INFORMATION

          Coloured LP Info: Limited Maroon Vinyl.

          Daughter Of Swords

          Dawnbreaker

            In 2017, Alexandra Sauser-Monnig began recording a set of songs about a breakup that had yet to happen. Her partnership had drifted into a comfortable state of indecision, stalling when it came time to make big life moves or chase new horizons. She had the sense that she needed to slip the relationship in order to pursue everything else life might have in store—more music, more adventures, a general sense of the unknown. Those feelings drifted steadily into a set of songs that lamented the inevitable loss but, more important, outlined the promise of the future. Recording the ten tracks that became her stunning solo debut, Dawnbreaker, under the new name Daughter of Swords gave Sauser-Monnig permission to go.

            Dawnbreaker began as the first phase of Sauser-Monnig’s return to music after stepping to the sidelines for the better part of a decade. Her college trio, Mountain Man, rose to quick acclaim for their peerless harmonies around 2010, but the friends slowly drifted apart, following their own interests to different coasts and concerns. While working on a flower farm as a farmhand, though, Sauser-Monnig realized that she missed the emotional articulation she found in writing songs and singing them and resolved to start again. She pieced together an album just as Mountain Man—now newly gathered in the fertile Piedmont of North Carolina—began to regroup for its second LP, 2018’s aptly named Magic Ship. Working with Sylvan Esso’s Nick Sanborn, Sauser-Monnig shaped what began as quiet reflections into confident compositions, crackling with country swagger and a sparkling pop warmth. They were, after all, preemptive odes to the next phase of life.

            Calling the ten tunes of Dawnbreaker breakup songs is to hamstring them with elegiac expectations, to paint them as sad-eyed surrenders to loss and grief. Sure, there is the gentle opener “Fellows,” a hushed number that explores the turmoil of being unable to reciprocate the feelings of a wild and shy, tall and fine man. And there’s the blossoming country shuffle of “Easy Is Hard,” where Sauser-Monnig stands in the yard and sees her lover leave, his taillights fading into the night sky; she can’t sleep, so she gets up to turn the lights and stereo on, to “feel my soul coming down.”  Even there, amid the throes of a life convulsion, there is a wisp of hope and possibility, framed by the way “the dim light change[s] into dawn, rosy blue, pink  fawn.” The very heart of Dawnbreaker is not the impending breakup that inspired many of its songs but the sense of liberation and breaking out that the breakup inspired.

            Buoyed by the insistent patter of a drum machine and rich acoustic guitars,
            Sauser-Monnig finds herself in search of new thrills during “Gem,” whether pondering the fleeting nature of existence at a waterfall’s edge or watching the shapes of mountains seemingly dance beneath her headlights. The muted, harmonica-lined boogie of “Sun” begins with a vulnerable confession, a revelation of loneliness; it is, however, a low-key anthem for the open road, about giving oneself over to the infinity of solitude and an endless strip of asphalt. Sauser-Monnig captures these scenes with a painter’s eye and delivers them with a novelist’s heart.

            There’s no better testament than “Shining Woman,” where Sauser-Monnig portrays a ropy woman navigating her “steel steed” up and down the bends and passes of California’s fabled Highway 1. She openly marvels at that spirit and strength, wishing that for her own life. With Dawnbreaker, she has found it in some measure—the joy of something new, the excitement of risk. Though Sauser-Monnig nearly recorded these songs as barebones folk ballads, she reimagined them with Sanborn and a top-tier crew of North Carolina friends, like fellow Mountain Man singers Amelia Meath and Molly Sarlé, bandleader Phil Cook, and guitarist Ryan Gustafson. These vivid settings highlight the emotional contours of these songs, revealing the complexity that comes with knowing that, in order to live, you sometimes have to let something as strong as love go.

            At the start of “Human,” the undeniable climax of Dawnbreaker, Sauser-Monnig wakes up early and finds her lover in bed. She slips out of the room, watches the sun rise alone, and has herself a long think amid nature’s frozen splendor. What does it mean to leave? What does it mean to stay? Is she wrong, and is he right? As the piano rises and her voice multiplies, coming in now from all sides, she admits something crucial to herself: “You can’t will a love to life/But you can do the loving thing: Make like a bird and fly.” It is a moment of reckoning with one’s own liberation, of realizing that sometimes a profound loss is the only way to gain something else. That is the lesson of Dawnbreaker, an intimate document of what it means to set oneself free.


            STAFF COMMENTS

            says: Gorgeous, softly-sung vocals, tenderly plucked guitar and understated percussive drive (is that a CR-78 I hear?), all working together to make Sauser-Monnig's gorgeous artistic vision a reality. Perfect hazy summer songs.

            Wild Daughter

            Get Gone

              Stuart Mckenzie and James Jeanette came together over a mutual love of music and to create the sound they love.This became Wild Daughter. Purveyors of their own brand of 'garage kink'. Get Gone is their first single. A slab of doom laden unrequited love. Released on their own Sig'il Record Label produced by Steve Mackey of Pulp. Welcome to the cityscape that is Side B - Drive is slower, darker, haunting, cinematic taking you on a journey of despair through the highs and lows of Wild Daughter's world, destination unknown. The cover artwork designed in collaboration with Turner prize nominee (2015) artist James Richards and graphics by Ross Teperek at Another Kind of Kick is breathtaking - snap up your copies quick as the single is a limited hand numbered edition of 300. Get Gone !

              Our Daughter's Wedding

              Moving Windows

              OUR DAUGHTERS WEDDING were one of the most underated American synth bands of the early 1980’s and Moving Windows is the proof! For the first time since it’s original release, FUTURISMO give you an incredible redux reissue of this long lost electronic gem on LP…and for the first time ever, on CD! Also included within this newly designed release alongside OUR DAUGHTERS WEDDING’s milestone 1982 album tracks are the five songs featured on their unmissable Digital Cowboy ep, which includes their underground dancefloor hit Lawnchairs. To top off this first time reissue we have included the original uncensored cover photo by Anders Nordström (deemed too risqué at the time) as well as his unseen photos of ODW housed in a fold-out inner sleeve that also contains liner notes by original member Scott Simon.

              OUR DAUGHTERS WEDDING have posthumously been described as synthpunk, along with other innovators such as Units and Screamers, yet despite this, they knew how to write a pop song. ODW were also distinct in that they employed a punchy, energised and even slightly aloof take on electropop that simultaneously stayed true to their punk and rock ‘n roll upbringing, an authenticity that drove them to play all electronic instruments live without the aid of any sequencers. Their signature track Lawnchairs instated ODW in the clubland etha by becoming a instant dance floor hit and remains a high point in the history of the synthesized pop. Produced by the mega-talents of both David Spradley (Funkadelic) and Colin Thurston (Duran Duran, Iggy Pop) this version of Moving Windows takes their sound that one step further.


              FORMAT INFORMATION

              Coloured LP Info: Something Blue viny - white vinyl with sporadic sea blue.

              Ltd LP Info: Red Alert coloured vinyl - clear bright red vinyl with dotted black marble.

              First impressions matter. Especially on a debut album. Time and attention-strapped listeners size up an artist within a song or two, then move on or delve in further. Fortunately, it only takes Margo Price about twenty-eight seconds to convince you that you’re hearing the arrival of a singular new talent. “Hands of Time,” the opener on Midwest Farmer’s Daughter, is an invitation, a mission statement and a starkly poetic summary of the 32-year old singer’s life, all in one knockout, self-penned punch. Easing in over a groove of sidestick, bass and atmospheric guitar, Price sings, “When I rolled out of town on the unpaved road, I was fifty-seven dollars from bein’ broke . . .” It has the feel of the first line of a great novel or opening scene in a classic film. There’s an expectancy, a brewing excitement. And as the song builds, strings rising around her, Price recalls hardships and heartaches – the loss of her family’s farm, the death of her child, problems with men and the bottle. There is no self-pity or over-emoting. Her voice has that alluring mix of vulnerability and resilience that was once the province of Loretta and Dolly. It is a tour-de-force performance that is vivid, deeply moving and all true.

              From the honky tonk comeuppance of “About To Find Out,” to the rockabilly-charged “This Town Gets Around” to the weekend twang of “Hurtin’ (On The Bottle)”, Price adds fresh twists to classic Nashville country, with a sound that could’ve made hits in any decade. Meanwhile, the hard-hitting blues grooves of “Four Years of Chances” and “Tennessee Song” push the boundaries further west to Memphis (the album was recorded at the legendary Sun Studio).



              STAFF COMMENTS

              says: Margo price's vocals soar above rich and satisfying slide guitars and plucked acoustic, lifting strings and solid bass guitar. Emotive and reflective, but beautifully reminiscent of classic country acts (Parton, Cline etc.) but brought up to date with a production sheen and melodic originality. Country has never steered away from stereotypes of locale and thematic continuity and this is no exception. A stunning example of the modern Nashville sound.

              Nearly three years after the release of their debut 'If You Leave', Daughter – the London-based trio of Elena Tonra, Igor Haefeli and Remi Aguilella – will return in 2016 with a new album, entitled 'Not To Disappear'.

              'Not To Disappear' is Daughter’s second album and finds the band making confident strides forward both sonically and lyrically. Elena, Igor and Remi spent a summer in New York recording 'Not To Disappear' with Nicolas Vernhes (Deerhunter, War On Drugs, Animal Collective) at his Rare Book Room studio in Greenpoint, Brooklyn.

              STAFF COMMENTS

              says: An amazing album by the very talented Daughter, it’s expressive and emotional throughout. More progressive and experimental from their previous album, ‘Not to Disappear’ is filled with devotion. Absorbing and beautiful, I would recommend it to anyone.

              FORMAT INFORMATION

              LP Info: The vinyl includes a download code.

              Daughter

              4AD Session

              Presenting the most ambitious 4AD Session to date, Daughter have unveiled a very special five-song performance recorded in London’s iconic Air Studios with composer Joe Duddell and a 10-piece classical ensemble.

              Last summer the London-based trio and acclaimed composer / arranger Joe Duddell were brought together by Festival No.6 to participate in a unique project. As the festival’s Composer-In-Residence Duddell, whose impressive CV has seen him collaborate with Elbow and compose for the BBC Proms, approached Daughter with an idea for the band to perform classical versions of their songs. Daughter, who have always wanted to explore this area, agreed to his proposal immediately. With the green light given, Duddell set about crafting classical arrangements for five tracks from Daughter’s debut album ‘If You Leave’ which the band, together with an eight-piece ensemble, performed in front of an audience of sixty people in Port Meirion.

              4AD Session fimmakers Jane Pollard and Iain Forsyth were lucky enough to witness that mesmerising performance and both they and the band were keen to re-enact that sense of intimacy for a wider audience. “Daughter is a special band; there’s a unique chemistry and a work ethic - an effortless, instinctive talent between these three people,” say Iain and Jane. “We knew we needed to find the optimal conditions and collaborators to ensure that everything was aligned to allow the same magic to happen - the same musicians, Joe Duddell at the helm - but this time in the country’s best recording studio and recorded by the acclaimed Olga Fitzroy amidst a delicate set by art director Sal Pittman.”

              After further developing the arrangements for those same five songs for the session, Duddell handpicked and assembled a talented cast of young musicians to make up a 10-piece classical ensemble, all of whom are either current students or recent graduates of the Royal Northern College Of Music. Art Director Sal Pittman was also drafted in - her delicate paper birds hang serenely in the space above and around the musicians.

              In the acoustically and visually stunning Air Studios, Pollard and Forysth captured the trio of Elena Tonra, Igor Haefeli and Remi Aguilella plus Duddell and the RNCM ensemble performing ‘Shallows’, ‘Tomorrow’, ‘Still’, ‘Youth’ and ‘Amsterdam’.



              FORMAT INFORMATION

              CD EP Info: Limited to 300 copies.

              Vertical Scratchers is John Schmersal (ex-Brainiac/Enon, live Caribou, and Crooks on Tape) and Christian Beaulieu (ex-Triclops!/Anywhere). Their debut album is 'Daughter of Everything'. Simplicity was the inspiration: get in the van, rehearse in the van, tour in the van, stay mobile. “I have played in a lot of bands with complicated set-ups and implemented technologies,” says John. “I also do a lot of recording and editing on computers, so part of the desire for simplicity was about wanting things to be as organic and in real time as possible.” This impulse to keep things moving is reflected in the songs themselves. Most Vertical Scratchers songs clock in under the two-minute mark but often go in twice as many directions as your average-length song. Pop deception. Think the Kinks with a Buzzcocks brevity. Daughter of Everything was recorded live in Los Angeles at The Smell in September of 2012. The special guest appearance lead vocal from Robert Pollard was recorded at Waterloo Sound in Ohio by Todd Tobias.

              Body Parts mobilizes a singularly elegant experimental pop idiom to explore the contours of modern devotion and doctrines of self-improvement alongside the immoderate reverberations of remembrance. Fire Dream delivers a delightful mix of brightly ominous and sensitively textured, biomechanical dance tracks and more earthly, emotive ballads. Trying to resist the tidal pull of Fire Dream's peculiarly beautiful world would be like trying to beat fate. Weaving together influences as varied as the rationalist prescriptions of the self-made seeker-healer- Scientology mastermind L. Ron Hubbard, the sensual guitar-scapes of Prince, and the haunting vocals and surrealist melodrama of Kate Bush, Ryder Bach and Alina Cutrono form the group’s core.

              Daughter

              If You Leave

              Daughter are a London-based trio consisting of Elena Tonra (vocals, guitar), Igor Haefeli (guitar) and Remi Aguilella (percussion).

              Daughter started life in 2010 as an outlet for Elena’s musings. After recording a ‘Demos’ EP, Elena joined forces with Igor, then fellow classmates studying music at college. A four-track EP, ‘His Young Heart’, was self released in April 2011, and with Remi completing the line up soon after, The ‘Wild Youth’ EP was released in late 2011. On the strength of these releases alone they have gained a loyal fanbase which continues to grow as public and media alike discover their charms.

              ‘If You Leave’ is Daughter’s debut album. Recorded over a period of months at home and in various spaces around London, it was produced by Igor with additional production from Rodhaidh McDonald (The xx, Adele) and Jolyon Vaughan Thomas, and mixed by Ken Thomas (Sigur Ros, M83) at High Bank Studios.

              Less of a statement of intent, these songs are more a snapshot of a year in Daughter’s short life. Lyrically, Elena plumbs the depths of her psyche to reveal her innermost thoughts, finding catharsis in expounding those internal demons. There may be little light relief here, but the personal themes have universal appeal; tales of doubt, insecurity, fear, anger and loneliness all take centre stage.

              Musically, Daughter balance an intricate interplay between vocal, guitar and rhythm section. Elena’s vocals are fractured, often delivering savage words with a smoke-tinged whisper. Igor wrestles his guitar to build up a stark and brutal landscape, colliding with Elena’s more structured rhythm guitar. All are punctuated by the jolts of Remi’s minimalist drums.

              ‘If You Leave’ is a bold first move for an act still in its infancy, and yet the songwriting displays a maturity that belies their youth. Darkness may prevail on ‘If You Leave’, but the future looks extremely bright for Elena, Igor and Remi.

              FORMAT INFORMATION

              Vinyl comes with CD version of the album enclosed.

              The Incredible String Band

              The Hangman's Beautiful Daughter

                Incredible String Band's third (1968) and most ambitious album - a truckload of exotic instruments and drugs come into play resulting in a bona fide acid-folk masterpiece! If you only get one ISB album, this is the one you need!

                Tunng

                Mother's Daughter And Other Songs

                  Tunng; edgy yet irresistible, songs that slide under your skin or clamber softly into your ear whilst you sleep. Even the very name is designed to confound. 'It must go into peoples heads, scramble and come out wrong... It brings out the dyslexic in all of us.' What then can you expect? "People Folk" lounges gently over a pagan beat, like the Beta Band lost in the Congo; "Fair Doreen" melds scratchy electronica with a pastoral, quintessentially English dynamic and "Out The Window With The Window" is a spooky semi-instrumental, perfect spot music for The Wicker Man itself. In short this is excellent and a big contender for those end of year charts!!!!


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