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Nérija

Blume

    Nérija are the septet of contemporary jazz luminaries, Nubya Garcia (tenor saxophone), Sheila Maurice-Grey (trumpet), Cassie Kinoshi (alto saxophone), Rosie Turton (trombone), Shirley Tetteh (guitar), Lizy Exell (drums) and Rio Kai (bass). Rooted in friendship, Nérija is a collective whose breakneck shifts in tempo and style rely on a deep understanding of mood, temperament and expression, a solid show of trust that extends beyond the usual bonds between musicians.

    Recorded in the boat-shaped confines of London’s legendary Soup Studios and produced by Kwes, the overarching goal with Blume was to simply capture the rawness, warmth, joy and the spirit of their relationship and performance. One of the recording aims was to channel the feel of Teo Macero and Stanley Tonkel’s records with Miles Davis during his Columbia years, thinking “forward” as they did but for this band, capturing the controlled chaos and frame it with a timeless elegance.

    Blume is a truly breath-taking collection of compositions that perfectly encapsulates everything Nérija; vibrant, engaging, infectious and truly current. For just over an hour, they take us on a sprawling wonderful journey, arriving at what is a majestic body of work; their personal and collective experiences and inspirations over the last half decade or so.

    FORMAT INFORMATION

    2xColoured LP Info: Indies exclusive heavyweight, crystal clear vinyl with etched side D.

    2xLP Info: Black heavyweight vinyl, etched on side D.

    Night Moves

    Can You Really Find Me

      Night Moves’ new album, ‘Can You Really Find Me’, pulsates and glows with the same sublime energy that radiated from breakout single ‘Carl Sagan’ in 2016, however in the intervening years, John Pelant and Micky Alfano have grown up.

      The songwriting, while still steeped in super-catchy, velvety riffs and pure pop glaze, feels more sophisticated and modern. Since the pair met in high school, awestruck by such ear-candy wizards as Brian Wilson, Todd Rundgren, Stevie Nicks and Lindsay Buckingham, they set off to craft their version of what sophisticated, emotional modern pop music can and should sound like.

      2016’s ‘Pennied Days’ was a breakthrough and set a new bar for the members of Night Moves. After spending the subsequent two years on ‘Can You Really Find Me’, they’ve scaled new heights, where the sounds are still just as sweet but now smarter, more evocative and perfectly designed for a summer release.

      ‘Can You Really Find Me’ was produced by Jim Eno (founding member and drummer of Spoon) out of Public Hi-Fi Studios in Austin, TX and recorded with live band members Mark Hanson and Chuck Murlowski.

      STAFF COMMENTS

      Barry says: Night Moves expertly craft a brilliantly emotive and drippingly filmic selection of 80's inspired ballads and rhythmically fluid disco-tinged pop anthems on 'Can You Really Find Me'. Any of these pieces could easily be a slow-motion montage soundtrack, dynamic but with a hint of latent morosity, these are modern and eminently enjoyable anthems, and another reason to pay attention to Night Moves.

      FORMAT INFORMATION

      Coloured LP Info: Indies exclusive turqouise coloured vinyl in a gatefold sleeve.

      Coloured LP includes MP3 Download Code.

      While the Sex Pistols and The Clash might have soaked up much of the punk spotlight in the ’70s, Buzzcocks brought something equally influential to the table. The Buzzcocks’ influence on indie rock, power-pop, punk rock and pop-punk is hard to overemphasize. When you think of the punk-pop tag, no band embodied it or perfected it quite like Buzzcocks.

      Their songs were gritty, speedy and short like a lot of other punk music, but few punk bands remained committed to pure pop songwriting like Buzzcocks. Pete Shelley’s voice was snotty and full of attitude, their lyrics pushed social boundaries and the band’s guitars were pumping and lightning fast, but their infectious melodies might have fallen more in line with the pop or New Wave acts of the day than say, The Damned or The Stooges.
      While albums like Another Music in a Different Kitchen or Love Bites are still worth digging into, the general consensus is that Buzzcocks’ most essential release is their 1979 singles compilation Singles Going Steady. It contained album cuts like “Ever Fallen in Love (With Someone You Shouldn’t’ve),” non-album singles like “Orgasm Addict” and “Everybody’s Happy Nowadays” as well as B-sides like “Autonomy” and “Noise Annoys.” The album’s eight singles and eight B-sides buff out the occasionally forgettable moments of their LPs and it’s the most accurate document of Buzzcocks as a band.

      The songs that make up Singles Going Steady are largely about relationships and youthful frustration, and the album leads off with “Orgasm Addict,” an explicitly sexual song about everything from masturbation to full-on sex addiction. The song, which also features Shelley’s erotic moans, was unsurprisingly banned by the BBC upon release. Continuing with themes about the universal, inevitable shortcomings of youth, “I Don’t Mind” sums many of them up in a sharp, snappy rock ’n’ roll nut shell. Shelley paints a picture of the longing for another and the highlighting of your own insecurities when you do find that person. What begins with a song about loneliness and escape transforms into a song about fear of unreciprocated romantic feelings, which stems from a lack of self-confidence.

      FORMAT INFORMATION

      Coloured LP Info: Indies exclusive translucent violet coloured vinyl.

      It's conceivable that internal friction helped inspire the title of the third Buzzcocks longplayer, 'A Different Kind Of Tension'; the group would splinter shortly after the album's 1979 release. But the U.K. pop punk band went out with a bang, marshaling one of their most diverse and exciting sets of songs under the guidance of producer Martin Rushent. The breakneck pace of their first recordings is well represented by such tracks as opener “Paradise,” though by the closing sound collage “Radio Nine,” chief songwriter Pete Shelley has managed to indulge his more experimental side as well – without ever abandoning the trademark Buzzcocks wit and emphasis on melody.

      FORMAT INFORMATION

      Coloured LP Info: Indies exclusive yellow vinyl.

      One of the recent past’s most unexpected come-back stories, Peter Perrett - former frontman of The Only Ones - resurfaced in 2017 with ‘How The West Was Won’, an album that saw him chart in the UK, star on BBC Newsnight, sell out rooms at Electric Ballroom and Islington Assembly Hall and collect accolades across the board.

      In this new chapter, Peter continues to dissect romance and politics with his trademark sense of sardonic wit and wry humour, if not with more vigour even and a palpable sense of immediacy. He is not unshackled from his past, however. ‘Humanworld’ features a production credit for Peter’s son Jamie who also contributes a song to the album (‘Master Of Destruction’) and the story of knitting a family back together, following a history of chaos and addiction, now takes a step closer to centre.

      STAFF COMMENTS

      Barry says: Peter Perrett, lead singer of the Only Ones presents his newest outing, 'Humanworld'. With big crunchy guitars and a modern take on the soaring 80's jangle we all know and love, Perrett efforlessly and effectively swaggers through a varied but engrossing suite of melodic heft and massive stadium fuzz.

      FORMAT INFORMATION

      Coloured LP Info: Indies exclusive blue heavyweight vinyl, gatefold sleeve.

      Coloured LP includes MP3 Download Code.

      Arlo Day

      Bad Timing

        Arlo Day is the moniker of Alice Barlow, a young songwriter and guitarist from South-East London whose unique ear for melody, haunting vocals and rumbling guitar tones have gained a quiet reputation as one of the capital’s best kept secrets. Self-produced and recorded at home, the ‘Bad Timing’ EP is a trio of tracks that showcase her deft ability to write songs that are at once personal vignettes and brooding canvases for introspection. ‘Bad Timing’ introduces Arlo Day as a singular and exciting new songwriting talent.

        "Diviner" is a deeply emotional album: lyrically generous in its candid tone and self-awareness, the melodies resonant with sense memory. The album feels like a startling departure from Thorpe’s previous work with Wild Beast. Story-telling, imaginative dynamics and arrangements coincide with a deft and unique vocal prowess. Comparisons could be drawn with Manchester's Dutch Uncles, or even the quirky & eccentric delivery of Calvin Johnson but really, Hayden's conveying emotions and feels all of his own.

        FORMAT INFORMATION

        Indies Exclusive LP Info: Deluxe edition. Black heavyweight vinyl.

        Wheeltappers and Shunters was recorded in 2018 in founding band member Hartley's Liverpool studio, before they brought in Dilip Harris (King Krule, Sons Of Kemet, Mount Kimbie) to mix it. “We thought it felt right to make a fun, dancefloor album in these dark and conservative times,” Blackburn continues. Fun, sure, but this is Clinic – their brand of fun oozes with menace.

        The Great Britain that Clinic are evoking is not that ancient, bucolic past of village green cricket, half a mild and hanky-waving Morris Dancers that many seem so determined that the country should return to, but a rather more sleazy past. Clinic’s reverie is for a time when Blackpool was the pleasure capital of the kingdom and the public was kept entertained by travelling circuses and the dirty glamour of the funfair; tacky end of the pier merriment and enforced fun at Butlins; when bell-ringing town criers bellowed their nonsensical broadsides into the ether.

        For most bands about to enter their third decade as an entity the well would be running dry, but eight albums in and Clinic still retain the ability to surprise. Clocking in at just over 28 minutes, Wheeltappers and Shunters is an absolute blast, rich in detail and sonic intrigue, those precious minutes stuffed with ideas. “We’d released albums like clockwork every two years, so it seemed natural to have a break,” Blackburn reveals. “It allowed everyone to do some quite oddball stuff, away from Clinic. I think we all wanted a bit more freedom.”

        STAFF COMMENTS

        Barry says: Comfortingly warm and brilliantly varied, 'Wheeltappers and Shunters' perfectly treads the line between jagged, unpredictable psychedelia and smoothly redolent rock music, with enough of an edge to remain interesting and the perfect amount of sweetness to keep the listener fully on-board. Lovely.

        Protomartyr can finally answer what is probably their most frequently asked question: “When are you going to reissue your first album?” ‘No Passion All Technique’ has long been something of a mystery. Not available on streaming services; long out of print (and going for ridiculous prices on auction sites), why was this album so elusive?

        When Protomartyr - vocalist Joe Casey, guitarist Greg Ahee, bassist Scott Davidson, drummer Alex Leonard - stepped into a studio together for the first time, in November of 2011, they didn’t know they were about to record an album. With only four hours of studio time booked and one case of beer between them, their plan was to walk out with enough songs for a seven-inch single. Instead, at the suggestion of engineer Chris Koltay, the newly formed Detroit outfit recorded as much as they possibly could, in what little time they had.

        Sold out and out of print shortly after its original release on Urinal Cake Records in October 2012, ‘No Passion All Technique’ is a sometimes-messy look at one of rock’s most magnetic bands - and lyricists - just as they were coming to life. Primal, cerebral, heartbreaking, funny - it’s an accidental tour de force that’s also become an unlikely collector’s item. “My memory is shot,” Casey says, “but I appreciate now, looking back, how raw and off-the-cuff it was. There’s tons of mistakes in it and that wasn’t because we planned on it. We still can’t really admit that it’s as good as it is. You never want to say that your first is the best, but I’m happy that the first ended up not being terrible. It gave us doorway to what we’d want to do later.”

        FORMAT INFORMATION

        Coloured LP Info: Available to independent retailers on heavyweight blue vinyl with ‘zine’ magazine and digital download card.

        LP Info: LP on heavyweight black vinyl with ‘zine’ magazine and digital download card.

        The Clang Group

        We Do Wie Du

          The Clang group return with a one off 7” wonder and re-version of 60’s cult legends The Monks’ ‘We Do Wie Du’.

          Fat White Family

          Tastes Good With The Money

            "Tastes Good With The Money" is the second single to be taken from Fat White Family's "Serfs Up!" album. 

            Includes two exclusive non-album tracks on limited 10" vinyl.

            Beth Gibbons And The Polish National Radio Symphony Orchestra

            Henryk Górecki: Symphony No. 3 (Symphony Of Sorrowful Songs)

            Domino is extremely proud to present Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs) performed by Beth Gibbons and the Polish National Radio Symphony Orchestra, conducted by Krzysztof Penderecki. 

            The performance took place at The National Opera Grand Theatre in Warsaw on November 29th 2014, and was part of an evening of programming that also featured Jonny Greenwood's (Radiohead) 48 Responses To Polymorphia and the world premiere of Bryce Dessner's (The National) Réponse Lutosławski.

            Following an invitation to collaborate at the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the original text (and the emotional weight it carries) without speaking the mother language. Typical to Beth though - the elusive yet iconic frontwoman of one of the most important British bands of the last two decades - the challenge was met and exceeded. Her performance alongside the maestro Penderecki has been hailed as triumphant, as you can see and hear on this release.

            The film, was produced by the National Audiovisual Institute, Poland and directed by Michał Merczyński.

            STAFF COMMENTS

            Barry says: There's no denying that Beth Gibbons is one of the most cherished and highly recognisable vocal talents of the past several decades, but hearing her in this context is nothing less than astounding. The latent sadness inherent in Gorecki's 3rd symphony is only enhanced by Gibbons' stunning vocal range and perfect delivery. Astounding.

            FORMAT INFORMATION

            Indies Exclusive LP Info: Deluxe tip-on gatefold sleeve with mounted 16pp booklet insert and bonus DVD featuring concert film.

            LP Info: Heavyweight black vinyl with 12x12” booklet insert.

            Avey Tare, aka Dave Portner of Animal Collective, announces the new album ‘Cows On Hourglass Pond’, which was recorded between January - March 2018 by Dave Portner at Laughing Gas in Asheville, NC on a Tascam 48 half-inch reelto-reel tape machine and mixed by Adam McDaniel and Dave Portner at Drop Of Sun Studios in Asheville, NC. The album follows the 2017 release of Avey Tare’s ‘Eucalyptus’ and 2018’s audiovisual album ‘Tangerine Reef’, a collaboration between Animal Collective and avant-garde coral macro- videographers Coral Morphologic.

            STAFF COMMENTS

            Barry says: Frenetic melodies and cavernous vocal reverb work their way around the slo-mo funk and psychedelic melodies, leading the listener on a stylistically varied and fascinating journey.

            Domino present Nérija; the septet of Nubya Garcia (tenor saxophone), Sheila Maurice-Grey (trumpet), Cassie Kinoshi (alto saxophone), Rosie Turton (trombone), Shirley Tetteh (guitar), Lizy Exell (drums) and Rio Kai (bass).

            Their debut ‘Nérija EP’ - originally composed, recorded and self-released following their meetings and collaborations via London’s Tomorrow’s Warriors - is re-released, having been remixed by kwes and remastered by Chris Potter at Electric.

            STAFF COMMENTS

            Millie says: It’s been a while since I’ve listened to anything this warm and soulful, the seven-piece all female collective have breathed new life into jazz. With a mixture of horns, beautiful arrangement and upbeat, bold rhythm they really have owned their sound. Hopefully lots more to come from Nérija…

            FORMAT INFORMATION

            Mini LP Info: LP pressed on heavyweight vinyl in polylined inner
            sleeve with liner note insert and digital download
            code.

            The rumours are true: the secret electronic album that Stephen Malkmus has been telling everyone about sees the light of day through Domino. But Groove Denied is not a full-blown plunge into EDM or hiptronica. In fact, there aren’t any purely instrumental tracks on the album. Every song is precisely that: a song, featuring Malkmus staples like an artfully askew melody and an oblique lyric. Groove Denied is Stephen playing hooky from his customary way of going about things, jolting himself out of a routine. As Malkmus commented, “It’s fun to mess with things that you’re not supposed to.”

            The first taste of Stephen’s new groove can be sampled today, with the release of single ‘Viktor Borgia’, and its accompanying video starring Stephen alone in a dance club. The title playfully merges the name of the comedian-pianist and the ruthless dynasty of Italo-Spanish nobles. With its stately melody and the almost-English-accented vocal, the coordinates here are early Human League or even Men Without Hats. “I was thinking things like Pete Shelley’s ‘Homosapien’, the Human League, and DIY synth music circa 1982,” says Stephen, adding “and also about how in the New Wave Eighties, these suburban 18-and-over dance clubs were where all the freaks would meet – a sanctuary.”

            STAFF COMMENTS

            Barry says: It's bloody brilliant this, with hints of post-punk garage and most of all 80's synth, Malkmus clearly shows his wealth of influence on 'Groove Denied', swinging from snappy grunge to 70's psychedelia without batting an eyelid. Though the diversity in sound shines through, it's not without the Malkmus charm, with his vocal prowess shining through the stylistic patchwork.

            FORMAT INFORMATION

            Coloured LP Info: Indies exclusive clear vinyl.

            Coloured LP includes MP3 Download Code.

            LP Info: Black vinyl.

            LP includes MP3 Download Code.

            Los Angeles-based artist SASAMI announces her self-titled debut album.

            If you’ve ever drafted an overly long text to someone and decided against sending it, then you'll probably hear something of yourself in SASAMI. Los Angeles based songwriter and multiinstrumentalist Sasami Ashworth wrote the album’s ten tautly melodic rock tracks over the course of a year on tour, playing keys and guitar with Cherry Glazerr, tracking the thrills, disappointments and non-starters of a year spent newly single and on the road.

            With featured artists Dustin Payseur (Beach Fossils), Devendra Banhart and Soko, this is a slice of 90s distorted guitar pop wonderment you won’t want to miss.

            STAFF COMMENTS

            Barry says: Wonderfully wonky at points, rhythmically diverse and musically immersive, Sasami's debut LP is an absolute storm of inventive poly-rhythms ('In Hollywood' is a prime example) presenting themselves without getting in the way of the listeners enjoyment. From tender, almost whispered vocals to huge distorted scree, this debut LP is an absolute rollercoaster, and unlike a rollercoaster, enjoyable throughout.

            Produced by Yorkston and David Wrench, The Route to the Harmonium is James’ first solo record since 2014’s Cellardyke Recording and Wassailing Society (CRAWS) and follows the two collaborative albums he made as one third of Yorkston/Thorne/Khan as well as the release of his debut novel Three Craws in 2016.

            The album was almost entirely recorded by James himself, in the small Scottish fishing village of Cellardyke, where he lives. Yorkston’s studio is a ramshackle old loft space, originally used to repair fisherman’s nets, and now stuffed full the antique instruments James has collected throughout his life as a musician. Having created hours of recordings, James called up his old collaborator David Wrench - the mixer and producer who has worked with the likes of Caribou, Four Tet, Frank Ocean, FKA Twigs and David Byrne - and someone who has worked on James’ albums since 2003 – to help make sense of the sessions.

            The Route to the Harmonium (or, ‘the search for peace’) is intensely personal; it’s the sound of home, of undisturbed craftmanship. Listen closely and you can imagine him putting it together. Overlaying vocal and guitar tracks, adding further with Dulcitones, harmoniums and autoharps, with nyckelharpa, the distinctive Swedish stringed instrument given to him by a friend. And friends and family, past and present swim all over his songs. Remembering them, and those you’ve shared life with, those who leave and those who remain, is the strongest thread running through these affecting, extraordinary songs. This is Yorkston’s world and could be nowhere else in music.

            James adds: “I guess, as a musician and writer, I find myself reacting to what goes on around. So, this album is about life, the life that carries on around me. There’s family, place, and the being away from family that the life of a touring musician brings… But there’s also reference to friends departed – the hows, the whys – When a friend jumps ship it’s always a haymaker to the gut, you know? And this album is about them, but it’s more about us, us who are left behind...”

            STAFF COMMENTS

            Barry says: Tender ballads and brittle songmaship on this stunning outing from the great James Yorkston. Reminiscent of some of the country-folk offerings from Constellation / Alien8 recordings in the early 90's, Yorkston manages to convey a heartbreaking morose air whilst keeping the melodicism intact. A beautifully written collection, as expected.

            FORMAT INFORMATION

            Coloured LP Info: Heavyweight green vinyl, includes poster too.

            Coloured LP includes MP3 Download Code.

            LP Info: Heavyweight black vinyl, includes poster too.

            LP includes MP3 Download Code.

            Noah Lennox's sixth solo album as Panda Bear is Buoys. The first song to be released from Buoys is “Dolphin”: Lennox’s bright, sincere voice front and center, with miles of space surrounding it, a guitar and some textured samples fleshing out the dubby sparseness and undercurrent of speaker-limit-pushing sub-bass low-end. Buoys was co-produced and co-mixed by collaborator Rusty Santos in Lennox’s adopted home of Lisbon, Portugal. Lennox and Santos last collaborated on the landmark Panda Bear album Person Pitch, which had its 10-year anniversary last year.

            Animated by their ongoing interest in contemporary music production techniques, Lennox and Santos envisioned something that would “feel familiar to a young person’s ears.” However, Buoys retains a deep layer of experimentation coursing through the hyper-modern production – a hallmark of Panda Bear releases that will feel intimately familiar to fans of Lennox’s decade-plus body of work.

            Alongside Santos, Buoys also features collaborators in Chilean DJ/vocalist Lizz and Portuguese musician Dino D'Santiago, both artists who came to Lennox via Santos’ recent trap and reggaeton production work; the former contributes arrangements throughout the album including “Dolphin,” and both lend their vocals to “Inner Monologue."

            Buoys is the first Panda Bear release since 2018's vinyl-only EP A Day With the Homies, and the follow-up to 2015's kaleidoscopic full-length Panda Bear Meets the Grim Reaper. "The last three records felt like a chapter to me, and this feels like the beginning of something new," says Lennox whilst surveying how Buoys relates to the estimable Panda Bear catalogue. Indeed, the forthcoming Buoys is full of fresh ideas from one of modern music's most fascinating, innovative, and emotionally generous artists.


            STAFF COMMENTS

            Barry says: Having always been the more electronic side of the musical monolith that is Animal Collective, Panda Bear clearly brings the off-kilter melodies and syncopated Books-esque loop manipulation, with 'Buoys' proving to be every bit the staggered and echo-laden monolith we'd expect. Comfortingly avant-garde without stepping too far into art-rock or ostracising the listener, buoys takes a while to reel you in but when it does, you're stuck for good.

            FORMAT INFORMATION

            Coloured LP Info: Red & black coloured vinyl.

            Rustin Man

            Drift Code

              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.

              FORMAT INFORMATION

              Deluxe LP Info: Deluxe heavyweight black vinyl LP with 12” photo print
              plus 4-page booklet and digital download card.

              Buzzcocks

              Another Music In A Different Kitchen - Reissue

              Like many first albums, Another Music In A Different Kitchen collected material written by the group - in particular Pete Shelley and Steve Diggle - that had been amassed during the previous years, going back to 1974 and 1975. According to Tony McGartland in his Buzzcocks: The Complete History, the songs were sequenced in the order that they were written. The play through seems to bear this out: the album begins in fast protest punk and ends in the seven minute, definitely non punk length Krautrock of ‘Moving Away From The Pulsebeat.’

              Most of Shelley’s songs on the first side concern the vicissitudes of romance, but the opener Fast Cars name drops US campaigner Ralph Nader in an ecological diatribe: “They're so depressing going 'round and 'round/Ooh, they make me dizzy, oh fast cars they run me down.” ‘No Reply’, ‘You Tear Me Up’, ‘Get On Our Own’ and ‘Love Battery’ are sharp, short (all under two and a half minutes), speedy disquisitions on the tortures of interpersonal communication, love and lust played with a perfect balance between pace, abrasion and melody.

              Side closer ‘Sixteen’ is something else. It’s longer and contains an avant-garde breakdown around two minutes in, recorded with each group member isolated and unable to hear each other. “It started off as a false ending,” Shelley told me in 1977: “All sloppy, and then it carries on longer so that people are thinking, “Oh I’ve just clapped but they’re not thinking — what’s up?” and then it comes back in again.” It was, as John Maher added, “A remnant of our chaos days.”

              Would Shelley like to be sixteen again? “In some ways yes, in some ways no. The words go: “And I wish I was sixteen again/Then things would be such fun/All the things I'd do would be the same/But they're much more fun/ Than when you're twenty one.” Things like going for a drink — now the novelty’s worn off but the enjoyment’s still there. There’s no difference between doing something when you’re 16 and 22, except there is a difference if you’re doing it for the first time.”

              Perhaps the most remarkable thing about the song is its rapid fire, venomous ending:
              “And I hate modern music/Disco boogie and pop/They go on and on and on and on and on/HOW I WISH THEY WOULD STOP!” Never has a truer sentence been written about the true impetus behind Punk: not just boredom with progressive rock or dinosaur sixties acts but an intense disgust with mainstream pop music, which in 1976, the year of number one singles by Elton and Kiki, Abba, the Brotherhood of Man, Adge Cutler & the Wurzels, seemed not to have anything to do with teenage life and certainly nothing to do with excitement or the true teenage news.

              The five songs on side two reflected the group moving away from simple love tropes into something more complex: as Shelley sang on ‘I Don’t Mind’, “Reality’s a dream.” Unlike the increasing militarism and violent posturing of the Clash, Buzzcocks aimed to explore male sensitivity and frailty (‘This pathetic clown’) - which in pop terms was still new, exactly what punk had set out to be. They began to use love songs as a conduit through which they could talk about other things: the nature of human relationships in a capitalistic society, the nature of reality itself.

              Onstage Buzzcocks did not present as macho. Sometimes they’d try a group uniform, like the Mondrian shirts of early 1977, but mostly they just dressed as themselves: Diggle and Maher in various permutations of Mod wear, Paddy Garvey in leather jacket and skinny tie, and Shelley in a bewildering variety of styles. “It’s no good me wearing anything like that (bondage pants),” Shelley told me; “I’m just not the fashionable shape.” “You put those clothes on and you become a different character,” Diggle added: “I don’t feel myself, I feel like somebody else.”

              ‘Fiction Romance’ continues the themes of ‘I Don’t Mind’: male frailty, the commodification of emotions, the difference between reality and fantasy. Steve Diggle’s powerful ‘Autonomy’ spells out the true theme behind Punk: self determination. “It’s a discussion between two sides of your personality,” he told me; “It’s about discipline in yourself, like when you say you’d like to do something and you haven’t got control, you’re not autonomous. Like giving up smoking, which I’m trying to do now and it’s very difficult. I haven’t got control of myself.”

              Shelley’s pell-mell ‘I Need’ tackles the capitalist perplex head on: “I used to only want but now I need/To get by with what I got but now I need.” After a fine bass led instrumental break, Shelley lays it out again: “I need sex/I need love/I need drink/I need drugs/I need food/I need cash/I need you to love me back.” ‘Moving Away From The Pulsebeat’ continues the breakneck pace: lasting at least three times the standard punk rock single, it features some stinging psychedelic solos and some rapid fire classic break beats from John Maher.

              There’s a pause, then the riff of ‘Boredom’ returns: back to the beginning. Another Music in a Different Kitchen is a perfect circle: thirty five and a half minutes of tuneful, exciting and thoughtful music that stretched the boundaries of guitar pop music at the same time as it delivered on the group’s promise. It was a critical and a commercial success, reaching the UK album top twenty in March 1978 and staying there for nearly three months. But Buzzcocks had no time to rest on their laurels.


              FORMAT INFORMATION

              LP includes MP3 Download Code.

              Behind the chocolate box cover, Love Bites is an album of paradoxes if not clashing opposites: real/imaginary, past/future, love/lust, connection/alienation, commerciality/experimentation. It’s to the group’s credit that they walk the high wire with ease: the attack is less punk, more measured and on occasion psychedelic, as befits the perceptual and philosophical nature of Shelley’s lyrics. The glossy pop star photo on the sleeve is matched by stranger photo realist portraits on the inner, by Robin Utracik of the Worst: Shelley in particular looks dishevelled, having just vomited when the source photo was taken.

              Love Bites hit its moment. The reviews were good, and so were sales: it reached number 13 in the album charts, Buzzcocks’ best showing. They immediately went out on their fourth tour, Beating Hearts - supported by Subway Sect - which was marked in this year of Sham 69 by skinhead violence and stage invasions, definitely not what Buzzcocks were about. The fifth single of that year had already been recorded: ‘Promises’ and ‘Lipstick’, the latter of which used the same riff as Magazine’s debut ‘Shot by Both Sides’. Buzzcocks had reached their commercial peak, but Pete Shelley was deeply troubled.

              Late 1978 was a harsh place, with competing styles and fads and the relentless pressure of rapid fire novelty that punk had set up. The pace was killing and on top of that the impetus of 1976 punk had faded. Shelley also felt that the original sense of community had gone: “Once we were in the music industry, people had become more diversified, there was nothing really to pull people together again.” More importantly, the constant touring was driving him mad: “It was a bit unnerving. When we did the Love Bites tour I was convinced by Richard not to leave the band. It was all getting too much for me.”



              FORMAT INFORMATION

              LP includes MP3 Download Code.

              Arctic Monkeys

              Don't Sit Down 'Cause I've Moved Your Chair

                Arctic Monkeys

                I Bet You Look Good On The Dancefloor

                  King Creosote

                  Kenny And Beth's Musakal Boat Rides

                    Kenny Anderson, aka King Creosote's debut album (if you don't include all his Fence Collective CDRs), which was originally release in 2003, finally gets a vinyl release.

                    FORMAT INFORMATION

                    LP Info: LP on black heavyweight vinyl with digital download
                    card.

                    Hookworms

                    Microshift Remixes: Luke Abbot / Nik Void / Fee Love / Xam

                      Earlier this year Hookworms took the music landscape by storm with the release of their critically and commercially acclaimed album ‘Microshift’. Immediately landing in the Top20 and hailed as best new music by The Guardian (5*), The Times (5*), NME (5*), Mojo (4*), Q (4*), Uncut (4*), Clash (4*), DIY (4*), Loud & Quiet (4*) Dork (5*).

                      The Leeds four-piece are now ready to return to the centre stage with a remix package featuring collaborations by Luke Abbott, Nik Void (Factory Floor), Free Love (fka Happy Meals) and the band’s own MB under the moniker Xam.

                      FORMAT INFORMATION

                      Ltd 12" Info: Limited edition heavyweight orange vinyl in an oversized clear PVC outer sleeve.

                      Yawn is a buckle-up and knuckle-down listen that rewards the listeners’ attention with motifs and melodies that play hide and seek but never fail to deliver on those between-the-lines verities. This musical belief of delayed gratification is something Bill learnt from classical music as a child, from Elgar and Debussy in particular – and over the long hall of his short life, you can hear these riches being polished on Yawn. Most of the 10 songs clock-in over the 5 minute mark and this wide-angle lens affords us time to interpret and translate meaning – or just to revel in it.

                      Multi-instrumentalist, producer, string-arranger and composer Bill Ryder-Jones has had a career spanning 15 years, a rarity in a world that so often looks to the new. From his musical interpretation of Italo Calvino’s ‘If On A Winters Night A Traveller' (If… in 2011), 2013’s A Bad Wind Blows In My Heart, the acclaimed West Kirby County Primary (2015) and now to Yawn, Bill has constantly widened his scope, weaving in an overarching sense of authenticity, intimacy and wryness as he goes.

                      Yawn was recorded and produced entirely by Bill himself, with a little help from friends including guest vocals from The Orielles and Our Girl, cello by Rod Skip and mixing by Craig Silvey (Portishead, The Horrors, Arcade Fire). Bill has also been steadily building up a list of album production credits for other musicians including Our Girl, Hooton Tennis Club, Brooke Bentham and Holly Macve, who he records at his own place in West Kirby, aptly titled Yawn Studios.

                      Aviary is an epic journey through what Julia Holter describes as “the cacophony of the mind in a melting world.” It’s the Los Angeles composer’s most breathtakingly expansive album yet, full of startling turns and dazzling instrumental arrangements. The follow-up to her critically acclaimed 2015 record, Have You in My Wilderness, it takes as its starting point a line from a 2009 short story by writer Etel Adnan: "I found myself in an aviary full of shrieking birds." It’s a scenario that sounds straight out of a horror movie, but it’s also a pretty good metaphor for life in 2018, with its endless onslaught of political scandals, freakish natural disasters, and voices shouting their desires and resentments into the void.

                      “Amidst all the internal and external babble we experience daily, it's hard to find one's foundation,” says Holter. “I think this album is reflecting that feeling of cacophony and how one responds to it as a person - how one behaves, how one looks for love, for solace. Maybe it’s a matter of listening to and gathering the seeming madness, of forming something out of it and envisioning a future.”

                      “In a lot of the songs, when I mention love, it’s about a seeking for compassion and humility in a world where it feels like empathy is always being tested,” Holter says. In Aviary’s case, that search for sweetness - that bridging of the gulf - becomes a metaphor for the creative process itself, cutting through the hierarchies of history, language, and musical form to offer something more fluid, more inclusive, more idiosyncratic.

                      Aviary combines Holter’s slyly theatrical vocals and Blade Runner-inspired synth work with an enveloping palette of strings and percussion that reveals itself, and the boundless scope of her vision, over the course of fifteen songs.

                      STAFF COMMENTS

                      Barry says: Since her 2015 album, 'Have You In My Wilderness' (voted our #1 album of 2015) Holter has gone from strength to strength. Treading a similar path to her more recent forays into arty ambience and brittle electronics, 'Aviary' is an epic of Holter's mesmerising vocal talent, backed with an absorbing and progressive instrumental backdrop.

                      FORMAT INFORMATION

                      2xColoured LP Info: Indies exclusive clear vinyl.

                      Co-produced by Joel Ford (Ford & Lopatin, Airbird), this record plays as a single continuous piece of 21st century psychedelic music and features Krell’s most bewitching sound experimentation to date. Moreover, the stories Krell sings on this record – some biographical, many from the most knotted corners of human life – are deeply personal and human(e). The Anteroom - with its blizzardous electronic noise, fragile melodies and poignant poetry - reclaims the experimental core of the HTDW project.

                      FORMAT INFORMATION

                      CD Info: Jewel case, 12-page booklet.

                      The songs of Will Oldham have been written most often for the aliases of Palace or Bonny. Their identities, kept necessarily separate from Will's, the songs were written to create a singular encounter, to be shared among those who choose to listen. Songs of Love and Horror is a rare entry in this ouvre: a Will Oldham album, with the writer taking a turn as singer. As befits the nature of this project, the songs are sung and played by Will alone, in a setting enjoyed by fans of his music - that of one voice and one guitar, the better to savor the spare changes and starkly-cut lyrics, operating in quiet tension and ultimate collaboration. Will brings to the songs all that he has learned from his stage-crafting fellows over the years, singing new versions that quiver like fresh young things in the air of today.

                      Autumn 2018 sees the release of a celebrated lyrics archive that has been growing for over 25 years in the form of a book- the words to the songs sung by Bonnie 'Prince' Billy and Palace Music, written by Will Oldham. The book, to be released by W.W. Norton, is titled Songs of Love and Horror, the same as this album and can be seen as a companion piece. Both celebrate not one legacy, but rather a confluence of them, flowing in the stream towards an unknown and often unknowing future, with the hope that these notes in a bottle ever pass on through.

                      Produced in its entirety by Marshall, Wanderer includes appearances by long-time friends and compatriots, as well as guest vocals courtesy of friend and recent tour-mate Lana Del Rey. Written and recorded in Miami and Los Angeles over the course of the last few years, the new album Wanderer is a remarkable return from an iconic American voice.

                      Wanderer’s 11 tracks encompass “my journey so far,” says Marshall. “The course my life has taken in this journey - going from town to town, with my guitar, telling my tale; with reverence to the people who did this generations before me. Folk singers, blues singers, and everything in between. They were all wanderers, and I am lucky to be among them.”

                      STAFF COMMENTS

                      Barry says: A beautifully produced, bittersweet collection of twinkling guitars, acoustic percussives and Marshall's unmistakable vocal stylings. Brimming with low-key country influences, rhythmic momentum and enchanting, hypnotic drive. Quintessentially Cat Power, superb.

                      FORMAT INFORMATION

                      Coloured LP Info: Indies exclusive clear vinyl.

                      Villagers

                      The Art Of Pretending To Swim

                      Always restless and inventive while always true to the power and glory of song-writing and melody, Conor O’Brien has made another great leap forward with Villagers’ fourth studio album, The Art Of Pretending To Swim, released by Domino on Friday 21st September.

                      Following the exquisitely sparse, intimate aura of 2015’s Darling Arithmetic, O’Brien’s new record reconnects with the multi-faceted approach of Villagers’ 2010 album debut Becoming A Jackal and 2013’s {Awayland} while adding a new-found soulfulness, rhythmic nous and dazzling panoply of sonic detail, both analogue and digital, creating feverish moods while writing effortlessly accessible tunes. Balanced with subtle aspects and lyrical themes that embrace existential fears and hopes in this desperate, technologically-centred dystopian age, The Art Of Pretending To Swim is the most brilliantly realised Villagers album to date.

                      STAFF COMMENTS

                      Barry says: Beautifully played acoustic guitars, bolstered with tender electronic flourishes and a driving percussive backline, Villagers perfectly mix the appeal of melodic indie with the silken, shimmering swagger of synth pop to great effect. Beautiful stuff.

                      Bob Moses

                      Battle Lines

                        ‘Battle Lines’, the new album from Grammywinning duo Bob Moses, is set for release on Domino.

                        ‘Battle Lines’ follows the band’s acclaimed debut album, ‘Days Gone By’, which featured their worldwide hit ‘Tearing Me Up’. The band recorded the new album in Los Angeles’ Laurel Canyon, after writing and testing out new material on the road. Inspired by their time playing raves and rock clubs all over the globe since the release of ‘Days Gone By’, Battle Lines takes a harder look at the world in which they find themselves.

                        FORMAT INFORMATION

                        2xColoured LP Info: Indies exclusive transparent vinyl.

                        Hunter, the third album from Anna Calvi, is the embodiment of the feeling of truly letting go. For the art-rock singer-songwriter it was a catharsis, and an opportunity to be more truthful than she ever had been been before. Revered in the British music industry since she emerged in 2011 (BRIT Award and twice Mercury Prize nominated), she has teamed up with esteemed producer Nick Launay (Nick Cave, Grinderman), Adrian Utley (Portishead) and Martyn Casey (The Bad Seeds) to bring this galvanising record to life.

                        Hunter is an album of visceral guitars and vocals, exploring sexualityand breaking the laws of gender conformity. Passionate subject matter calls for passionate delivery, and on Hunter, Calvi pushes the limits of her guitar and her voice beyond anything she’s recorded before. It was important to Calvi that the record was as vulnerable as it is strong; as beautiful as it is ugly. To be the hunter and the hunted.


                        STAFF COMMENTS

                        Barry says: Calvi is at once arresting and mesmerising, mixing evocative gothic symphonics and soaring melodic waves with a brittle undercurrent, flipping from shimmering synth pop to dark bubbling ambient in the blink of an eye. As immediately appreciable musically as it is conceptually exceptional.

                        FORMAT INFORMATION

                        Coloured LP Info: Red coloured heavyweight 180 gram vinyl.

                        Coloured LP includes MP3 Download Code.

                        Tangerine Reef is a full-length audio-visual album by Animal Collective (Avey Tare, Deakin and Geologist), in collaboration with Coral Morphologic, to commemorate the 2018 International Year of the Reef. Tangerine Reef is a visual tone poem consisting of time-lapse and slow pans across surreal aqua-scapes of naturally fluorescent coral and cameos by alien-like reef creatures (note: no CGI or artificial enhancement was used in this film). Tangerine Reef is the sight and sound of a literal underwater collective of animals.

                        STAFF COMMENTS

                        Barry says: Another brilliantly off-piste outing from Animal Collective. Scattered percussion, haunting shadowy vocals and that effervescent duality of low-fi production values and hi-fi songwriting make this yet another stormer from the AC camp.

                        FORMAT INFORMATION

                        Coloured LP Info: Heavyweight green vinyl.

                        2xLP Info: Heavyweight black vinyl.

                        Following her acclaimed EPs released on Greco-Roman, new album Devotion positions Londonbased Tirzah as a unique contemporary soul voice on an innovative modern British RnB record. Delivering what feels like a landmark debut LP, the 11-songs across Devotion are an intimate collection of downtempo love-songs laced with romance and lust, melancholy and desire.

                        The album was conceived and written with long-term collaborator, Mica Levi who handles the music and production across the whole album, Tirzah providing vocals, melody & lyrics. Additional vocals & lyrics are provided by Coby Sey on stand out track, ‘Devotion’. The album was mixed by Mica & Kwes.

                        Dirty Projectors’ new album ‘Lamp Lit Prose’ is produced by Dave Longstreth at his studio Ivo Shandor in Los Angeles.

                        The album features guest appearances from Syd, Empress Of, Amber Mark, Haim, Rostam, Robin Pecknold and Dear Nora, as well as longtime Dirty Projectors rhythm section Nat Baldwin and Mike Johnson.

                        ‘Lamp Lit Prose’ arrives just over a year after 2017’s self-titled ‘Dirty Projectors’. Here Longstreth’s band returns with a new album that is the yang to the yin of the 2017 effort. The songs signal a page turned for Longstreth: hope instead of heartbreak, a restorative balance. Guitars have returned to the Dirty Projectors’ world, intricate vocal harmony too. ‘Lamp Lit Prose’ is a recommitment to the sounds and ideals of Dirty Projectors, embracing the band’s trademarks while pushing forward the sonic envelope.

                        STAFF COMMENTS

                        Andy says: Luminous, dislocated, lushly produced warm vibes pervade on this gorgeous new record. Ace!

                        FORMAT INFORMATION

                        Coloured LP Info: Limited edition 180 gram coloured vinyl.

                        Coloured LP includes MP3 Download Code.

                        Sorry

                        Showgirl / Twinkle

                          Sorry are back with a new 7”, following their previous 7” singles, ‘Wished’ / ‘Lies’ from last year and ‘2 Down 2 Dance’ earlier in the year.

                          The ferocious ‘Showgirl’ is the third and last instalment of the band's early singles period, produced by Frank Ocean and James Blake collaborator Sean Oakley, who also helmed the band’s 2017 debut single, ‘Lies’.

                          The band recently toured the UK with Sunflower Bean.

                          Listed among the Dazed ‘100 for 2018’.

                          “Fuzzed out guitars and production with a lo-fi edge, it's an off kilter return that recalls everyone from Pavement to The Fall's chart flirtation” – Clash.

                          “A top-drawer shame spiral from a great new English altrock band. Lead singer Asha Lorenz moans about falling to pieces, and the guitars pull her hard into the emo deep” - Rolling Stone.

                          Melody’s Echo Chamber’s second album finally arrives more than five years after Melody Prochet’s debut, and it’s certainly been worth the wait. Bon Voyage is a mind-blowing mini-opus full to the gunwales with surprises. It’s a capricious trip that builds majestically upon what Pitchfork in 2012 called “enchanting, psychedelic-tinged pop with just the right amount of thematic darkness”. Made up of seven expansive new tracks, it marries Melody’s breathless soprano to the wildest sonic excursions, always pinned to an emphatic, clattering groove.

                          STAFF COMMENTS

                          Barry says: Brilliantly effervescent indie-pop from MEC, sporting chunky melodic riffage, bright soaring solos and stunningly perfect production. Amazing stuff.

                          FORMAT INFORMATION

                          Coloured LP Info: Heavyweight violet 180g vinyl, comes with bonus phenakistiscope insert.

                          Protomartyr's ‘Consolation EP’, was recorded in part with friend Kelley Deal of The Breeders.

                          The release features four brand new tracks, delivered in their usual brusque uncompromising style, and follows last year’s superb ‘Relatives In Descent’ album.

                          STAFF COMMENTS

                          Barry says: Protomartyr are one of those bands that elicit a chorus of head-nods and a flurry of 'Who is this?' from anyone near enough to hear, and this EP will surely be no different. A Galloping and driven EP, led by Joe Casey's unmistakeable snarl, and buoyed by the perfectly precise and ferocious instrumental backing. A great vision for the future.

                          FORMAT INFORMATION

                          Coloured LP Info: Indies exclusive on yellow
                          vinyl with 4 page booklet and digital download code.

                          Flasher

                          Constant Image

                            Washington, DC trio Flasher release their debut album, ‘Constant Image’, via Domino.

                            Recorded in 2017 at Rare Book Room in Brooklyn, NY, ‘Constant Image’ was produced by Nicolas Vernhes (Animal Collective, Deerhunter, The War On Drugs) and crackles with invention. This isn’t the sound of a band finding their feet, it’s the rare sound of three people - Taylor Mulitz on guitar, bassist Daniel Saperstein and drummer Emma Baker - who know exactly what they want to achieve from the start.

                            Their first release since 2013’s ‘AM’ finds the band intent on continuing to explore new musical terrain with each album. ‘Tranquility Base Hotel & Casino’ ups the ante in a big way; it is a bold and brilliant album reflecting Turner’s ever more comprehensive creative vision. 

                            Produced by James Ford and Alex Turner, the album was recorded in Los Angeles, Paris and London. 

                            STAFF COMMENTS

                            Andy says: Wow! After their biggest hit yet and looming world domination, t'Monkeys swerve left, then up, out and onto the astral plane! This blows up their template in style, and opens new possibilities for this inspirational band.

                            FORMAT INFORMATION

                            Coloured LP Info: Transparent heavyweight vinyl LP, with gatefold sleeve and a 16 page expanded lyrics and photo booklet. Comes with album download card.

                            LP Info: Heavyweight vinyl LP with gatefold sleeve, 4 page booklet and album download card.

                            Alexis Taylor releases a new album on Domino. It is a very new, very individualist and – yes – very beautiful reflection of a life that's changed immeasurably since Alexis first started out in music. This is a musician, writer and singer who has carved his own unique path through the music of the 21st century, completely avoiding getting trapped along the way in dumb oppositions of pop vs avant-garde, dancefloor vs intellect, retro vs modernist and so on. He has worked with living legends from major pop stars to free improvisors in the furthest left field, played huge arenas and tiny clubs without ever privileging one over the other, and through all of it, never stopped listening and learning. All of this accumulated experience is put to work on Beautiful Thing in pursuit of something subtle and elusive but ultimately quite profound and beautifully human. Taylor’s fourth album also represents the first time Alexis has made a solo album with a producer, that producer being Tim Goldsworthy, co-founder of Mo Wax and DFA Recordings and member of UNKLE.

                            The record is a bold and confident step forward for Alexis both sonically and in terms of his songwriting abilities. It has electronic thrills, dark spaces, memories of dancefloors, heartfelt writing; it's composed, it's improvised, it's accidental, it's strange, but it's also very immediate. It is a beautiful thing itself: a moving, modern and unique sounding long-player, to get lost in on repeated deep listens.

                            FORMAT INFORMATION

                            2xColoured LP Info: Heavyweight orange vinyl.

                            Bonny sings Susanna, to simply try and save the world. Sonata Dwarf Mix Cosmos is an old companion of his and with the Chijimi house band +1 they bring it all back home again, this time to the space in Bonny’s place.

                            “As other practitioners are leaving the room in favor of novel forms of recording and distro and consumption, we are left with a virtual PALACE, fantastical and real structures and practices. Like we are allowed into the museum at night. We can make a great essentially live record with great songs and great players because nobody else is? ‘Wolf Of The Cosmos’... is about, as much as anything, direct engagement with recorded music. So step right up to the replicant.” - Bonnie ‘Prince’ Billy

                            Bonnie ‘Prince’ Billy is joined by musicians Emmet Kelly (bass guitar, voice, acoustic guitar), Cheyenne Mize (violin, slide ukulele, voice), Chris Rodahaffer (banjo, voice, acoustic guitar) and Elsa Madeline Oldham (juice harp).

                            “‘Wolf Of The Cosmos’ is a wonderful obsessive trip into the mind of one of the most important living singers” - Country Music

                            STAFF COMMENTS

                            Barry says: Beautifully emotive country-tinged plucks, BPB's unmistakable voice and softly pulled strings make for an enchanting an absorbing journey. Yet more evidence of the unwavering excellence of one of today's most successful singer-songwriters. Brilliantly fresh, but comfortable and familiar.

                            Self-produced, written and recorded in the east London house-stroke-studio-stroke band HQ they all share together (imagine a squat version of the Brill Building, or a lo-fi, DIY take on Max Martin’s Cheiron studio), Superorganism is a spectacularly confident debut record that beams with a sense of wonky fun, a kaleidoscopic riot of sound and visuals. Influenced by the world-building depth of artists like Devo, Beck and The Avalanches, Superoganism soundtracks the band’s rapid trajectory from shared house side project to global audiovisual powerhouse and features previous singles ‘Something For Your M.I.N.D.’ and ‘It’s All Good / Nobody Cares’ as well as their brand single ‘Everybody Wants To Be Famous’.

                            STAFF COMMENTS

                            Barry says: Brilliantly quirky oddball pop, twee synthy pads and glitched indie come together into this flourescent explosion of melodic power. Unforgettable and a truly exciting concept for the future.

                            The Kills

                            List Of Demands (Reparations)

                              7" single from The Kills, featuring two covers, one is the powerful classic List Of Demands from Saul Williams alongside the reggae classic Steppin' Razor by Josh Higgs, Peter Tosh & The Wailers.

                              FORMAT INFORMATION

                              Ltd 7" Info: Just found a couple of copies of this!

                              Nothing short of a rebirth, the album’s 10 songs are a triumphant recasting of the group, bursting with fresh ideas and vigorous sonic experimentation. 

                              ‘Always Ascending’ was recorded at RAK Studios, London and Motorbass in Paris, with the help of French producer extraordinaire Philippe Zdar (Cassius, Phoenix, The Beastie Boys), the mutual affection between band and producer seeping into every dazzling groove. ‘Always Ascending’ shows Franz Ferdinand broadening their palate, as exuberant as it is euphoric, creating a sound that singer, Alex Kapranos, refers to as “simultaneously futuristic and naturalistic.”

                              STAFF COMMENTS

                              Barry says: Franz Ferdinand always stood out from the considerable crowd of potential soundalikes with their jagged brand of majestic indie-pop, relying heavily on split-second key changes and snappy, fuzzy riffage. You'll be delighted to know that this one is no less outstanding, a thoroughly excellent return.

                              Microshift is the Leeds band's first new work in over 3 years and marks a seismic shift in their sound, dynamic, songwriting and production, whilst still bearing all the ferocious energy, intricate musicianship and bruised but beautiful song-craft of the previous releases which have quietly made them one of the UK's most revered young bands.

                              This is the band's third studio album technically but arguably the first in which the studio has been central to its creation. Pearl Mystic and second LP, The Hum were heavily informed by the band's live sound, Microshift on the other hand came to life in the studio, formed out of loops, modular synthesizer sequences, drum machines, homemade samples etc. which were jammed around and layered until the songs began to emerge. The band have also opened their writing to include collaborations with artists such as Richard Formby (on Opener), Christopher Duffin (on Boxing Day) and Alice Merida Richards (on Each Time We Pass).

                              Radiant, immersive and teeming with light, but still heavy and forceful - the music on Microshift acts as a very deliberate counter to some of the difficult topics the album's lyrics address. Death, disease, heartbreak, body image and even natural disaster are all present here but the overall effect these songs achieve is euphoric catharsis.

                              The album was written and recorded in full following a complete rebuild of the band’s Suburban Home Studio after the River Aire floods in Leeds in the winter of 2015 which devastated the studio. The band had an incredible response to a GoFundMe campaign and the subsequent help of volunteers over several months to rebuild the studio from nothing is a huge part of the band’s continued existence. Striving through the toughness, it is perhaps no surprise that the record is one of both defiance and darkness. “All of our records are to an extent about mental health,” comments MJ. “Largely this is an album about loss but also about maturing, accepting your flaws and the transience of intimacy”.

                              Hookworms are MJ, MB, JW, JN & EO.


                              STAFF COMMENTS

                              Darryl says: A brilliantly dynamic mix of psychedelic guitars, determined vocal swathes and soaring cosmic synth swells. As fascinating and direct an outing as The Hum, but refined through a good few years of working on their sound. Superb.

                              FORMAT INFORMATION

                              Indies Exclusive LP Info: JUST FOUND ONE COPY OF THIS!
                              Indies only deluxe edition with a printed PVC outer sleeve.
                              Black 180g heavyweight vinyl.
                              Printed inner sleeve.

                              LP Info: Black 180g heavyweight vinyl.
                              Printed inner sleeve.
                              Download card.

                              CD Info: CD in spined “mini LP” wallet with printed inner sleeve.

                              The Kills

                              Black Rooster EP

                                The Kills’ eponymous debut mini album ‘Black Rooster’, originally released in 2002, has been reissued for the first time.

                                The mini album was recorded on an 8-track at Toe Rag Studios by Liam Watson, except ‘Dropout Boogie’ which was recorded during a live performance at Paint It Black.


                                FORMAT INFORMATION

                                10" Info: Indies red vinyl.

                                Dan Deacon

                                Rat Film: Original Motion Picture Soundtrack

                                  Domino Soundtracks are proud to present their first release, an original soundtrack recording from Dan Deacon of the provocative essay-film ‘Rat Film’, to be released in October 2017.

                                  ‘Rat Film’ marks Deacon’s first full record devoted to modern composition. In between his four ecstatic electronic-pop albums, Deacon has frequently flexed the 21st Century classical muscles he first developed studying at SUNY Purchase’s Conservatory Of Music.

                                  ‘Rat Film’ offers the first recorded document of this parallel career - and both as a self-contained album and a companion piece to an equally potent film, it astounds.

                                  “The aesthetic audacity alone is intriguing; combined with Maureen Jones’s icily robotic narration and Dan Deacon’s eerie electronic score, the effect is somewhere between confounding and mesmerizing.” - New York Times

                                  “‘Rat Film’, in other words, is not your typical documentary, and its mesmerizing electronica score by Dan Deacon - full of whirring, bleeping and blipping, cacophonous noise, and ominous tonal swells - only enhances its eccentricity.” - The Daily Beast

                                  FORMAT INFORMATION

                                  Coloured LP Info: Available to independent retailers on ‘rat hair’
                                  coloured vinyl.

                                  Anxiety about the precarious nature of reality is a recurring thread on Protomartyr's 4th full-length and Domino debut, Relatives In Descent. Though not a concept album, it presents twelve variations on a theme: the unknowable nature of truth, and the existential dread that often accompanies that unknowing. It's no coincidence this missive comes to us at a moment when disinformation and garbled newspeak have become a daily reality. “I used to think that truth was something that existed, that there were certain shared truths, like beauty,” says Protomartyr singer Joe Casey. “Now that’s being eroded. People have never been more skeptical, and there’s no shared reality. Maybe there never was.”

                                  Relatives In Descent offers new layers and new insights, without sanding any of the edges born from their days as a Detroit bar band. Greg Ahee’s guitar still crackles and spits electricity. Casey's voice continues to shift naturally between dead-eyed croon and fevered bark. Drummer Alex Leonard and bassist Scott Davidson remain sharp and propulsive, a rhythm section that’s as agile as it is adventurous. But this is also Protomartyr at their most impressive. After months of rehearsal, the band decamped to Los Angeles for two weeks in March of 2017, to record with Sonny DiPerri (Animal Collective, Dirty Projectors), who co-produced the record and helped capture the band’s long-simmering vision for something more complex, but no less visceral.

                                  It all begins with ‘A Private Understanding,’ pegged as the album's opening statement the second it was finished, and a wellspring from which the following eleven songs flow. At once beautiful and brutal, it mutates from drum-led oddity to unlikely anthem, with some of Casey’s most potent lyrical work at its centre: “Sorrow's the wind blowing through/Truth is hiding in the wire.”


                                  FORMAT INFORMATION

                                  LP Info: Standard vinyl LP (includes fold-out poster, zine insert featuring lyrics & original illustrations, and download code).

                                  Lal And Mike Waterson

                                  Bright Phoebus

                                  Bright Phoebus, Lal and Mike Waterson’s 1972 folk-noir masterpiece, has long been recognised as one of British music's legendary lost records. Following the parting of ways of The Watersons and freed from the strictures of folk orthodoxy, Lal and Mike Waterson’s love of words allowed them to serve the needs of their songs in ways that weren’t possible when singing already written songs.

                                  Featuring performances from Lal, Mike and Norma Waterson, Martin Carthy, Richard Thompson, Ashley Hutchings, Dave Mattacks, Tim Hart and Maddy Prior, amongst others, the album is now recognised as a forward-thinking benchmark for the genre. Fans include Arcade Fire, Stephen Malkmus, Billy Bragg, Jarvis Cocker, Richard Hawley – the latter two performed the record themselves in 2013 on the Bright Phoebus Revisited tour.

                                  The origins of Bright Phoebus started in 1971, only a few years after the split of The Watersons whose three albums had a profound effect on the folk world. Following the split, and independently of each other, Mike and Lal had started writing their own songs; after Lal moved back to Hull; they started to cultivate these ideas together.

                                  Not long after, Martin Carthy was visiting for a show, "We did Hull Art School or something, and then the next morning we went round to visit Lal, and she had all these songs. We sat there listening to them and… now, I knew Lal wrote songs but I had never heard any of them prior to this point. It was extraordinary.” Convinced that these songs needed to be heard by the wider world, Martin alerted Steeleye Span bandmate and former Fairport Convention bassist Ashley Hutchings to their existence. “I was instantly in tune with what I heard,” remembered Ashley, “I found an empathy with the songs, and I really would have fought off anyone to play bass on them.”

                                  Ashley got to work; he contacted Bill Leader and set the whole thing up, along with Richard Thompson and Martin Carthy. All Lal and Mike Waterson had to do was allow themselves to be swept along by the collective will of everyone who had either heard or heard about their songs. And when, at the very end of 1971, it emerged that a homesick Norma Waterson would be returning to join them, the heavens looked to be aligning as never before.

                                  Recorded in a week in the basement of Cecil Sharp House, Mike recalled “Lal and I dreamed our way through the recordings. It was magic.” Marry, who was eight at the time, remembered her father George describing the sessions as “a great big party”, people just wandered in. Tim Hart and Maddy Prior are on a few tracks because they happened to walk through the door, so they were lassoed in to do some vocals. One poor sod came in to deliver a package and we said, ‘Right! You’re in! And we stuck some words in front of him and put him in the chorus! He sang away, thank you very much, and then he left!’”

                                  Despite the anticipation for a new ‘Watersons’ record, the release of Bright Phoebus was viewed with suspicion from the conservative folk community and shortly after, Bill Leader’s company went bankrupt and the initial pressing of 2000 LPS soon fell out of print. Since then, the album has become legend, its scarcity not hindering generations of music fans falling for its beguiling atmosphere. Sadly Lal – who passed away from lung cancer in 1998 - never got to see Bright Phoebus receive a full re-evaluation. Mike Waterson did, at least, get to enjoy some of backdated acclaim before his death in 2011. But he remained dogged in his belief that none of that mattered. “You do what you do,” he insisted. “And nothing is right to them, and everything’s right to you. Who are you making the record for? *You.* If fans like your record, then wonderful. If they don’t, well you’ve made it anyway. Because you love the songs.”

                                  ‘Eucalyptus’ is the new studio album written and produced by Animal Collective’s Avey Tare.

                                  Recommended listening for dawn or dusk. An electroacoustic movement through leaves, rocks and dust. Written on sunlit bedroom afternoons in Los Angeles, practiced in the dark early hours of the California twilight and slept on under Big Sur skies.

                                  Recorded by Animal Collective’s Deakin (Josh Dibb), featuring chamber orchestration arranged by Eyvind Kang, musicians Angel Deradoorian and Jessika Kenney.

                                  Peter Perrett, whose incisive songcraft and sardonic drawl made him one of the most distinctive voices of the Seventies, hasn’t released any music for 20 years. Bearing in mind his most famous song began “I always flirt with death” (‘Another Girl, Another Planet’), this is one comeback that nobody saw coming.

                                  Backed by his sons - Jamie and Peter Jr. on lead guitar and bass respectively - and produced by Chris Kimsey (The Rolling Stones), Peter’s intuitive feel for words; his flair for idiosyncratic metaphors and his deadpan wit are all still as sharp as ever.

                                  Royal Trux "Live"

                                  Platinum Tips & Ice Cream

                                    ‘Platinum Tips + Ice Cream’ is new from Royal Trux.

                                    The songs were written over a span of time as wide as eagle’s wings but the recordings are new, live, unrehearsed and were presented in real time to a few thousand people in California and NYC.

                                    Performance art? Yes! But only because, unlike so many other aural ‘content providers’, Neil Hagerty and Jennifer Herrema are true artists writing their own futures into the present. This was, and will always be, Royal Trux.

                                    (Sandy) Alex G

                                    Rocket

                                    Rocket is (Sandy) Alex G’s eighth full-length release—an assured statement that follows a slate of humble masterpieces, many of them self-recorded and self-released, stretching from 2010’s RACE to his 2015 Domino debut, Beach Music.

                                    Rocket’s sessions began shortly after Beach Music’s ended, with Alex tracking songs at home, by himself and with friends, in the gaps between a hectic 2015 and 2016 touring schedule (including working with Frank Ocean on Blonde).

                                    Rocket was mixed by Jacob Portrait (Unknown Mortal Orchestra, Bass Drum of Death), who also lent his hand to Beach Music, giving the album a fine-tuning that retains the homespun personality of earlier efforts.

                                    STAFF COMMENTS

                                    Barry says: Uplifting folky plucking, heart-wrenching fiddle work and those heart-melting vocals. It's not all smooth sailing though, with pieces like 'Brick' coming way out of leftfield, you have to hear it to believe it, but the range of talents on display here is mindblowing. Well worth your time.

                                    With ‘Best Troubador’, Bonnie ‘Prince’ Billy pays homage to a longtime and forever hero, the late Merle Haggard.

                                    A singer who, some 25 years previously, first performed in public by playing a Merle Haggard song, Bonny has often cited Merle’s work in performance, on records and in conversation with anyone who was around, even talking to Merle himself for Filter magazine in 2009.

                                    ‘Best Troubador’ flips through his song book, landing on pages unmoored from their time and located anew. Moving from 1978 to 1969 to 2003 to 1981 allows the album to circle Haggard’s music in a simulation of thought and memory, slipping around from spot to spot as if they were discrete impressions, unknown but knowable yet.

                                    STAFF COMMENTS

                                    Barry says: Superbly uplifting plucked guitars, swooning woodwind and Mr. Billy's sweet but serious vocal delivery. It's a wonder that there could be any more gold flowing from this supremely talented songwriter, yet it continues. Touching, beautiful and sublime.

                                    FORMAT INFORMATION

                                    2xLP Info: Double LP includes bumper sticker and digital download code.

                                    South London trio Little Cub release their debut album, ‘Still Life’, on Domino Recordings.

                                    Marrying a wry, worldly and subversive form of diarist lyricism with sumptuously evocative electronic production, ‘Still Life’ announces the arrival of a band at once deeply in tune with the greatest traditions of progressive, homespun British pop music and at odds with the increasingly vacuous pop culture they are born into.

                                    FORMAT INFORMATION

                                    LP includes MP3 Download Code.

                                    On In Mind, the fourth full-length record from Real Estate, the band fine-tunes the winsome songwriting and profound earnestness that made previous albums - 2009’s Real Estate, 2011’s Days, and 2014’s Atlas - so beloved. Recorded in Los Angeles with producer Cole M. Greif-Neill (Julia Holter, Beck), In Mind delivers the same kind of warmth and soft-focus narratives that one has come to expect from the band - pastoral guitars, elegantly deployed arrangements, a sort of mindful melancholy - but there is also a newly adventurous sonic edge to the proceedings.

                                    It offers a mild shifting of the gears, positing a band engaged in the push/pull of burgeoning adulthood. Reflecting a change in lineup, changes in geography, and a general desire to move forward without looking back, the record casts the band in a new light - one that replaces the wistful ennui of teenage suburbia with an equally complicated adult version.

                                    STAFF COMMENTS

                                    Andy says: One of Piccadilly Records' favourite janglers return with another swooningly resigned ache-a-thon, this time with added quirk and expanded dynamism thanks to the addition of the splendid Julian Lynch on lead guitar.

                                    Featuring the original line-up of Howard Devoto (vocals & songwriter), Pete Shelley (guitar & songwriter), Steve Diggle (bass guitar) and John Maher (drums), ‘Time’s Up’ was recorded at Revolution Studios, Bramhall Lane Stockport on the 18th of October 1976. The session, recording Buzzcocks’ live set at the time and was engineered by Andy MacPherson.

                                    The new Dirty Projectors song ‘Up In Hudson’ is an elegy — to the Obama years, to a generation of indie rock, and to a relationship. Over the course of nine verses and almost eight minutes, the lyrics situate David Longstreth & his band in the vivid textures of the recent past like a millennial Blood On The Tracks. It is a piece of epic storytelling unlike anything else in Dirty Projectors’ discography. 

                                    To arrive where we began and know the place for the first time: ‘Up In Hudson’ is an origin story for a new chapter of Dirty Projectors. 

                                    And with it, Dirty Projectors announce their long-awaited 7th LP. 

                                    The new album does everything we want and expect from Dirty Projectors — but in a way we never could have imagined or anticipated. In a career of surprising conceptual gambits, unexpected stylistic evolutions, and continually changing lineups — this is, as DJ Khaled says, “ANOTHER ONE”!

                                    STAFF COMMENTS

                                    Barry says: Soulful beats, driven choruses and synthy breakdowns clash headfirst with soaring melodies, rapidly flicking from glitchy meltdowns into beautifully formed jazzy flourishes and silken harmonies. Brilliantly written and constantly evolving, a true gem.

                                    FORMAT INFORMATION

                                    Indies Exclusive LP Info: The deluxe features the album on 150g clear with black smoke double LP, housed in a wide spine jacket with a 16-page 11x11 libretto, and an etched D side.

                                    Pavement

                                    Westing (By Musket And Sextant)

                                      This is a compilation of Pavement's early singles and rarities, that shows the band growing from the initial "Slay Tracks" EP through the singles and EP's from their first two albums.

                                      The return of Shirley Collins after a 38 year silence. ‘Lodestar’ is a collection of English, American and Cajun songs dating from the 16th Century to the 1950s, recorded at Shirley’s home in Lewes by Stephen Thrower and Ossian Brown of Cyclobe and produced and musically directed by Ian Kearey.

                                      Though Shirley Collins (MBE) has been absent from the music scene for many years, her impact has not diminished. The likes of Graham Coxon, Jonny Greenwood, Stewart Lee and Angel Olsen laud her and a documentary, ‘The Ballad Of Shirley Collins’, is currently in progress. Additionally, she was given the Good Tradition award at the BBC Radio 2 Folk Awards in 2008, elected President of the English Folk Dance & Song Society in the same year and was awarded an Honorary Doctorate in Music from Sussex University this year. Shirley released her first memoir, ‘America Over The Water’, in 2004 and is currently working on her second book.

                                      “Shirley is a time traveller, a conduit for essential human aches, one of the greatest artists who ever lived, and yet utterly humble” - Stewart Lee.

                                      FORMAT INFORMATION

                                      CD Info: The CD comes in a capacity wallet with a 28 page booklet containing a full and extended essay by Stewart Lee, with notes and annotations from Shirley Collins. This edition will be for first press only before reverting to a standard jewel case format.

                                      On turning 60, legendary producer Clive Langer decided it was time to get a band together.

                                      Recorded at Iguana Studio in Brixton with musician mates and long-time cohorts (including Suggs and Roxy Music’s Andy Mackay), ‘Practice’ is jagged, melodious, ingenious, impulsive and exhilarating.

                                      Driven by a frantic and restless energy, ‘Practice’ is exactly the kind of record you’d hope someone would make if they woke up aged 60 thinking, “Sod it, I’m going to start a rock & roll band.”

                                      FORMAT INFORMATION

                                      LP includes MP3 Download Code.

                                      King Creosote

                                      Astronaut Meets Appleman

                                      King Creosote, one of our most beloved voices, returns with his new record Astronaut Meets Appleman. It explores the tension and harmony between tradition and technology – between analogue and digital philosophies – and also invokes a feeling, King Creosote (otherwise known as Fife’s Kenny Anderson) says, of “being caught between heaven and earth”.

                                      Album opener ‘You Just Want’ is a seven-minute piece of hymnal drone-pop, its touchstones are the art of patience, scenes of mild bondage and Venus (in Furs).

                                      Elsewhere on the record, ‘Melin Wynt’ is a lilting bagpipe-techno odyssey. KC explains “It’s an anti-wind turbine song, from a place called windmill. There are no windmills there.” This sense of place, disorientation and absence (in space, time, nature, hearts) underpins Astronaut Meets Appleman – most literally, perhaps, in the silence that unfolds amidst crestfallen lullaby ‘Rules of Engagement’. Or, as he intones on philharmonic lament 'Faux Call', “it's the silence that somehow says it all”.

                                      The KC idiom – equal parts geometry, self-deprecation, cosmic wonder and seafaring poetry – remains intact on the forthcoming album, as does his knack for a killer couplet (see drive-pop calypso ‘Love Life’: “Her jealous accusations know no bounds / Scarlett Johansson was never in my house”). But there is a renewed sense of space and letting the music breathe (lead, even) on the album – all the better to showcase a stunning ensemble cast that includes Catriona McKay (harp), Mairearad Green (bagpipes), Gordon Maclean (double bass), Hannah Fisher (violin, vocals), Sorren Maclean (guitar, vocals) and Pete Harvey (cello), alongside KC's regular rock diviners, and his baby daughter Louie Wren (on ambient reverie, 'Peter Rabbit Tea').

                                      “I wanted to push myself songwriting-wise, so I went in with hardly anything and had to wing it,” KC reveals. “I wanted to try and flip the clock all the way back to sound like a younger me – or a less cynical me. In the past, I've been fixated on twisting and wrenching every line, but here I've let that go a bit, and I hope that lets you concentrate more on the music; on what’s going on around it.”

                                      “I always feel I’m reaching for something, but I never get there, I wanted to get out of the usual places” KC muses, and this is reflected in the album's geography, which is more far-flung than usual. It was variously recorded at Analogue Catalogue in Ireland's County Down, An Tobar on the Isle of Mull, and Glasgow's Chem19 studios (HQ of long-time ally Paul Savage, who co-produced the LP with KC).

                                      On Astronaut Meets Appleman, King Creosote is still upsetting apple-carts and dealing with the fallout, still appraising love and life, the moon, the stars; tide tables, bagpipe scores, zeros and ones; mathematics, ticking clocks and the beat of our hearts.

                                      STAFF COMMENTS

                                      Barry says: All of these pieces feel like they could be the song at the end of a movie we all end up Googling (Other search engines are available) to see what it is. This is beautiful heartfelt indie at it's very best, every swell of a bagpipe bringing the dream of a lost love, while the pull of a violin pulls at the heartstrings in equal measure. This is an ambitious album, full of seguing atmospheres and unusual instrumental phrases, but is meticulously crafted throughout, and successful in every way.

                                      Andy says: We're all big fans of the lovely Kenny (played in our shop once!) but I never would have thought he'd be releasing his best ever album, after all these years. The usual subtle blend of Scottish instrumentation is married to basically the catchiest set of tunes he has ever done. A lovely surprise and probably one of my albums of the year so far.

                                      ‘Bugger Me’ is Sam Coomes’ first ever solo album. Coomes is probably best known as half of the long-running underground pop duo Quasi, the other half being Janet Weiss, herself better known as the drummer for Sleater-Kinney.

                                      ‘Bugger Me’ is, in Coome’s own words, “Suicide meets The Beach Boys. Not the sophisticated ‘Pet Sounds’ Beach Boys, but more like ‘Surfer Girl’ stuff. More conscious reference points were Chris Montez or Timmy Thomas.”

                                      All formats include a 16-page black and white booklet.

                                      PICCADILLY EXCLUSIVE: PRE-ORDER THE ALBUM AND ENTER A DRAW TO WIN A 100cmx100cm PROMOTIONAL FABRIC DISPLAY BANNER – ONLY 1 IN THE WORLD!!!

                                      Where 2014's Present Tense album found Wild Beasts in reflective mood, absorbing a fascination with online culture and electronic music, Boy King has them, as Tom Fleming puts it, "back to being pissed off". The quartet’s ever-present knack for sensual melody via Hayden Thorpe and Fleming's dueting vocals, Ben Little's sinuous guitar groove and Chris Talbot's potent rhythm section carries in Boy King an aggressive, snarling and priapic beast that delves into the darker side of masculinity and Thorpe's own psyche. As Hayden himself says, "After five records there had to be an element of 'what the fuck?'".

                                      A newfound creative friction between Thorpe and Fleming proved key to unleashing the unique pop sensibility of Boy King - Fleming’s more visceral experimentation unlocking new dimensions in Thorpe’s own writing. After spending a whole year finessing this new found impetus in East London, the band emerged with a collection of songs ready to take to Dallas and producer John Congleton (St. Vincent, Swans, The War on Drugs). Both Thorpe and Fleming credit that trip to Dallas with teasing out the raw power of Boy King. In the studio, the band kept up the intensity of the office hour routine they'd employed during writing sessions and, they say, responded well to Congleton's sober discipline. "He made us get in there, get on and do it," Fleming says. "English politeness never featured."

                                      The raw pop of Boy King's songs are the perfect foil to Thorpe's libidinous lyricism: "it became apparent that that guitar almost became the character within the songs, that phallic character, the all-conquering male," he says. "I'm letting my inner Byron fully out, I thought I'd tucked him away, but he came screaming back like the Incredible Hulk." Here lies Boy King's greatest success. Between the slide of prowling aggression and interior darkness, there are glorious, gorgeous moments. It’s yet another incomparable Wild Beasts record; a visceral, sensual and jolting body of work that acts as a remarkable soundtrack to the early 21st century male malaise. Or as Thorpe puts it: "I think Boy King is an apocalyptic record. It's about swimming in the abyss. When you think about sex, you've got to think about death, they're one and the same.”


                                      STAFF COMMENTS

                                      Barry says: Wild beasts come back to the fore with this funky slab of wistful electronic indie, drenched in 90's reverb and synth stabs. This outing sees their minimal instrumental input accentuated by crystal-clear production values and thumping sub-bass drones. Indie for the dancefloor, satisfying and ethereally rousing. Top stuff.

                                      Cass McCombs

                                      Wit's End

                                        The most beautiful and stark of Cass McComb’s albums, ‘Wit’s End’ is a classic in a cannon of superlative songwriting.

                                        Respected by everyone from Vampire Weekend to Band Of Horses it’s time for you find out what all the fuss is about.

                                        STAFF COMMENTS

                                        Andy says: Sad songs say so much!

                                        FORMAT INFORMATION

                                        LP Info: Re-pressed and including download code.

                                        Matthew E White & Natalie Prass

                                        Cool Out

                                          THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                          ‘Cool Out’ stems from a spontaneous collaboration with fellow Richmond producer and Stones Throw recording artist DJ Harrison and features long-time friend and collaborator Natalie Prass on vocals.

                                          AA side ‘Maybe In The Night’ was recorded with White’s full live band in Dublin and mixed by esteemed producer Dan Carey in London.

                                          This song is an RSD exclusive and has never been heard before prior to this release.

                                          Limited to 600 copies.

                                          Higher Authorities is the new project from a duo of shadowy, psychedelic adventurers. 

                                          Their debut album, ‘Neptune’ is a collection of dub influenced, electronic explorations. 

                                          The album was produced by Higher Authorities alongside legendary producer Adrian Sherwood who handled mixing duties alongside additional production. 


                                          STAFF COMMENTS

                                          Barry says: Pulsing drug-tinged psychedelic synth anthems sit comfortaably alongside strained vocals and droning bass. Tripped-out wah-wahs and hammond organs form the backbone to this almost floydian adventure into the rabbit-hole. Astral and otherwordly pop gems.

                                          ‘Pennied Days’ is the second album from Minneapolisbased band Night Moves.

                                          Written and recorded by principle band members John Pelant and Micky Alfano and produced by John Agnello (Kurt Vile, Sonic Youth, The Walkmen), the album follows 2012’s ‘Colored Emotions’.

                                          The album feels warm with feeling, tinged with a deep appreciation for rock & roll’s most storied songwriters. Ranging from traditionalist heroes like Leon Russell and The Band to R&B originators Curtis Mayfield and Sly Stone to pre-punk experimentalists Suicide. It’s distinctly modern and a great leap forward from ‘Colored Emotions’.

                                          ‘Pennied Days’ was recorded following tours with Father John Misty, Lord Huron, Django Django and Polica.

                                          Flying Saucer Attack

                                          Distance

                                            Following last year’s re-emergence with ‘Instrumentals 2015’, three of Flying Saucer Attack’s most revered albums - ‘Chorus’ (1995), ‘Distance’ (1994) and ‘Further’ (1995) - are now reissued on Domino.

                                            All three albums are essential listening for those who are still capable of dreaming even as our dreams are co-opted and second guessed in a digital era which is revealing itself to be monstrously voracious and venal. ‘Chorus’, ‘Distance’ and ‘Further’ open up spaces in the mind where one may wander at will, with main man Dave Pearce’s excoriating feedback serving as a dream weapon designed to cleanse the grit from the mind’s eye. The melodies beyond the noise reassure us that it’s okay to take this route away from the superhighway and explore paths trodden only by a few, Pearce and collaborators included. This may be derided by some as escapism; rather it is parallelism. The search for alternatives, when the very term ‘alternative’ has been devalued beyond all recognition.

                                            ‘Potential’ is the new album from Brooklyn, NYbased musician James Hinton, aka The Range.

                                            ‘Potential’ uses as its backbone a series of vocal samples that Hinton has found in the forgotten corners of YouTube, introducing us to unknown artists expressing themselves unfettered by the constraints of industry, lost in the infinite potential of an audience unknown.

                                            A documentary about the people he has sampled, entitled ‘Superimpose’ and directed by Daniel Kauffman, will be released this spring.

                                            FORMAT INFORMATION

                                            LP includes MP3 Download Code.

                                            Flying Saucer Attack

                                            Chorus

                                            Following last year’s re-emergence with ‘Instrumentals 2015’, three of Flying Saucer Attack’s most revered albums - ‘Chorus’ (1995), ‘Distance’ (1994) and ‘Further’ (1995) - are now reissued on Domino.

                                            All three albums are essential listening for those who are still capable of dreaming even as our dreams are co-opted and second guessed in a digital era which is revealing itself to be monstrously voracious and venal. ‘Chorus’, ‘Distance’ and ‘Further’ open up spaces in the mind where one may wander at will, with main man Dave Pearce’s excoriating feedback serving as a dream weapon designed to cleanse the grit from the mind’s eye. The melodies beyond the noise reassure us that it’s okay to take this route away from the superhighway and explore paths trodden only by a few, Pearce and collaborators included. This may be derided by some as escapism; rather it is parallelism. The search for alternatives, when the very term ‘alternative’ has been devalued beyond all recognition.

                                            Animal Collective

                                            Painting With

                                            For fifteen years Animal Collective has been rewriting the musical map, their line-up and aesthetic shifting with each astonishing release as they continue their pursuit of a new psychedelia. Their wild path has taken them from cramped concrete basement shows and forest floor singalongs to immersive installations at the Guggenheim and performances to millions on national television. So where to from here?

                                            Dizzyingly upbeat and gloriously realized, their new LP bounces and pops with an urgent, ecstatic energy, propelled by polyrhythmic beats and gurgling modular synth, with Noah Lennox and Dave Portner’s vocals gleefully falling in and out of syncopation and off-kilter harmony.

                                            Working as a trio, Portner (Avey Tare), Lennox (Panda Bear) and Brian Weitz (Geologist) began trading demos in early 2015, pursuing a goal of what Portner calls “really short songs: no B.S, get in, get out material…” The three met up in Asheville during that Spring and began exploring the songs together. Recording took place in the legendary EastWest Studios in Hollywood, home to sessions by The Beach Boys and Marvin Gaye. The album features contributions from John Cale and Colin Stetson, and was engineered by Sonny DiPerri.

                                            The result: Painting With. Warm and personal, kaleidoscopic and high definition, concerned with art (cubism, Dadaism, and the distorted way those artists viewed the world) and the human experience, and the meeting of both - creating something elemental, joyous, and unmistakably Animal Collective.


                                            STAFF COMMENTS

                                            Barry says: From the very first moment, 'Painting With' grabs your attention through a mix of exuberant lyricism and vocal delivery, underpinned by frenetic psychedelic instrumentation. Part surf-psych, part art-pop, this is undoubtedly an Animal Collective record, and quite possibly the best one yet.

                                            Your Friend is Taryn Miller, who plays guitar, writes, sings the vocals and crafts loops. Taryn recorded ‘Gumption’ in New York with Nicolas Vernhes (Deerhunter, War On Drugs) at his Rare Book Room studio.

                                            The album builds on the ideas of Your Friend’s previous EP, ‘Jekyll/Hyde’ and since Taryn has toured with Courtney Barnett and play her first SXSW.

                                            FORMAT INFORMATION

                                            LP includes MP3 Download Code.

                                            Richard Dawson

                                            The Glass Trunk

                                              Originally released in 2013, ‘The Glass Trunk’ was triggered by a commission to respond to the local museum service’s archives. Dawson created an album largely from stories found in an old 17th Century scrapbook, including a lengthy paean to the sorry demise of community pillar Joe The Quilt-Maker and the much-loved yet equally, viscerally dark ‘Poor Old Horse’.

                                              Six acapella odes of between 4 and 13 minutes in length, plus a rendering of Mike Waterson’s ‘The Brisk Lad’, interspersed with a series of brief instrumental vignettes, Dawson’s guitar sparring with the electric harp of Rhodri Davies for strictly spontaneous 60-second blasts.

                                              This album paved the way for its successor, ‘Nothing Important’, that saw features on Richard from The Wire (cover feature), Mojo, Uncut, The Guardian, The Quietus and more, as well as several 5 star live reviews from The Guardian.

                                              FORMAT INFORMATION

                                              2xLP includes MP3 Download Code.

                                              “The biggest thing ever to happen to indie pop in America... Most of what's written about this band is all about that sweet pop and those childish affectations, but that misses the substance at the core: Their music was dark, damaged, full of fright and sex and death and vulnerability-- just like any real childhood...their hopscotch stories felt punker than Black Flag tattoos ever could.” - Nitsuh Abebe, Pitchfork

                                              Exploding the teenage underground into passionate revolt against the corporate ogre since 1983, Beat Happening formed at Evergreen College in Olympia, Washington by Calvin Johnson, Heather Lewis and Bret Lunsford. The band combined a modern primitive pop sound with the D.I.Y. ethos of ‘anyone can do it’ and inspired countless bands and labels along the way. The music community that arose around the band and their label, K, may have seemed the sonic antithesis of their Seattle neighbors (and friends) but was no less influential.

                                              The legend of Beat Happening, and of K, the label that Calvin Johnson founded, is full of big names they worked with before they were stars (Beck! Modest Mouse! The Gossip!), and big names they influenced (Kurt Cobain! Sleater-Kinney!) Less acknowledged, however, is that Bret Lunsford, Heather Lewis, and Calvin Johnson created some of the most original and surprising music to come out of the often deliberately weird American punk rock tradition. Working from a sonic template of the Cramps, Trouble Funk, Young Marble Giants, and messianic blues, Beat Happening confounded and often incited violence from audiences weaned on hardcore punk. In the place of macho aggression, Beat Happening confronted the all-ages scene with Heather’s low-key delivery and Calvin’s fey theatrics, topped off by his trademark dance move: rubbing his tummy. For a supposedly cutesy band, Beat Happening was adamant about asserting its right to exist, carrying itself with a punk as fuck attitude that would become a key inspirational lodestone for the generation of D.I.Y. bands that followed, including Bikini Kill and the Nation of Ulysses.

                                              30 years since the release of their self-titled debut album, Look Around is a remastered, career-spanning double album anthology, handpicked by the band and a great starting point for the uninitiated as well a refreshing reminder to those who caught the wave the first time around. The 23 tracks range from their 1984 debut single, “Our Secret” b/w “What’s Important” (originally sold directly for $2.50 to individuals, but $4 to institutions) to “Angel Gone,” a single released in 2000 after eight years of inactivity.

                                              There has been an issue with barcode on the limited vinyl version and so it has been pulled until this is resolved. We should have it back in stock again later in the week. Sorry! 

                                              ‘West Kirby County Primary’ - written and recorded by Bill Ryder-Jones in his childhood bedroom at his mother’s house in West Kirby before being filtered through Liverpool’s legendary Parr Street Studios - is the third full length album from Bill Ryder-Jones and finds him fronting a classic band set-up.

                                              Each of ‘West Kirby County Primary’s ten tracks offers a sneaked glance into his private world; they eavesdrop on a set of encounters that go about “turning stories into beautiful truth” set to glorious molten melody that explodes like fireworks over water.

                                              It all adds up to a remarkable record by one of Domino’s most cherished musicians - a musical polymath as at ease on stage with the Manchester Camerata (where he performed as part of the Manchester Literature Festival last Autumn) or on live guitar duties with Arctic Monkeys as he is on production duties with Hooton Tennis Club and The Wytches.

                                              The follow-up to ‘A Bad Wind Blows In My Heart’ was produced by Ryder-Jones and mixed by James Ford.

                                              Alex G

                                              Beach Music

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

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

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

                                              Julia Holter

                                              Have You In My Wilderness - Bonus Disc Edition

                                              THE PICCADILLY RECORDS ALBUM OF THE YEAR 2015.

                                              PICCADILLY RECORDS EXCLUSIVE: For a limited period only, buy either the vinyl or CD of 'Have You In My Wilderness' and get a free CD bonus disc, Julia Holter 'Selected Tracks 2011-2014'. 

                                              'Have You In My Wilderness' is the fourth full length album by Los Angeles artist Julia Holter and her most intimate album yet. Recorded in her hometown over the last year and once again crafted with Grammy-winning producer and engineer Cole Greif-Neill, the album follows 2013's 'Loud City Song' and two much-lauded previous titles - 'Ekstasis' (2012) and 'Tragedy' (2011).

                                              'Have You in My Wilderness' was written from the heart - warm, dark and raw - and explores love, trust, and power in human relationships. While love songs are familiar in pop music, Holter manages to stay fascinatingly oblique and enigmatic, with some of the most sublime and transcendent music she has ever written. Like Holter's previous albums, 'Have You in My Wilderness' is multi-layered and texturally rich, featuring an array of electronic and acoustic instruments played by an ensemble of gifted Los Angeles musicians.

                                              'Have You in My Wilderness' is also Holter's most sonically intimate album, with her vocals front and centre in the mix, lifted out of the layers of smeared, hazy effects. The result is striking: clear and vivid, but disarmingly personal.

                                              STAFF COMMENTS

                                              Andy says: Finally Julia Holter does what she's been threatening to do for ages: combines all her arty, classical, jazzy, ehtereal, avanty otherness into one near-pop masterpiece! Definitely one of the best records this year.

                                              David says: 'Have You In My Wilderness’ is Julia Holter’s fourth and most accessible album to date, but given that previous records have looked to Greek Philosophers and French novelists for their inspiration, this perhaps isn’t the boldest of statements.
                                              Holter, a music and composition graduate, approaches her craft in a cerebral, conceptual way that is still very much apparent on the album’s arrangements and time signatures. However, on ‘Have You In My Wilderness’, her more exotic tendencies have been tamed by producer M Cole Grief-Neill. He’s convinced Holter to shake off the shackles of reverb in which her otherworldly voice has always been chained and let it take centre stage on the record. It’s a master stroke that’s culminated in a sonically direct, shimmering, leftfield pop classic that everyone at Piccadilly Records has been willing her to make since first hearing 2013’s ‘Loud City Song’.
                                              Dark and lovely, exploring pop’s universalities of love and relationships, ‘Have You In My Wilderness’ is the perfect soundtrack to winter’s long nights. Where previously Holter could be accused of being cold and aloof, she now revels in a new found warmth and intimacy. It’s like the girl on the bus that’s been ignoring you for months suddenly walking over and saying “hi, fancy going for a drink later?” - Completely unexpected and all the more wonderful for it.
                                              But wait, don’t go! I know what you’re thinking. ‘Love and relationships? Surely ballads are the end credit to a thousand, desperate Saturday nights; certainly nothing new in pop music?’ BUT, and it’s a big but, Holter’s take on this, the most clichéd of pop clichés, is brilliantly oblique. Flitting from orchestral chamber music to Laurel Canyon introspection, it’s a schizophrenic record, whose many competing voices have combined to make ‘Have You In My Wilderness’ Piccadilly’s favourite album of 2015.

                                              FORMAT INFORMATION

                                              LP Info: Includes a free CD bonus disc, 'Selected Tracks 2011-2014'

                                              LP includes MP3 Download Code.

                                              CD Info: Includes a free CD bonus disc, 'Selected Tracks 2011-2014'

                                              ‘The Making Of’ lands blow after blow. Featuring early singles XXX and Swarm, alongside Radio 1 playlisted To Die For and Where You At, the album is two barrels' worth of electrifying tunes and crackling 21st Century rock and roll.

                                              The Bohicas are rock and roll painted in vivid primary colours. Hi def, loud, fast, shiny and above all fun. A barrage of killer hooks, razor blade riffs and choruses that slap you in the face, grab your hand and lead you onto the dance floor. All shot through with pulp imagery torn from the pages of a graphic novel.

                                              ‘The Making Of’ was produced by Mark Rankin (Queens Of The Stone Age, Bombay Bicycle Club), Chris ‘Merrick’ Hughes (Tears For Fears, Adam And The Ants) and Oli Bayston (Toy, Boxed In).

                                              The Bohicas are Dominic McGuinness, drummer Brendan Heaney, guitarist Dominic John and bassist Adrian Acolatse. The Bohicas’ story began in Essex where, as schoolmates, McGuinness, Heaney and John first came together over a love of The Beatles, The Kinks, Ray Charles and the new wave of guitar bands who emerged at the start of the century after the scrag ends of Britpop had finally limped off.

                                              FORMAT INFORMATION

                                              LP includes MP3 Download Code.

                                              Written, performed and produced by Georgia in its entirety and recorded in her own home-studio, ‘Georgia’ is the product of two years of obsessive work, but also a young lifetime of voracious music listening.

                                              Elements of the glacial yet hyper-melodic tone of early 00's grime, sweltering, mid-summer west London dub and ragga, sophisticated pop, first wave post-punk agitation, the formative influence of Missy Elliott and the high-concept, illuminated sound-design work of contemporary artists such as The Knife and Hudson Mohawke run through ‘Georgia’, a record that reveals new layers of intrigue and ingenuity with every listen. 

                                              FORMAT INFORMATION

                                              Ltd LP Info: The Deluxe LP comes with a bonus 10”.

                                              Unfurling out of Los Angeles this July comes St. Catherine, Matt Mondanile’s fifth outing as Ducktails. The new album emerges from the roots of Mondanile's previous work, from the free-form, ambient bedroom experiments of seminal underground release Landscapes (2009), to 2013's eighties pop re-imagination The Flower Lane, but ultimately moves Ducktails on to a more refined, personal and sincere place.

                                              St. Catherine is a finely-honed collection of baroque pop songs that take the blissful, cascading melodic fretwork that Mondanile has made his signature with both Ducktails and his other band, Real Estate, and applies it to songs of considerable new emotional heft and dynamic range.

                                              Mondanile partially wrote and recorded St. Catherine over the course of 2014 and then finished off recording at the start of 2015. The longest time he has ever spent working on a record, it took place in bedrooms and studios predominantly in east LA and Glendale, but venturing as far as Berlin and New York as Mondanile worked on tracks around heavy periods of Real Estate touring.

                                              When Mondanile finally settled back in LA at the start of 2015, it was Rob Schnapf, co-producer of Elliott Smith's classic albums XO and Either/Or, that he turned to in order to help put the finishing touches to St. Catherine. Together, the pair added a new crispness and punch to the record's more upbeat, psychedelic pop tracks (such as James Ferraro-featuring, lolloping lead single "Headbanging In The Mirror", and the soaring "Into The Sky"), that recalls the artful muscularity of Smith's later work, whilst title track, the heavenly "St. Catherine" boasts one of Mondanile's greatest ever lead guitar lines and benefits greatly from Schnapf's warm, rich feel.

                                              Where St. Catherine impresses even moreso, however, is when Mondanile steps out of his comfort zone, as he does frequently and with great success. The Julia Holter-featuring "Church" and "Heaven's Room", tracks which see Mondanile flex his muscles as a composer and arranger, introducing complex, interlocking vocal harmonies, gorgeously sweeping string parts (provided by Chris Votek and Andrew Tholl) and a host of off-kilter electronic elements into his sonic palate - channelling the likes of Broadcast, and Stereolab but with a younger, wide-eyed sensibility.

                                              STAFF COMMENTS

                                              Andy says: More lush, dreamy sounds and Anglophile jangles from the moonlighting Real Estate man. Gorgeous, as ever.

                                              Originally released in 2000 on the band’s own Placid Casual label (between deals with Creation and Sony), the Super Furries career-defining fourth album Mwng was the band’s only Welsh language long player. It reached Number 11 in the UK album charts and was their highest selling record globally up to that point. It remains the biggest selling Welsh language album of all time. On its original release, the record was praised in an Early Day Motion in the House of Commons for its significant part in promoting the language and culture of Wales.

                                              Super Furry Animals

                                              Mwng - 15th Anniversary Deluxe Edition

                                              Originally released in 2000 on the band’s own Placid Casual label (between deals with Creation and Sony), the Super Furries career-defining fourth album Mwng was the band’s only Welsh language long player. It reached Number 11 in the UK album charts and was their highest selling record globally up to that point. It remains the biggest selling Welsh language album of all time. On its original release, the record was praised in an Early Day Motion in the House of Commons for its significant part in promoting the language and culture of Wales.

                                              Deluxe editions contain five tracks previously released on the US version of Mwng under the name Mwng Bach as well as a previously unreleased Peel session and a full live show recorded at ATP.

                                              The follow-up to Conor O’Brien’s debut, Becoming a Jackal, and its successor, Awayland - both hugely acclaimed and Mercury-nominated - is a breathtakingly beautiful, intimate album entirely about love and relationships.

                                              Darling Arithmetic was written, recorded, produced and mixed by O’Brien at home - the loft of a converted farmhouse that he shares in the coastal town of Malahide to the north of Dublin - revealing a single-minded artist at the peak of his already considerable songwriting powers. It encompasses the various shades of feeling – desire, obsession, lust, loneliness and confusion, and deeper into philosophical and existential territory, across a cast of lovers, friends, family and even strangers. Backing up his supple and emoting vocal and guitar is the subtlest palate of instrumentation – piano, Mellotron (which accounts for the album’s occasional horn and cello tones) and brushes. O’Brien plays every instrument on these exquisite, melodic songs in a sparse, spacious, acoustic-leaning fashion.

                                              On Darling Arithmetic, O’Brien doesn’t only pare back his use of language but looks deep into his own heart and motives. The opening track and first single, ‘Courage’, concerns the most important kind of love – for yourself: “It took a little time to get where I wanted / It took a little time to get free / It took a little time to be honest / It took a little time to be me.”

                                              Matthew E. White is a Richmond, Virginia-based singer, songwriter, bandleader and musical polymath.

                                              ‘Fresh Blood’ is the follow-up to the “magical” (Pitchfork) debut ‘Big Inner’ and is a bracing, beguiling record and a bold advance for White. It’s a record that feels like the brilliant bloom to ‘Big Inner’s striking bud.

                                              Produced by White and Spacebomb partner Trey Pollard and mixed by Pat Dillett (David Byrne, Nile Rodgers), ‘Fresh Blood’ marks the next chapter of White’s Richmond, VA-based Spacebomb - an analogue studio, record label and production house with in-house strings, horns and a choir at his behest.

                                              STAFF COMMENTS

                                              Andy says: Even better than his first LP and that's really saying something!

                                              Bonnie Prince Billy

                                              Singer's Grave A Sea Of Tongues / Barely Regal - Deluxe Edition

                                                This very limited deluxe edition packages together the "Singer's Grave A Sea Of Tongues" album with an exclusive 8 track compilation of songs from his itunes only "Barely Regal" series.

                                                We've only got a handful of these, and when they're gone, they're gone, so jump in quick if you want a copy.


                                                Bonnie ‘Prince’ Billy’s new album ‘Singer’s Grave A Sea Of Tongues’ is released on Domino. 


                                                At the locus of five corners, mythos is in the wind; a sea of tongues boils forth, mountains spurting forth from the magma. Bonnie sings for who he was and will be and for all of us, in time. 

                                                Bonnie Billy has been quoted as saying that one of the songs on the album is a conceptual track that’s about “one day in 1973 when only two people died in the whole world.”

                                                FORMAT INFORMATION

                                                Ltd LP Info: Just found 1 copy of this!

                                                Bonnie Prince Billy

                                                Singer's Grave A Sea Of Tongues

                                                  Bonnie ‘Prince’ Billy’s new album ‘Singer’s Grave A Sea Of Tongues’ is released on Domino.

                                                  At the locus of five corners, mythos is in the wind; a sea of tongues boils forth, mountains spurting forth from the magma. Bonnie sings for who he was and will be and for all of us, in time.

                                                  Bonnie Billy has been quoted as saying that one of the songs on the album is a conceptual track that’s about “one day in 1973 when only two people died in the whole world.”

                                                  FORMAT INFORMATION

                                                  Cassette Info: Special cassette format exclusively available to
                                                  independent retailers.

                                                  James Yorkston

                                                  The Cellardyke Recording And Wassailing Society

                                                  James Yorkston, an artist not unfamiliar with the notion of collaboration, has opened the studio doors to a broad and brilliant selection of players on this his eighth studio album.

                                                  Produced by Hot Chip’s Alexis Taylor in London’s Livingston studio, it features KT Tunstall, The Pictish Trail, Rob Smoughton, Fimber Bravo and his long term collaborators Jon Thorne and Emma Smith.

                                                  ‘The Cellardyke Recording And Wassailing Society’ finds James at his most personal and reflective, following 2012’s ‘I Was A Cat From A Book’.

                                                  What James and his collection of fine musicians have created is an album that connects the intimacy of his hometown life with the camaraderie of good friends. ‘The Cellardyke Recording And Wassailing Society’ flows with acceptance and relief and is James’ fullest body of work.

                                                  The album artwork was created by celebrated children’s author and illustrator Clare Beaton.

                                                  Resilient and hard hitting rock ‘n’ roll outfit White Lung are set to release their third album ‘Deep Fantasy’ via Domino. The band is every bit as confrontational as before but they’ve managed to open their sound up just enough to draw listeners in before kicking them in the face (in a good way).

                                                  ‘Deep Fantasy’ was made primarily in Vancouver with producer Jesse Gander (who did both ‘Sorry’ and their 2010 debut ‘It’s The Evil’) in just two, ten day-long sessions at the end of last year and the start of this one.

                                                  Vocalist Mish Way is more provocative and melodic than ever on ‘Deep Fantasy’, surveying lyrically addiction (‘Drown With The Monster’), body dysmorphia (‘Snake Jaw’) and sexual dynamics (‘Down It Goes’).

                                                  Orange Juice

                                                  You Can't Hide Your Love Forever - Remastered Edition

                                                  Domino reissue four classic albums from Orange Juice, Glasgow’s finest purveyors of the Sound Of Young Scotland who, led by Edwyn Collins, blazed a trail of self-reliance and literate pop writing.

                                                  All four albums are remastered and include the original lyric sheets and printed inner sleeves (except ‘Texas Fever’, which had none).

                                                  STAFF COMMENTS

                                                  Andy says: Orange Juice invent indie-pop on their debut album!

                                                  Ducktails

                                                  Wish Hotel

                                                    Ducktails release their new five track mini album, ‘Wish Hotel’, on Domino.

                                                    ‘Wish Hotel’ consists of five songs recorded by Matt Mondaline (who also plays in Real Estate) and sees him returning to a solo home recording setting and the blown out guitar and synthesizer work of his past releases.

                                                    ‘Wish Hotel’ follows Mondaline’s first album on Domino, ‘The Flower Lane’, a sun-dabbled pop album that has been a big favourite here at Piccadilly.

                                                    STAFF COMMENTS

                                                    Andy says: More loveliness from Matt and co with five pretty diverse tracks that include the already classic "Honey Tiger Eyes".

                                                    Specially expanded version of Matthew E. White’s celebrated debut album ‘Big Inner, featuring brand new 5 song mini album ‘Outer Face’.

                                                    ‘Big Inner’, Matthew E. White’s first album, was universally lauded by critics. Compared to the likes of Amy Winehouse, Beta Band, Cat Power, Spiritualized, Lambchop and Randy Newman, it blends vintage soul-pop with blues, funk and gospel to create a soulful masterpiece soaked in a bygone age.

                                                    The expanded 2CD ‘Outer Face Edition’ features ‘Outer Face’ as a bonus CD that sees Matthew experimenting with certain recording limitations, giving the record a different gravitational pull and furthering the record’s soulful minimalism. 

                                                    Guided by restraint and indulgence, Matthew E White expanded the process that created ‘Big Inner’ and began to find its first descendant, ‘Outer Face’, that White describes as “a monument to love, to non-love, to the confusion of feelings, to the last half century of recorded music, to dub, to minimalism, to pure orchestration, to the human voice, to birds in the sky, to home.” It’s ‘Big Inner’ stripped down to the basics - percussion, bass, strings, choir - exploring tape manipulation, a bit of editing à la Teo Macero, and dub-inspired effects.

                                                    Initial quantities include a free CD bonus disc: 'Quasi covers EP'.

                                                    Now in their 20th year as a band, two-piece Quasi return with a veritable Quasi songbook featuring 24 shinning examples of shakin’ blues, percussion freak-outs, chiming minor seventh chords and rock & roll.

                                                    ‘AM’ was produced by James Ford and co-produced by Ross Orton at Sage & Sound Recording, LA and Rancho De La Luna, Joshua Tree. The album was engineered by Ian Shea and mixed by Tchad Blake.

                                                    Josh Homme, Pete Thomas and Bill Ryder-Jones all make guest appearances on ‘AM’ – as do the words of John Cooper Clarke, on the track I Wanna Be Yours.


                                                    STAFF COMMENTS

                                                    Andy says: The perfect mix of pop and rock. Their best since their debut.

                                                    The third studio album from singular artist Julia Holter.

                                                    New album of avant-pop experimentation from the LA based singer / composer that blends influence ranging from Joni Mitchell to Arthur Russell and the poetry of Frank O’Hara into a daringly unique work as conceptually strong as it is immediately affecting.

                                                    ‘Loud City Song’ follows, and progresses brilliantly from ‘Ekstasis’, one of last year’s most critically lauded records.

                                                    STAFF COMMENTS

                                                    Andy says: Julia Holter's Domino Records debut fittingly feels like the start of something new, honing as it does, everything that's special about her. Dark and dreamy.


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