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HEAVENLY

Mark Lanegan Band

Somebody's Knocking



    FORMAT INFORMATION

    Coloured LP Info: Limited heavyweight blue vinyl, limited to initial pressing.

    Mattiel

    Satis Factory

      Having initially met in 2014, the process of recording Satis Factory was built upon the success of Swilley and Mattiel Brown’s time working together on their debut album. It’s a team that just works. “Jonah is a great songwriter and he’ll put a structure together and send it to me through an email, and then I’ll listen to it pretty much right away,” Mattiel explains. “And then we’ll restructure it if we need to and I’ll write a melody and lyrics to it and eventually record it.”

      Where the first record was confident, this second release is even more so. This is probably down to the chemistry between them; they seem in awe of each other. “Some of Mattiel’s best lyrical writing is effortless,” Jonah says. “She’s thoughtful with what she wants to say as an artist, but also understands pop sensibilities.”

      Despite Satis Factory being recorded in exactly the same way, with exactly the same team behind Mattiel’s debut, the sound is noticeably different. Jonah explained that he “had a musical objective to try new sounds and ways of recording” to Mattiel’s first record but still “keeping lo-fi elements” to the new one. “We started working on Mattiel’s first record with a dusty, cinematic, and garage rock feel to the music,” he explains. “Satis Factory has more stylistic diversity with the musical compositions and an increased level of intensity.” 

      FORMAT INFORMATION

      Coloured LP Info: Neon yellow vinyl.

      Pip Blom

      Boat

        Something special happened to Pip Blom at the tail end of last year. It was a busy twelve months that saw the release of her frenetic EP ‘Paycheck’, two A-Listed singles at 6 Music and support slots to the likes of The Breeders, Franz Ferdinand and Garbage. Capping that off, though, moments before stepping onstage at a sold out Lexington – the London stop-off on her debut UK headline tour – the band put pen to paper and signed to Heavenly Recordings.

        Now, Pip announces her first release for the label – her debut album ‘Boat’, out 31st May 2019.

        Signing to Heavenly was another item crossed off Pip’s to-do list, fulfilment of one of the things she dreamed of since first picking up a guitar and the culmination of a storming 2018 that propelled Pip Blom as one of the year’s most exciting rising guitar bands.

        Growing up intensely shy, it was an uncharacteristic plunge into the limelight during her teens that first kicked off Pip Blom’s musical passage: in the form of answering an advertisement for a songwriting competition.

        Pip earnestly set about writing songs on a Loog guitar, a three-stringed children’s line of the instrument that aids learning, cultivating a 20-minute set and performing for the first time in front of an audience - eventually reaching the semi-finals of said competition. As you have gathered, the story didn’t end there and failing to win was anything but a deterrent.

        Neither was struggling to find band members post-competition. Pip simply ploughed on as she always has, finding a way to make things work with the resources around her. Programming drums on a computer and writing and recording both bass and guitar parts, Pip decided to start self-releasing songs on the internet and it didn’t take long for people to start taking notice.

        Today, that same plucky, head-on attitude characterises everything she does and it’s an absolute joy to behold - whether that’s witnessing her band’s powerfully impressive live show or listening to her honest, heart-on-sleeve approach to writing songs on record.

        And ‘Boat’ is emblematic of that – an open book of Pip Blom, delivered via her undeniable knack for writing a hook-laden, 3-4 minute song; planting it in your head and making it stay there looping days after first hearing it.

        There’s the kinetic combination of guitars from herself and brother Tender Blom, the effortlessly captivating vocal range which can be authoritative and intent like in the driving album opener ‘Daddy Issues’, or soothing and warm as heard in melodic middle track ‘Bedhead’. Then there are the choruses that seem to stop songs in their tracks and lift them into a different stratosphere.

        The album’s earworm quality is something that has been connecting across the waters from her home country of the Netherlands, aside from the aforementioned 6 Music playlists, landing an impressive amount of spins across US college radio and a spot on the coveted Triple J playlist in Australia.

        Listening through, it’s not hard to understand why. The album is wrapped up in a certain energy that, while evident the band put everything into recording it, would indicate they had a blast doing so – its infectious and, most importantly, wholeheartedly believable.

        Dave McCracken bottled up that energy while overseeing the recording at Big Jelly studios in Margate, with the album then mixed by Dillip Harris in a shipping container on the banks of the Thames in East London. Its result is ten songs that, alluding to the album’s title, ferry you through Pip’s headspace via expertly crafted songs gelled together through their unassuming depth.

        Pip Blom are: Pip Blom (vocals, guitar), Tender Blom (vocals, guitar), Darek Mercks (bass), Gini Cameron (drums)

        Saint Etienne

        Tiger Bay - Deluxe Edition

          To mark its 25th anniversary, Saint Etienne announce details of the release of a very special box set of one of their most critically acclaimed albums, ‘Tiger Bay’.

          The lavish set includes: vinyl version of the original album in gatefold sleeve cut at 45rpm over two discs; ‘Tiger Bay - Remains Of The Day’, a 12 track vinyl compilation of rarities and demos; ‘Tiger Bay - Tapestry’, a 13 track CD album of ‘stripped-back’ versions and unreleased arrangements taken from original master tapes and complied by Pete Wiggs; a 28-page booklet featuring a wealth of unseen photographs plus an essay about the making of the album; a 12” x 24” reproduction of the original album poster and a reproduction of the original press release and biography from 1994. Also includes sticker and digital download album code.

          A ground-breaking blend of electronica and orchestration with traditional folk melodies, ‘Tiger Bay’, their third studio album, was originally released on 28th February 1994 on Heavenly.

          Self-produced by the band and engineered by longtime collaborator Ian Catt, the album also features input from Underworld’s Rick Smith, orchestral arrangements by renowned composer David Whitaker (Serge Gainsbourg, Marianne Faithfull, Air) and vocal contributions from Shara Nelson and Stephen Duffy amongst others.

          Saint Etienne set themselves a bold challenge for their third album. No more records about London; no more samples - of music they loved, or snippets of film dialogue between tracks. They would change the genes of their music, swapping the helix of Madchester meets Swinging London meets indiepop for one in which Belgian techno was spliced with folk music.

          ‘Tiger Bay’ was intended to be nothing less than the sound of folk music reimagined for the last years of the 20th Century. Their brilliant reinvention of folk rock for the electronic age might not have resulted in an invitation to headline Fairport’s Cropredy Convention but it gave them their best album yet.

          ‘Tiger Bay’ slipped beneath the sands - neither an indelible hit nor a memorable flop - but that gives it a staying power, perhaps, that its predecessors lack: it doesn’t sound of its moment in the same way ‘Foxbase Alpha’ and ‘So Tough’ do. It sounds as if Saint Etienne had finally broken free of pop time, to create something that floated above pop trends, borrowing and squeezing together elements that should never have blended. It might even be their masterpiece.

          Japanese four-piece CHAI may worship at the altar of kawaii - their homeland’s culture of cute– but they’re not about to be pushed around by the idle bosses and the ignorant patriarchy. The ultra-concise garage-pop race of their debut LP PINK is about to be overhauled on their new album. CHAI are ready to light the fuse; CHAI are PUNK.

          “’PUNK’ for us, of course, is not the genre of music,” say the band. “‘PUNK’ to us is to overturn the worn-out values associated with ‘kawaii’ or ‘cute’ created up until this point. ‘PUNK’ is a word that expresses a strong sense of self. To be yourself more, to become the person you truly want to be, to believe in yourself in every instance!”

          First single ‘Fashionista’ is a rebellious demand for self-acceptance in the face of society’s pressures: “Even if you don’t dress or do your makeup like how society expects you too, you’re still a “Fashionista” by expressing yourself how you want to. You decide what you want to wear, how you want to look, what you don’t want to wear, and that is what makes you a Fashionista!”

          At the core of CHAI’s music is the concept of "Neo-Kawaii." They outlined to concept in several interviews in 2018. In Pitchfork's Rising interview, it's described as "a move towards the embrace and celebration of human imperfection. 'Neo-Kawaii' is properly summarized on the single 'N.E.O.' from PINK, which directly comments on oppressive beauty standards, offering a list of supposed imperfections that translate to 'Small eyes/Flat nose/No shape/Fat legs!' CHAI seek to reclaim them as perfect."

          On ‘GREAT JOB’ CHAI compare house work to ridding yourself from all negativity. “Some people look at house work as a negative duty but it’s actually a positive duty that represents a refreshed, new you.” Yuuki picks up on this: “Of course we want to continue show our style of positivity-meets-pop but in life there’s definitely times of sadness, times of frustration and even irritating moments that with ‘PUNK’, we want everyone to know can be used as energy to fuel the positivity from the negativity”.

          Lead singer and keyboardist Mana reflects this mood, this search for something heavier, but still retaining their ultra-pop framework. Maybe it’s the huge success in their native Japan, or even their cult status in the UK, touring alongside Superorganism last year – whatever the reason, there’s a silent change. She adds: “We feel a stronger sense of self… we want to create music with deeper meaning, we want to release more of our individuality”.

          This inner strength comes out in the music. If PINK was a plastic, hyper-bright introduction then PUNK is a deeper, less blinding but more impactful graduation. It’s the movement from vivid orange to slow-burning red. Drummer Yuna adds: “Compared with our first album, PUNK represents a more concentrated version of all of our individualities”. Or as guitarist Kana puts it: “Everything has a PUNCH!”

          Yuuki crafted the irrepressible album sleeve, with a laughing girl bursting through a shell. The message, they say, is clear: “Hello, New Me!” You under-estimate CHAI at your peril.

          STAFF COMMENTS

          Barry says: Chai is a fascinating middleground between clashing snarling punk (a-la Lovely Eggs etc), and the ever-increasing wave of synthy J-Pop. Brilliantly nuanced at points but swimming with the kind of carefree frivolity and funky grooves that make this an essential soundtrack to the summer.

          FORMAT INFORMATION

          Coloured LP Info: Limited edition white vinyl.

          Coloured LP includes MP3 Download Code.

          Woah! How good is this? Three tracks taken from the latest Unloved LP "Heartbreak" given the remix treatment. First up to the plate is guvnor and ALFOS field marshall Andrew Weatherall who continues to exploit that fertile ground between post punk, dub and space psych on a stripped back and chugging mix characterised by low slung bass and mechanical mutterings. Next up The Limiñanas offer their take on the same track, "Devils Angels", turning up the fuzz, applying a nice psych break rhythm and adding a little of their European sophistication for an entirely heady experience. Over on the flip, the artist formerly known as Bwana brings us a remix of "Love Lost" that totally vibes with his "Blue Spring" LP (released this week!), harnessing slow breakbeat, buzzing bass tones and transcendental keys to take us to a higher state of consciousness. Finally pastoral prog / space rock / Finders Keepers power couple Andy Votel & Jane Weaver get collaborative with "Lee", turning out a textured and trippy varient, equal parts medicated Yé-yé, post Spector and pre daydream - frankly a show stealing turn from the local legends.


          After flipping everyone's lid with their sublime self released LP "Phase", Aussie's astral jazz heroes Mildlife land at Heavenly for their brand new single "How Long Does It Take?", which comes backed with two remixes from cosmic disco legends Daniele Baldelli and Marco Dionigi. 
          “’How Long Does It Take’ is an homage to the dance floors and clubbers who championed our music from Day 1,” the band say of the single. “We’ve been delighted to watch heaving crowds burn holes in the dance floor as we close our set with it so now we’re equally delighted to offer it up on record as a late night thumper.” And a thumper it is, driven ever onwards by a kraut-funk bassline (think vintage DFA), trippy flute trills and an irrepressible polyrhythmic rhythm. 
          After a chance meeting at the Giles Peterson Ricci Weekender on the outskirts of Catania, Mildlife approached the Cosmic man for a remix, and in tandem with longtime production partner Marco Dionigi he offers not one but two versions. First up, the standard remix,simmers the O.G. down to find the condensed cosmic, all pink floyd or pink project set to a solid and hypnotic disco 4/4. The "Malba mix" ups the electronics and enters the upper atmosphere via ring mod sequences, pulsating bass and an insistent drum machine, all topped by that irresistible flute and interdimensional arps - majestic!

          STAFF COMMENTS

          Patrick says: The latest instalment of Heavenly's ace disco singles features a brand new track by Aussie jazz-funkers Mildlife and two remixes from Baldelli and Dionigi. Interplanetary disco jazz with added astral remix action? You know what to do...

          Halo Maud

          Des Bras - Andy Votel Remix

            Andy Votel says: "Working with Halo Maud's song came extremely naturally to me, and I thank Jeff [Barrett, of Heavenly] for recognising this connection. The contrast of her strong melodic songwriting combined with the fragility of her vocals is a real secret weapon and much more than just a breathy pastiche. I think Maud effortlessly captures many unique subtleties in French language music which so many contemporary bands seem to forget, and it's ingredients like these which gave me the confidence to take a more minimal route with this mix, which I appreciate.

            "In the past I could only dream of finding a singer that comes close to Léonie Lousseau or Ann Sorel so working with Maud's vocals was an enjoyable experience and I already regard this short track as one of my personal favourite production achievements.... which I can't wait to play on the radio... off 7" vinyl naturally."

            Maud says of the track, "I wrote the basis of the song in a few minutes, the day before a show. It was just the guitar and the voice, very simple. The rest of the track is a mix between a band jam, improvisations, ambient sounds, happy studio accidents, and all this material has been re-cut and tinkered with, until I felt it made sense. "It’s an amazing feeling to discover another vision of your own song, and Andy Votel’s version really overwhelmed me, in a good way. This is another song, but it’s still me. Thank you for this huge present.”

            The original song features on Halo Maud's debut album, Je Suis Une île (which translates as "I Am An Island"), released on Heavenly Recordings last May.

            Audiobooks

            Friends In The Bubble Bath - Inc. Gwenno / Gabe Gurnsey / David Wrench Remixes

              Audiobooks are pleased to share a remix bundle for their latest single, ‘Friends in the Bubble Bath’, out now via Heavenly Recordings. The release features two remixes by Gabe Gurnsey (Factory Floor) and one each from Welsh songstress Gwenno and Audiobooks’ own David Wrench.

              “I love audiobooks, and 'Friends in the Bubblebath' is brilliant,” Gwenno says. “I wanted to create a reflective atmosphere around Evangeline and David's lyrics, to try and compliment the story and that feeling of the party still trying to keep going at 3am, as parties tend to do.”

              “It was a real pleasure to be asked to remix Audiobooks’ as I’m a big fan of theirs,” Gurnsey adds. “I wanted to take all that energy they exude vocally and musically and bring it onto the dance floor. I ended up working on two remixes which work side by side, reflecting that chemistry David and Evangeline have in their live performances.”

              “Sometimes it’s hard to say how you feel,” says Jade Vincent. “These songs are vulnerable stories for me to tell — they’re things I couldn’t say out loud. But I found that I could sing them. And then I closed my eyes when they would listen.”

              Listening to Vincent’s songs were her partner, the producer/composer Keefus Ciancia, and the DJ and producer/composer David Holmes. Together, Vincent, Ciancia and Holmes make up Unloved, the musical project that evolved out of a late-night Hollywood bar in 2015, released a stunning debut album the following spring, and this year crafted the soundtrack to Phoebe Waller-Bridge’s acclaimed new series Killing Eve.

              Now Unloved bring us their second full length record Heartbreak, a record emboldened by its predecessor to be more emotionally exposed, more musically, lyrically, and vocally audacious. In the words of Holmes: “We just get together, had a load of ideas, and Jade went off and wrote and wrote. She got deep and deep. She has an amazing story. They are amazing songs. She excelled herself.”

              To enter the world of Unloved is to surrender oneself to a great musical immersion, one that seems to occupy the space somewhere between past and present, where thoughts soften and ideas mingle with twisted mancini-esque orchestrations, where music binds the dawn and dark.

              STAFF COMMENTS

              Barry says: Killing Eve, and it's tense atmospheres but dark humour flecked throughout wouldn't have been the same without Unloved's perfect soundtrack. Heartbreak may seem mildly chaotic at first, but brilliantly evocative orchestration and swooning, loungey vibes soon make you foret the chaos before flinging you once again into the fire. A beautifully produced and perfectly balanced filmic masterpiece. And who would have expected any less from this talented bunch?

              Night Beats

              Myth Of A Man

                Fronted by Texan native Danny Lee Backwell, Myth Of A Man is Night Beats' fourth studio album, and their second for Heavenly Recordings following the release of Who Sold My Generation in 2016.

                While Blackwell has always fed off the musical legacy of his Texas roots—Roky Erickson and the 13th Floor Elevators, The Red Krayola, The Black Angels and more paving the way for the the napalm-coated psych-rock headtrip of past albums—Myth Of A Man has him pulling from the surrogate wellspring of Nashville, Tennessee.

                It was there that he worked with the eminent Dan Auerbach, and a murderer’s row of battle-worn session musicians—the combined weight of experience that comes from working with every legend from Aretha Franklin to Elvis not lost on Blackwell. “I was just humbled by being accepted,” he explains, “Big hearts all around.”

                In short, it’s an album that holds its own next to the classics, less of the bloodshot acid trip of Sonic Bloom (2013) and Who Sold My Generation (2016) here, Blackwell has recalibrated them, slowed them down just enough and allowed them the space to breathe and exist as something new. It’s the same book, just a different chapter. The moody organ comps and slow stroll of the 12-string on “Her Cold Cold Heart” evoke the noxious feeling and hypnotic state of toxic love, the spirit of Bill Withers is flowing through the acoustic guitar and sun-soaked shuffle of “I Wonder,” and string-trimmed ballads like “Footprints” and “Too Young To Pray” evoke the imaginative, cowboy psychedelia of fellow Texan, Lee Hazlewood. “Let Me Guess” with its searing riff and Elevators-esque organ assures us that the scuzzy sound we know and love is alive and well, while “One Thing,” a song about being used and abused—or as Blackwell sharply puts it, “being rolled up and smoked”—has plenty of fuzzed-out guitars to let us know he might just be happy about it.

                Written during a particularly destructive period of the band, the album is populated by fallen angels, blood-sucking wanderers, and vindictive lovers—sketches of people the band has surely come across during their cosmic roving through the underground—but the character most present is Blackwell, himself. “Myth Of A Man can be summed up as a personal display of vulnerability and guilty conscience,” he explains, “Destroying the mythos of what it means to live and function in society.” With its bold steps forward, Myth Of A Man serves as both a takedown and reintroduction of the band as we know it—the strongest evidence that you’ll never be able to pin Night Beats down. 


                FORMAT INFORMATION

                Coloured LP Info: Red vinyl.

                The Orielles

                Bobbi's Second World

                  Having recruited a new member, Alex Stephens, on keyboards, Piccadilly faves The Orielles return with two stunning new tracks.

                  ‘Bobbi’s Second World’ is the young sound of West Yorkshire filtered via Lagos while their Peggy Gou cover, ‘It Makes You Forget (Itgehane)’ is testament to the ease with which they are able to musically take on anything and make it their own.

                  If you’re going to call your band audiobooks, you’d better have some good stories to tell. Stories that should move you and ones to make you move. Stories about real life and surreal life and all that weirdness that you just glimpsed out of the corner of your eye.

                  Luckily for you, audiobooks really do. The London based duo have developed a unique ability to conjure up magical aural snapshots that wallop you like bong hits. Each of their discombobulating observations comes stretched out over a series of discomfiting oscillations, like messages from the spirit world or pulp fictions found in a box at the end of your road or a crackling pop broadcast from a far away galaxy;

                  Out there, across the wavelengths or in the musty pages of their books, there’s a girl who’s lost in lust, sat eating mussels on a South Wales beach; there’s an alcohol-fuelled vision of Hell as a family melts down in an airport departure lounge and there’s a carsick dog in the back of your Grandma Jimmy’s car. There’s womanly blood flowing and there’s friends in your bubble bath and there’s some very large pinches of hot salt.

                  So who’s telling these stories? Who are the people writing these audiobooks?

                  On the face of it, Evangeline Ling - a 21 year old art student and musician from Wimbledon - and David Wrench - one of the most in demand mixers and producers in modern music, a sometime cohort of Julian Cope and former denizen of North Wales – might seem an unlikely pairing. Yet a chance encounter at a mutual friend’s party just one week after David had moved south to the capital very quickly led to an experimental studio session that’s been going on ever since.

                  Evangeline: “I’d found myself writing these odd stories as text messages on my phone. They were too short to be proper stories… they were fragments. I’d told David about them when we met and he said, ‘Come into the studio and let’s put them to music.’” David: “It was so perfect – this incredible text message…” Evangeline: “The next day, we started making music. We realised pretty much immediately that what we were doing might just connect. I’m not a technically minded person, musically – David is – but we kind of synced in because we bonded as human beings. We just met and connected; I immediately trusted David. We didn’t really chat about who we are…” David: “Neither of us are any good at small talk so we just got working and it was crazily fast, everything about it. We’ve never spent more than an hour on a track. We go in, we improvise and we either keep it or we don’t. There might be a bit of editing the next day but the creation is done incredibly quickly.” Evangeline: “We’d work on a track and then we’d just sit and do nothing. He’d work on a mix for someone or play some records, I’d have a nap or paint or draw…” David: “The second time Evangeline turned up at the studio she arrived in her pyjamas. She’d come all the way from Wimbledon to east London in a pair of Batman pyjamas.” Evangeline: “I hadn’t slept all night, I’d just had this crazy adrenaline. I knew we were doing something really special and I couldn’t wait to get there. I didn’t have any clean clothes so I just thought, ‘Sod this, I’ve got to go’.”

                  Stories about audiobooks are as fantastical as the ones they’ve set to music, whether it’s crossing London in bed wear, misheard lyrics accidentally creating perma-tanned Welsh women (Swansea’s “Orange Gina” was once innocently a can of the famous French fizzy pop) or the fact they bonded over a mutual frustration with people who hoard as much as they did shared taste in music.

                  From their first meeting, Evangeline and David’s friendship has been influenced by the records they flipped through in his newly set up studio in Old Street. Very quickly, the pair found inspiration in music by artists as diverse as Bauhaus, Aphrodite’s Child, Marilyn Manson, Michael Jackson, Flower Traveling Band, the Fall, Faust, Tropicalia and Dory Previn.

                  Evangeline: “Dory frickin Previn, man.” David: “Her record Mythical Kings and Iguanas is an incredible piece of work; she really was a genius. Lyrically, that’s maybe the closest link to audiobooks.”

                  If the bracingly honest and often troubled words of Previn helped influence Evangeline’s stories, the music they’re set to comes from an entirely different place. Having developed a kind of psychic musical response to Evangeline’s surrealist texts, David set about soundtracking the weird worlds she was delivering on a daily basis. Much of the resulting music – at times odd, beautiful, unique, hilarious, disquieting, pensive, hypnotic, open, free – is collected together on Now, in a minute! – the mind-bending follow up to the head-turning four track Gothenburg EP and the duo’s first full length album.

                  Like the band themselves, Now, in a minute! doesn’t do the things that you’d expect. While opener Mother Hen might be a modernist nursery rhyme sat atop skittering proggy electronics, the dual vocals on the tracks Hot Salt and Friends in the Bubble Bath perfectly channel the conflict and contradiction of Don’t You Want Me into something ultra-modern and almost ludicrously addictive. Elsewhere, the primal, gothic drone of Womanly Blood sits like a brooding weather condition until it rips apart thanks to some heavy percussive artillery from Warpaint’s Stella Mozgawa (the only other contributor to the record) and Dance Your Life Away sounds like the soundtrack to the kind of inhibition free moonlight voodoo party that you wish your mates had invited you at Glastonbury last year.

                  David: “With that track particularly, we wanted to emulate that thing Michael Jackson did where he uses sounds really rhythmically to inject an incredible energy into his music… I love it when vocals become their own thing that can’t really be written down.” Evangeline: “And we were listening to a lot of Marilyn Manson in the studio. I find the way he sings very rhythmically really inspiring.”

                  A band that takes its cues from the King of Pop and the Antichrist Superstar, creates music in daily automatic writing sessions and rides the neon ley lines that connect of the North Wales coast to the psycho-bustle of after hours London are clearly on a very singular path to greatness – a path they’re already someway down, having taken their first footsteps out of the studio and onto the stage for a handful of truly mesmerizing live shows.

                  Time, then, to welcome these strange superheroes - this inhuman league - into your life. You might not know it yet but the story is already written. It says audiobooks are your new favourite band.

                  Baxter Dury, Étienne De Crécy, Delilah Holliday

                  B.E.D

                  B.E.D is the new collaboration from Baxter Dury, French Dance music pioneer Etienne De Crécy & Delilah Holiday of London punks Skinny Girl Diet. Although they seem strange bed fellows at first, this project provides the perfect fusion of their disparate skill sets. Etienne De Crécy fires up the hardware and lays down tough electro-pop instrumentals, combining the best bits of italo, vintage synth pop and the DFA/John Grant school of digi-cool. Meanwhile in the vocal booth, Baxter Dury is typically engaging, itriguing and disarming with a string of half spoken / half sung confessionals, while Delilah Holiday adds a touch of emotion via kitchen sink balladry, the odd delicate chorus and at least one journey into the classic synthpop deadpan. Recorded between 2017 & the start of 2018 and produced by Etienne De Crécy & Baxter Dury in France, "B.E.D." is another must have release on the mighty Heavenly. 

                  STAFF COMMENTS

                  Patrick says: Sick synth pop offering from the hive mind of these three musical misfits. If you like John Grant, Human League or LCD, then this is for you my friends.

                  Andrew Weatherall meets audiobooks downtown!

                  Those of us with a penchant for musical and spiritual psychogeography - 'believers in the laws and specific effects of the geographical environment' - will locate the exact root of this anthem of high abandon in the building which stands on the corner of White Street and Cortland Alley in the Manhattan borough of New York. The neighbourhood: Tribeca. This is where the vibes will be felt the strongest.

                  Times were tough then, the late 1970’s / early 1980’s. The squares were being taken seriously again. Menacing horror-show bigotry was rife. Sound familiar? And this was the place, home to the Mudd Club, that the post-punk art head freaks went to escape the crap and express themselves - create timelessness - flick the finger - look sharp - show off - have a bit of a laugh.

                  And dance their lives away.

                  Back to the present: It was inevitable that Andrew Weatherall would collaborate with audiobooks. They come from the same place. Trace their lineage and you’re back in Tribeca. Anya Phillips is on the door. James Chance is on the stage. Lizzy Mercier-Descloux is on the dance floor. and Karen Finlay is looking pretty fucking dangerous. Again.

                  Weirdly, depressingly, the current political landscape is a mirror image of those times and the freaks are having to look out for themselves once again. This song is one for the freaks. For the outsiders. Its message is one of liberation.

                  And that message is: Lose your shit. Stay free. Dance your life away.

                  STAFF COMMENTS

                  Sil says: Weatherall gets playful with the reverb effect on a super cool original with disco not disco tinges all over the place. Excellent as always!

                  FORMAT INFORMATION

                  Ltd 12" Info: 500 pressing, stamped white label.

                  Boy Azooga, the shape-shifting musical mystery tour piloted by Cardiff’s Davey Newington have announced details of the release of their debut album, 1,2 Kung Fu!, on Heavenly Recordings.

                  A prodigous musical talent, Davey Newington is a young man with a rich musical heritage. One of his granddads was a jazzer who played drums for the Royal Marines. Davey’s dad (violin) and his mum (clarinet) both played, and met, in the BBC National Orchestra Of Wales. Davey himself took up drums at the age of six and also enjoyed orchestral engagement, playing in various Welsh Orchestra’s and Jazz bands as a teenager as well at latterly finding gainful employment playing drums as part of Charlotte Church’s Late Night Pop Dungeon.

                  Inspired by his art teacher at school who sent him off to town to buy Can’s Ege Bamyasi, taking musical cues from the likes of Sly & The Family Stone, Caribou, Black Sabbath, Outkast, Van McCoy, Ty Segall and The Beastie Boys and with arrangements which carry the wonky tunefulness of The Super Furry Animals they nabbed their name from the 1994 film The Little Rascals.

                  With a Davey recruiting friends Daf Davies, Dylan Morgan and Sam Barnes to form the Boy Azooga live quartet, an ensemble that swings smoothly from filmic instrumentals to a churning, rave-tinged rock that hints at both Can and their progeny, the Happy Mondays, the band played a number of headline and support shows across the U.K. at the end of last year, including a manic sold-out hometown show in Cardiff at Clwb Ifor Bach almost a year to the day they made their debut in the city at the same venue.

                  They take their loose-limbed live show on the road later this year and the dates include their own headline shows, support slots with The Magic Gang & Rolling Blackouts and Coastal Fever and an appearance at this year’s Heavenly Weekender at the Trades Club in Hebden Bridge.


                  STAFF COMMENTS

                  Barry says: Brilliant work here from Cardiff's newest prodigal talent, Boy Azooga. I have it on good opinion that Davey is a 'Lovely. happy chap' (Graf, 2018), but I can tell you that he is indeed a venerable talent, and deserving of every bit of praise this soaring psychedelic-indie-synthy wonder garners. Fully brilliant.

                  "It’s about the concepts and stories we invent to understand our experienced reality and feel like we matter somehow, and about the fluid and sometimes contradictory nature of these stories. Like the concept of romantic love, for example. Is this actually a thing? Sometimes it seems so tangible it becomes my whole world, other times I’m convinced it’s just a scam I keep falling for. Both of these sentiments feel equally true at different times. The same with politics and identity. When I’m in the Netherlands I don’t really pay much attention to being “Dutch” or “European”, and I think politicians who focus on a shared Dutch culture are lame at best and dangerous at worst. Then when I’m in the US being Dutch all of a sudden seems to be a huge part of my identity. I guess the point is, whatever idea I have about myself or about love, politics, morality, and anything at all, is so fluid and relative that I’m finding it hard to say that I trust any of my own views, ideas or perceptions anymore. Which sucks, because I really want to find meaning to this life, and it’s hard to find that when you don’t trust any of your own experiences. For example, happiness: I have this Calvinistic idea that in order to achieve happiness, I have to struggle, I have to earn it by overcoming challenges, developing myself, etc. But the end-result will just be the same as if I did nothing: you die and then nothing you’ve done or achieved matters anymore. So does a human life move upwards towards a certain goal, or is it just a chain of random events? And what about our collective history, does it move towards a goal, is there progress, or is it just a random collection of events? I think most people like to think there is progress, both in their personal life as well as in the world at large, that we are working towards being a better more developed person and also towards collectively building a better world. At the same time, we tend to romanticize the past and think everything was better “back in the days”. Something I’ve always wondered is whether these concepts and experiences can be translated from the individual to the masses, and from the psychological to the physical. For example this last sentiment: that the past somehow always feels like it was better in some way than the present. I’m definitely guilty of this on a personal level. When I think about being a kid and growing up, all those memories are kind of covered in a warm and golden haze. You remember the good stuff very clearly, and all those moments when you were just bored sitting in front of the TV or staring at the clock in school waiting for the bell to ring kind of fade away, even though that was probably about 50% of your time being a kid. This same process seems to happen in whole nations, too, where we collectively decide that the past was better than the present and we feel the need to “take back control” or “make something great again” and all that jazz. And the same with romantic love. The minute you’ve broken up with someone and you’ve walked out the door, you start to idealize and romanticize what it was like being in that relationship and forget about all the fucked up thing that came with it. In a way it makes sense to romanticize the past. Maybe it’s one way to feel like the time we’ve spent in this mortal life was worth something, that it wasn’t all bad. We need to be able to tell a story about it, if we encounter a challenge we want to feel like it meant something, it made us grow. Just accepting that some bad shit happened to us for no good reason is hard. It’s pretty impressive how positive and hopeful we are as a species. Just like most of the movies we make always have a happy ending. It wouldn’t feel right if they didn’t. And even in these times, when we’re apparently on the brink of a sixth wave of extinction, climate scientists who say that they are certain the human species doesn’t have much of a future still also say they are sure something will happen or be invented to save us, even if they have no idea what or how. In a way being a tourist is like a condensed version of all these hopes and dreams and disappointments. We went on a road trip in California right after we finished recording in LA and it was pretty fascinating. Like, why do people even go on vacation? I guess for a lot of people it’s a way to escape fixed patterns, to go out and have “real experiences”, to “feel alive”. But then you’re on this road trip and internally you’re still the same old human, who is still plagued by the same insecurities and boredom and is wondering where the nearest bathroom is and are we there yet because it’s so hot in the car and the AC sucks.

                  And voila, I guess the record is about my personal, mundane, relative and subjective experience of the human condition so far in this life." - Amber Arcades

                  STAFF COMMENTS

                  Barry says: It sounds amazing, beautiful nuanced journeys through acoustic balladry and heavier, driven sections, bolstered with those unmistakeable vox.

                  Now that that's out of the way, how many yellow suits does De Graaf have? Having seen them play, and seen her sporting the exact same costume, it made me wonder how i've never seen one in the wild but would assume that being on tour, she must have a few? You should buy this anyway, it's dead good.

                  FORMAT INFORMATION

                  Coloured LP Info: Limited edition blue vinyl.

                  77:78, the new project from Aaron Fletcher & Tim Parkin, card carrying members of the musical kaleidoscope that is The Bees.

                  Set to pick up where the Bees left off, the album was recorded at Studio Humbug on the Isle of Wight and musically picks it way from sublime west coast harmonies that recall the frayed beauty of the Beach Boys Smiley Smile , to the ramshackle dub of King Tubby via the playfulness of early Syd Barret. The album will be available on coloured orange vinyl.

                  “Some musicians and bands definitely have their sound and stick to it, which is fair enough, but that’s just not us. Whenever we’re in the studio we’re constantly inspired to go down different musical paths, which I suppose is why the record we’ve made sounds so diverse. “

                  STAFF COMMENTS

                  Barry says: Perfect hazy summer psychedelia, with echoes of 60's classics, imbued with the preceding decades of production knowledge and influences make this ex-Bees side-project more than the sum of it's considerable parts. Brimming with musicality and oozing vibes, this is a summer stormer.

                  FORMAT INFORMATION

                  Coloured LP Info: Limited edition orange jelly coloured vinyl.

                  Coloured LP includes MP3 Download Code.

                  LP includes MP3 Download Code.

                  Mark Lanegan & Duke Garwood

                  With Animals

                  Over the last decade, Lanegan and Garwood have worked in tangent on 2013’s Black Pudding as well as on Lanegan’s solo records (Garwood contributed to 2012’s Blues Funeral and 2017’s Gargoyle after which he toured as part of Lanegan’s band). Writing and recording was split between studio collaboration and sharing music between Garwood’s home in London and Lanegan’s in Los Angeles. Elsewhere, technology helped make the duo’s transatlantic working relationships relatively easy.

                  “Over the years, we’ve recorded together and apart. This time, I started this record alone, with many animals as company,” says Garwood. “It flowed, I set to work and out it came. Our music is instinct, there is not much talking about it, just creating. I think that if you are at peace with your work, and feeling it right, it flows, and can feel ‘easy’. Music isn't meant to be hard. Though sometimes it can burn you to ashes. Making music for a singer, so they can inhabit it with a song means hitting the right soul buttons. There is no hit without a miss. It is a healing record, for us the makers, and for the listeners. It grows natural. We are gardeners of sonic feelings.”

                  While Black Pudding put Garwood’s mercurial guitar centre stage, With Animals is constructed from a different set of tools. Analogue and dust flecked, it sounds like Lanegan and Garwood have been holed up in a ’60s recording studio while the apocalypse rages outside. Tracks sit on loops that sounds like they’re straight out of There’s A Riot Goin’ On while sparse melodies nod in the direction of British electronic producers like Burial or Boards of Canada. Which is not to say it sounds like any of those things – this is a weird world all of their own design.

                  The record’s 12 songs are spectral and sinewy, often defined by the spaces in between the sounds. A ghost’s whistle weaves itself around a pulsing single note on Lonesome Infidel; Feast to Famine’s hard luck story floats above a guitar part so strung out and washed with distortion it’s become barely recognisable. It’s soul music for anyone who’s long since left the crossroads.

                  STAFF COMMENTS

                  Barry says: Brimming with morose energy and perfectly measured songwriting, an album from these two veterans was never going to be anything but mindblowing, and here we have it. Lanegan and Garwood have managed to meet perfectly in the dark ether between their two styles and 'With Animals' is every bit the perfect fusion.

                  FORMAT INFORMATION

                  LP Info: Limited edition 180 gram vinyl.

                  LP includes MP3 Download Code.

                  It’s a familiar story: fledgling singer does soul-sucking day job in order to fund their real passion during the nocturnal hours. Except Mattiel Brown, Atlanta’s rising star, is a rare exception to this time-honoured tradition: a fulfilled creative by day and night, albeit in different contexts. “It’s like I have two full-time jobs: designer and musician,” she says, humbly hip to her good fortune.

                  During office hours, Brown works as an ad designer and illustrator at MailChimp, a position she’s enjoyed for four years. “I work with a great video production team, in a great studio. Luckily, they’re a company that encourage side gigs.” Out of office hours, Brown swaps the design studio for the stage, a softly-spoken, chilled-out design nerd turned rock & roll belter, performing bold, vintage soul as Mattiel (pronounced ‘maa-TEEL’).

                  Brown grew up on a five-acre farm in rural Brooks, Georgia, the only child of a Detroit native. “My mom bought the farm in the early ‘90s. She had – still has – horses, so I learned to ride western-style when I was 6, 7 years-old,” (a skill Brown nods to in her cover art). “We had a vegetable garden and chickens. My mom would sell sheep’s wool and eggs. Before that, she’d been a professional set decorator working on films. She’s a really driven, creative person. I definitely inherited my work ethic from her.”

                  As an adolescent, Brown delighted in the ‘60s folk and pop of her mother’s limited vinyl collection: Donovan, Peter Paul and Mary, and Joan Baez. As an adult, relocated in neighbouring Atlanta, she’d sing along to the radio on the long drives to work: Screamin’ Jay Hawkins, Andre 3000, Dylan, Marc Bolan, Sister Rosetta Tharpe, and Jack White.

                  When Brown first began jamming with InCrowd, the Atlanta-based song-writing and production team behind her dynamite eponymous debut, she had no real designs on making a whole album and no game plan beyond the fun of “creating something out of nothing.” She said, “That process is always pretty astounding to me, and doing it with other people is even better.” But her producers, Randy Michael and Jonah Swilley, knew a good thing when they heard it: Brown and InCrowd had chemistry.

                  InCrowd’s founders, both skilled multi-instrumentalists, met in 2014, as session musicians touring with soul man Curtis Harding. Michael – an experienced player who’d co-written with Harding and racked up impressive session spots with the likes of Bruno Mars, and The Next Day-era Bowie – played guitar, while Swilley ¬(producer, writer and performer since age 9 and younger brother of Black Lips bassist Jared) played drums. On the road, they bonded over a mutual love of vintage R&R and ‘90s rap. “We discovered we both loved The Beatles as much as Jay-Z, Dylan as much as the Arctic Monkeys,” remembers Swilley. Back in Atlanta, once the Harding tour had wrapped, the pair formed a band, Black Linen, writing reverb-washed guitar music inspired by Tarantino soundtracks, by way of ‘60s Cambodian psych. Brown knew Michael from his days in The Booze, a popular local act who’d tour with OK Go before their demise. She’d kept track of him, aware that they shared a musical kinship. “[Randy] was the only person I knew who was into the music I was into.” When she reached out, asking to cut a Donovon cover record at Michael’s garage-turned-studio, Toco Electric, he was dubious. “I thought she'd have this little, whispery voice, you know? But she blew me away! She sounded like ‘60s-era Cher doing Dylan or something. I just knew she’d be perfect for the Black Linen stuff.” “We knew immediately that we wanted to work with her,” Swilley concurs. By then, around 2014, InCrowd were deep on a ’50s Leiber and Stoller bend, says Michael: “The Coasters, The Drifters, all that good stuff.” Bored with Atlanta’s “ultra cool” enclaves, they’d built their own scene, says Michael. They’d put on and promote reviews-style gigs, a 12-man strong house band (“our very own Wrecking Crew”) backing various InCrowd vocalists. “We were just making it happen, doing it ourselves.”

                  In the studio, Michael cut InCrowd records live, no overdubs, feeding everything through a rare analogue Peavey soundboard. “That’s how InCrowd rolls. What you hear on our records is everyone playing and singing together, in the same room, at the same time. We cut it right there, as it happens, and its either magic or its not.”

                  Mattiel’s process was just so: InCrowd supplied the instrumental compositions – raucous, swinging medleys frilled with organs and brass – while Brown provided vocals and lyrics, the latter often written freestyle, in situ. “That’s where the parallels between music and design really happen,” says Brown. “Your limitations – time, space, expense – push you to be as creative as you can with what you have.”

                  The resulting collection of songs is a dynamite salvo of retro-inspired rock & soul, from the gun-slinging stomp of “Whites Of Their Eyes,” to the string-laden self-affirmation of “Count Your Blessings,” penned by Brown after a spate of the blues brought on by a period of ill health. “Its a song I wrote for myself to myself, like 'you’re gonna get through this, you’re gonna be okay.'”

                  Mattiel’s sound might borrow from the past, but their art direction – Brown’s inspiring handiwork, of course – is decidedly forward-thinking, all colour block aesthetics (á la the White Stripes) and artful, design-savvy music videos. “I don’t wanna hit people over the head with like, bell bottoms and long hair and a Jimmy Hendrix outfit,” Brown laughs. “People have seen all that before.”

                  Mattiel is a “fresh mesh of retro and contemporary,” says Swilley, the latter thanks in large part to Brown’s vision, voice and on-stage energy. “She's very exciting to watch. She doesn't rehearse it or try to emulate anyone; she's just doing own her thing. And she's not fazed by the crowds [as evidenced during their shows to date: a recent, three-date support slot for Portugal The Man]. It’s kind of incredible really, because in person she's pretty chilled and softly spoken, but when she gets on stage...in the last six months, she's really been killing it.”

                  With a European festival circuit tour scheduled for this summer, Mattiel is no longer Atlanta’s best kept secret. Look out, world.

                  STAFF COMMENTS

                  Andy says: This ace debut is an explosion of 60's....ooh: EVERYTHING! Classic, warm, garage riffing, soully melodies but with a huskily honeyed folky voice. And the songwriting is superb!

                  77:78

                  Chilli - Inc. Dubwood Allstars Remix

                    77:78, the new project from Aaron Fletcher & Tim Parkin, card-carrying members of the musical kaleidoscope that is The Bees, release Chilli, the latest track to be taken from their debut album, Jellies, which is released on Heavenly Recordings on Friday 6th July.

                    There's just 150 copies of this life affirming 7” featuring the original version of Chilli on the A side and on the flip a brilliantly nuts (and soon to be in-demand) remix by Dubwood Allstars. 

                    Talking about the track, Aaron said:
                    "Chilli is just us being the sort of 70’s dirty ol’ roadhouse blues band that we always wanted to be....dressed in double denim and playing in a desert bar where the chilli is hot as rockets."

                    Here’s a quote from Dubwood Allstars:
                    "Looking forward to seeing 77:78 ...hope they're as good as when I saw them at The Fillmore in '75, managed to capture this stomping version of Chilli on my Nagra, been in the loft ever since…”

                    FORMAT INFORMATION

                    Ltd 7" Info: The labels are stamped, the sleeves are wraparound risograph prints, individually numbered and poly-bagged.

                    In a period of governmental and cultural revolution, former Pipettes front-woman, Gwenno, releases a political concept album inspired by an obscure 1970s Welsh language sci-fi novel, subtly disguised as a blissful kraut-pop record.

                    Taking its cue, and title, from Owain Owain’s 1976 novel about a dystopian future where the robots have taken over and are busily turning the human race into clones through the use of medication, 'Y Dydd Olaf' blends big themes (including patriarchal society, government-funded media propaganda, cultural control, technology, isolation and the importance of, and threat to minority languages), great tunes, and a real sense of revolution to produce a powerful, politically-charged concept album.

                    'Y Dydd Olaf' is a political, feminist, brilliantly executed record; and although this particular revolution might not be televised, it certainly will have a great soundtrack.

                    FORMAT INFORMATION

                    Vinyl comes with CD version of the album enclosed.

                    Halo Maud’s first release on Heavenly is a recap of the story so far ahead of an album release later this year – three tracks of this EP originally came out on a Canadian label last year, with the difference that ‘Du Pouvoir’ now features some English lyrics, and ‘À La Fin’ and ‘Dans La Nuit’ cropped up on a La Souterraine compilations in 2015 and 2016 respectively.

                    Maud Nadal has been a member of both Moodoïd and Melody’s Echo Chamber’s live bands, and of course at times there are comparisons to be drawn with MEC, with both teetering on a crystalline peak where extreme joy and despair meet. But if anything Nadal’s own melodies are even more indelible, and her voice turns them into vapour trails.

                    STAFF COMMENTS

                    Barry says: Hazy harmonies, rolling grooves and insistent percussive workouts form the backbone to Nadal's often haunting vocal flourishes, sometimes falling behind to give the vocals their own space. Perfectly measured and beautifully written immersive indie anthems.

                    FORMAT INFORMATION

                    Coloured LP Info: Includes exclusive bonus 7" featuring two new tracks: "Tu Sais Comme Je Suis" and "Depression Au-dessus du Jardin", while stocks last.

                    Audiobooks

                    Gothenburg EP

                      If you’re going to call your band audiobooks, you’d better get your stories straight. Evangeline Ling and David Wrench have great stories. Their songs are full of them - discombobulating observations over discomfiting oscillations. There are woozy fly-on-the-wall accounts of boozy art gallery openings and out of body journeys through the capital at night, all stretched out over stuttering, glitchy glam electronics. Managing to be spontaneous and playful yet fully focused, as if driven by some pagan design, audiobooks ride the sharp neon ley-lines that run between the north Wales coast and the grubby heart of after hours London. These songs are Pulp fictions by an inhuman league. They’re our new favourite band. Start following the story now.

                      Written entirely in Cornish, Le Kov is exploration of the individual and collective subconscious, the myths and drolls of Cornwall, and the survival of Britain’s lesser known Brythonic language. As one of the language’s few fluent speakers, Gwenno felt a duty to make her second album entirely in Cornish: to create a document of a living language, explore her identity and the endless creative possibilities of a tongue that has a very small surviving artistic output, despite having been around for at least 15 centuries.
                      She dove deep into research, learning about attempts to protect and progress the language and the role of women throughout Cornish history. When Gwenno considered the legends of sunken Brythonic cities Cantre’r Gwaelod, Kêr-Is, Langarrow and Lyonesse, she knew she had her starting point. These cities evoked her idea of language as its own form of psychological territory, a concept perfectly distilled by the Cornish title for the album, Le Kov – the place of memory.

                      But Le Kov isn’t really a concept album—the city doesn’t loom that large through these 10 songs, and you don’t need the translation sheet to appreciate the gorgeous, sea-warped psychedelia that Gwenno has created alongside long-term collaborator and producer Rhys Edwards. Evoking the music of her childhood – Brenda Wootton, Alan Stivell, BUCCA – along with Broadcast, The United States of America, White Noise and Serge Gainsbourg, Le Kov is shimmering and tarnished, rust mingled with barnacles, moss entwined with weathered rope. It’s a huge step up from her debut album, Y Dydd Olaf, featuring forlorn piano, crisp drums, and searching synth lines that seem to reach across the horizon. The sounds of the language are similarly gorgeous: “Dha wolow jy yw splann” (“your light is bright”), Gwenno marvels on Hi A Skoellyas Liv A Dhagrow (She Shed A Flood Of Tears).

                      Sharp-eyed observers will note that that’s also a song from Aphex Twin’s 2001 album Drukqs. “I imagined Richard D. James coming across this ‘long lost Cornish 70s folk rock song’ on vinyl in a charity shop in the city of Le Kov, and stealing the title,” says Gwenno. It’s one of just two songs where she references the city directly. The next is Herdhya (Pushing), a hypnotic song “about the feeling of isolation after the Brexit vote, and realising that you’re stuck on an island—Britain—with perhaps many people who are trying to push society back to a regressive idea of the middle ages that has never existed, and imposing that on everyone else,” says Gwenno. By contrast, Le Kov is “dhyn ni oll” (for us all), a sanctuary city and analogue for the importance of understanding that diverse identities are the foundation of any place.
                      There’s darkness on Le Kov, but beauty, too. Tir Ha Mor (Land And Sea) is a tribute to Peter Lanyon, the St. Ives school painter who learned to fly a glider plane in order to “get a more complete knowledge of the landscape” where he lived, and died after crashing his aircraft in August 1964. “Marghek an Gwyns was his Bardic name,” says Gwenno. “Rider of the Winds.”
                      And Gwenno’s playful side shines through, too. Daromres Y’n Howl (Traffic In The Sun) is a low, groovy tribute to Cornwall’s clogged roads in the summertime, featuring Gruff Rhys rapping amid dissonant brass that evoke the angry horns of tourists on the A30. And Gwenno’s favourite song is Eus Keus? (Is There Cheese?). It comes from one of the oldest surviving Cornish phrases: “Is there cheese? Is there or isn’t there? If there’s cheese, bring cheese, and if there isn’t cheese, bring what there is!”

                      Over the course of making Le Kov, Gwenno reconciled her anxiety over her right to make a Cornish-language pop record, and realised that, in the age of Brexit, isolationism and hostility towards the rich cultures that make modern Britain, it had a wider resonance, too. “This album is a combination of accepting the culture which your parents have valued enough to want to pass on to you, regardless how small, and utilising it in a positive way to try and make sense of the world around you, it’s also about having to accept and respect the nuances that make us all different and discovering that all of our stories share the same truth.”

                      STAFF COMMENTS

                      Barry says: Never one to shy away from walking the roads-less-travelled when it comes to language use (being fluent in both Welsh and Cornish), Gwenno is flying the flag for regional language pride, as well as dominating players around the globe when she puts out a new one. 'Le Kov' is no different, perfectly produced and brilliantly enjoyable.

                      FORMAT INFORMATION

                      Coloured LP includes MP3 Download Code.

                      Sidonie Hand Halford is a Christmas temp at the Post Office in Liverpool, her younger sister Esme is studying English literature at Manchester, and their friend Henry Wade is preparing to sit his A-levels in Halifax next summer. 

                      From the first jangling sunshine chords on opening track ‘Mango’, Silver Dollar Moments announces itself as a proper piece of indie pop goodness. Then, across 45 minutes, it takes all kinds of turns, into ESG-ish yips and funk, dreamy-arch harmonies, disco synth-pows and stoner bongos, unsettling submerged voices - with all that and more it still flows like a fountain of indie pop, fresh and catchy and altogether.

                      Maybe one reason it all coheres so beautifully is that The Orielles are a close-knit unit: two sisters and their best mate. “We met Henry at a house party a few years ago,” says Sid. “I mean, it’s a bit lamer than that sounds. It was a friend of our parents, she was having a 40th birthday party, and we went along, and Henry was there too, with his parents.” They’ve been writing songs together ever since, Esme singing and on bass, Sidonie on drums, Henry on guitar. They’ve played live all over the UK as well as Europe and North America, and this year they signed to Heavenly Recordings and headed into Eve Studios in Stockport.

                      STAFF COMMENTS

                      Andy says: Brilliant, classic indie-pop! This has all the youthful charm and quirks of the C86 era, but is way better presented and with very good songs. Anorak godfathers The Pastels spring most readily to mind, except The Orielles have a tangible groove and percussive joie de vivre untypical of that era. You're gonna love this band!

                      The nine songs that comprise Quit The Curse come on sugary and upbeat, but their darker lyrical themes and serpentine song structures are tucked neatly into what seem at first just like uncommonly catchy tunes. Burch’s crystal clear vocal harmonies and gracefully crafted songs feel so warm and friendly that it’s easy to miss the lyrics about destructive relationships, daddy issues and substance abuse that cling like spiderwebs to the hooky melodies. The maddeningly absent lover being sung to in “2 Cool 2 Care”, the crowded exhaustion of “With You Every Day” or even the grim, paranoid tale of scoring drugs in “Asking 4 A Friend” sometimes feel overshadowed by the shimmering sonics that envelop them. Though the deceptively complex pop of Quit The Curse marks the debut of Anna Burch, it’s anything but the green first steps of a fledgling new artist. Growing up in Michigan, her fixation with music transitioned from a childhood of Disney and Carole King sing-alongs to more typically angsty teenage years spent covering Bright Eyes and Fiona Apple at open mic nights. “To me this album marks the end of an era of uncertainty. Writing songs about my emotional struggles helped me to work through some negative patterns in my personal life, while giving me the sense of creative agency I'd been searching for.” Emerging from years spent as a supporting player, Quit The Curse stands as a liberation from feeling like Burch’s own songwriting voice was just out of reach -- an opportunity, finally, for the world at large to hear what’s been on her mind for quite a while.

                      Early praise for Anna Burch's music:

                      “Frank and gratifying all the same, Burch’s tightly structured pop is an invigorating take on an evergreen sound.” - Pitchfork

                      “Anna Burch is a veteran of the Detroit music scene, which helps explains why “2 Cool 2 Care,” the first single from her upcoming solo debut LP, lands like an old friend. There’s an instant familiarity and warmth to it that can be partially attributed to the song’s gentle sway — all oohs and ahhs and starry-eyed romanticism — but it hits even deeper than that.” - Stereogum

                      STAFF COMMENTS

                      Laura says: New Heavenly Records signing Anna Burch brings us lovely, (mostly) up beat guitar-pop tempered perfectly by a slight twist of melancholy.

                      Saint Etienne

                      Tales From Turnpike House

                        ‘Tales From Turnpike House’ is the seventh studio album by Saint Etienne. It is a concept album in which the songs depict characters who all live in the eponymous block of flats in London.

                        The album features two tracks co-written and produced by Xenomania (‘Lightning Strikes Twice’ and ‘Stars Above Us’) as well as a guest vocal from 1970s pop star David Essex on ‘Relocate’ (Essex had earlier appeared on the Saint Etienne album ‘So Tough’ via sampled dialogue from the 1973 film ‘That’ll Be The Day’).

                        Finally available on LP since original release. Includes postcard digital download card and printed inner sleeve.

                        Saint Etienne

                        Finisterre

                          ‘Finisterre’ is Saint Etienne’s sixth studio album, first released in 2002.

                          ‘Finisterre’ contains a wide mixture of sounds and styles. The album returned to the inclusion of vocal interludes between songs as last heard on their album ’So Tough’ and a more angular, electronic sound, particularly on tracks such as ‘Action’, ‘Shower Scene’ and ‘New Thing’.

                          ‘Language Lab’ and ‘Summerisle’ recall the ambient style of ’Sound Of Water’, while ‘Stop And Think It Over’ would not have been out of place on ’Good Humor’ or its predecessor ‘Tiger Bay’.

                          The album sleeve features a photograph of the East London tower block Ronan Point shortly after it collapsed in 1968 with the loss of four lives.

                          LP with postcard, digital download card, printed inner sleeve. Never before reissued on vinyl.

                          Saint Etienne

                          Good Humor

                            ‘Good Humor’ is Saint Etienne’s fourth album, originally released in 1998.

                            The American spelling "humor" is used in the title as the band were, according to Sarah Cracknell, "fed up with the 'quintessentially English' tag, so there was a bit of a backlash against that“.

                            The album was a departure for the group, who had been associated with the Indie Dance genre.

                            ’Tiger Bay’, their previous album, had added many acoustic and orchestral elements but still belonged to the synthpop and dance genres, while ’Good Humor’ is a more acoustic affair.

                            ‘Good Humor’ was demoed in the UK using synths and drum machines, but was recorded in Sweden under the guidance of Tore Johansson, who augmented their sound with a full band and a horn section.

                            FORMAT INFORMATION

                            LP includes MP3 Download Code.

                            Saint Etienne

                            So Tough

                              ‘So Tough’ is the second studio album by British band Saint Etienne.

                              First released in 1993, it is their highest-charting album to date, reaching No. 7 on the UK Album Charts.

                              The album takes its title from The Beach Boys’ ‘Carl And The Passions - So Tough’ album.

                              The album was indebted to Sixties classics ‘The Who Sell Out’ by The Who, ‘Smile’ by The Beach Boys and ‘Head’ by The Monkees.

                              The album was originally intended as a concept album which starts at Mario’s Café in London then travels around the world, however it came to be viewed as a solely London album.

                              The album cover features lead singer Sarah Cracknell aged 6, taken by her father Derek Cracknell.

                              King Gizzard & The Lizard Wizard With Mild High Club

                              Sketches Of Brunswick East

                              Just when you think you have King Gizzard & The Lizard Wizard sussed they throw a curveball - in the wake of two albums released in 2017 already, including most recently the dystopian end-times concept album Murder Of The Universe, which tackled in no uncertain terms the rise of robots and the downfall of mankind, comes Sketches Of Brunswick East, an entirely altered beast.

                              Australia’s finest and most productive rock band have done this before, of course: while the world was still reeling from their 2014 breakthrough psych-punk masterpiece I'm In Your Mind Fuzz (2014) they casually released 2015’s expectation-confounding Paper Mache Dream Balloon (2015), a pastoral, sun-drenched acid-folk album.

                              Sketches Of Brunswick East is a collaboration between King Gizzard and Mild High Club, the Los Angeles based tripster troupe signed to Stones Throw Records and led by Alex Brettin – the two bands formed a strong friendship touring together throughout the USA, Europe, and Australia.

                              Recorded at the band’s own Flightless HQ in East Brunswick, Melbourne Australia earlier this year and mixed at Stones Throw studios in L.A. it’s the third of five projected albums to be released in 2017. 

                              “We were listening to compilations of Ethiopian music form the 1960s and 70s a lot,” explained Stu Mackenzie about the making of the record. “It was in no way thought-out though. If Murder Of The Universe was our most conceptual and arranged album - then Sketches... is the exact opposite.”

                              The title could be perceived as both a knowing nod towards Miles Davis’s Sketches Of Spain and the sketchy on-the-hop, improvised nature of its creation by these gnarly and feral Aussie dudes. It also sees the band further exploring the Tropicalia element only ever previously hinted at. Stu explains that a change of pace and tempo was necessary after “a concurrent period of productivity, a ball of energy and ideas”.

                              Logistically, its creation saw the sifting through “piles of ideas” previously laid down during intense periods of creation that their frontman confesses he barely remembers having taken place. Truly this is impulsive music, sketches of time and place reworked and pieced together, akin to, says Stu “sampling-culture, in which old ideas are reshaped and suddenly things make sense. It was like we were continually jamming with ourselves.”

                              King Gizzard & the Lizard Wizard are: Stu Mackenzie (vocals / guitar/ flute), Ambrose Kenny Smith (harmonica / vocals), Craig Cook (guitar / vocals), Eric Moore (drums), Joey Walker (guitar), Lucas Skinner (bass) & Michael Cavanagh (drums).

                              STAFF COMMENTS

                              Barry says: Oh Gizz', you may write 1.8 albums p/h but we love you so. This time out it's a tad jazzier but as ever, impeccable.

                              King Gizzard And The Lizard Wizard

                              Murder Of The Universe

                              Lit by thunderclaps and lightning, Murder Of The Universe inhabits a sonic landscape of death, decay, ossification, fossilisation, rebirth. It is a place occupied by wandering shape-shifting beasts, bleeding skies, pools of blood, great fires and mushroom clouds; a planet rent asunder by conflict.

                              A disorientating experience, the album hinges on three distinct sections that rise from larval beds, and whose lyrics should be carved in stone, squeezed from moss, discovered in ancient runes. And all the while a passing cast of characters imbue the tale with both human and non-human emotions.

                              Snippets of earlier recordings breakthrough collection I’m In Your Mind Fuzz and Nonagon Infinity resurface throughout like ghostly shadow form to haunt their latest sound. In years to come King Gizzard & The Lizard Wizard will be judged not by their separate albums, but by a body of work where themes, melodies, motifs, riffs and ideas resurface and recur, each album peeling back a layer of the onion to glimpse at past and future alike.

                              “We’ve always thought of our albums as portals through which you can move from one to the other,” says Stu. “Or maybe each album is a bridge to the next part of the story. Songs sync together, records can be played in loops and past ideas recur or are reprised, and then woven into new textures. These ideas aren’t necessarily contrived though...sometimes these just happen.”

                              STAFF COMMENTS

                              Barry says: Another brilliant outing from the King Giz fam. Psychedelic swirling guitars, echoing vocal melodies, impeccable percussive freak-outs and as ever, fist-pumping heavy af grooves.

                              FORMAT INFORMATION

                              LP includes MP3 Download Code.

                              H. Hawkline

                              Last Thing On Your Mind / More Salt

                                Well, this is rather nice! A super-limited 12" in a hand stamped and numbered screen printed sleeve.

                                Artwork by H. Hawkline.

                                Last Thing On Your Mind and unreleased b side "More Salt".

                                Recorded in Los Angeles with Samur Khouja, who worked with Huw on his last album, In The Pink Of Condition, the track features Cate Le Bon and Josiah Steinbrick.

                                Talking about the track, Huw said:

                                'It waits like the cat who knows it'll eventually get cream. Sits, makes eyes and then sips, always watching, one eye on the washer, the warm smell of fresh china'

                                FORMAT INFORMATION

                                Ltd 12" Info: There are only 100 of these little beauties in the world, so don't snooze!

                                The Orielles

                                Sugar Tastes Like Salt

                                  New Heavenly signings The Orielles release this ultra limited edition, just 100 copies of a 7” and a 12” each lovingly packaged in custom made artwork.

                                  Screen printed covers, all copies numbered 1 - 100.

                                  FORMAT INFORMATION

                                  Ltd 7" Info: The 7” has the 8:25 track split over both sides, fading out on the A and fading in again on the flip.

                                  The Home Counties are an embarrassing place to come from. The name itself suggests that somehow the rest of Britain isn’t ‘home’, not even London. Saint Etienne grew up in the Home Counties. Here are sixteen new songs they have written about a day in the life of this doughnut of shires that ring the capital, punctuated by bursts of BBC radio to remind you what time it is and all connected by train journeys - main lines, branch lines, commutes, escapes.

                                  The love / hate relationship people have with ‘home’ is particularly acute in the Home Counties. Yet Saint Etienne understand that if you squint, it could be almost utopian.

                                  The album was produced by Shawn Lee of Young Gun Silver Fox, with support from Augustus (Kero Kero Bonito), Carwyn Ellis (Colorama, Edwyn Collins), Robin Bennett (The Dreaming Spires), Richard X (Girls On Top / Black Melody) and long-time collaborator Gerard Johnson (Denim, Yes). It was recorded in Central London. Sarah, Bob and Pete commuted to the studio every day for six weeks.

                                  There’s a singer with a voice 50 fathoms deep and the consistency of vitrified teak, who has been known to go to extremes in search of a song. Across continents, over oceans, through multiple time zones. From West Hollywood to... Tunbridge Wells. A long way – but Mark Lanegan knows the directions.

                                  Early in 2016, Mark was at home in Los Angeles, working on some ideas for what might turn into his next album. He wasn’t too thrilled by what he was coming up with. Then he got an email from a friend, an English musician named Rob Marshall, thanking Mark for contributing to a new project he was putting together, Humanist. The pair first met in 2008, when Marshall’s former band Exit Calm supported Soulsavers, who Mark was singing with at the time. Now Rob was offering to write Mark some music to return the favour.

                                  “I was like, Hey man, I’m getting ready to make a record, if you’ve got anything?’” Mark recalls. “Three days later he sent me *10 things… !”

                                  In the meantime, Mark had written Blue Blue Sea, a rippling mood piece that he thought might be a more fruitful direction for his new record, and had the idea for a song called First Day Of Winter that felt like an apt closer. “It’s almost always how my records start,” he explains. “I let the first couple of songs tell me what the next couple should sound like, and it’s really the same process when I’m writing words. Whatever my first couple of lines are tell me what the next couple should be. I’ve always built things like that, sort of like making a sculpture I guess. Start with the raw material and let that point me in the direction I want to go. So, once I was pointed in that direction, the music that came from other sources, from Rob, I just went for the ones that helped me build this narrative that I had started already.”

                                  Within an hour, Mark had written words and vocal lines for two of the pieces Rob had cooked up at Mount Sion Studios in Kent and pinged through the virtual clouds to California. Rob's music fitted perfectly with the direction Mark had been pondering: in essence, a more expansive progression from the moody Krautrock-influenced electronica textures of his two previous albums, Blues Funeral and Phantom Radio. Eventually, Rob Marshall would co-write six of the songs on the new Mark Lanegan Band album. “I was very thankful to become reacquainted with him,” Mark deadpans.

                                  The remainder of the album was written, recorded and produced by Lanegan's longtime musical amanuensis Alain Johannes at his 11 AD base in West Hollywood. Everything was done and dusted within a month, unusually fast by Lanegan’s recent standards. Both Blues Funeral and Phantom Radio unfurled at leisurely pace over several months. But this time Johannes had only a fixed window of opportunity due to his ongoing touring commitments as a member of P.J. Harvey’s band. But Mark was sufficiently happy with the material to move swiftly, a reflection of contentment with his abilities as a singer and writer, which have now produced a huge body of work spanning a period of more than 30 years: whether it be his own solo records, or collaborative recordings with others, or going back to his legendary first band, the Screaming Trees.

                                  STAFF COMMENTS

                                  Barry says: Lanegan and band do it once again with this, the brilliant 'Gargoyle'. A more upbeat outlook than previous iterations, channelling the spirit of 60's psychedelia, stadium rock, downbeat folky moments and good ol fashioned songwriting talent. Brilliant.

                                  It doesn’t take too long with Volcano to realise that, while all the things that made the band special the first time around remain intact, a noticeable evolution has taken place. It’s there from the outset: the beefed-up beats of Certainty reveal an expanded sonic firmament, one in which bright synth hooks and insistent choruses circle around each other over chord sequences that strike just the right balance between nice and queasy. “If there’s a sense of scale,” says lead singer James Bagshaw, “It was really just a result of implementing a load of things that we didn’t know about the first time around.” Co-founding member and bassist Thomas Walmsley describes a record in which “we discovered a lot as we went along, and the excitement at having done so radiates

                                  One thing you do notice is that it’s harder to spot the influences this time around. It would be disingenuous to evade the psych-pop tag, for sure, but mystical language has been supplanted by something a more direct – and while those influences are still there, it’s no longer possible to pick them out. They’ve been broken down and blended together – fossilised into a single source of creative fuel, so that what you can hear this time around, sounds like nothing so much as Temples. This is the sound of a band squaring up to their potential.

                                  STAFF COMMENTS

                                  Andy says: More synthy than their debut but crucially just as hyper-melodic, Temples bring the magic of a bygone era right into the present with huge aplomb. It's a beautiful thing.

                                  FORMAT INFORMATION

                                  Coloured LP Info: Neon orange indies exclusive.

                                  King Gizzard & The Lizard Wizard

                                  Flying Microtonal Banana

                                  Geelong’s insuppressible King Gizzard & The Lizard Wizard release their new album ‘Flying Microtonal Banana’ on Heavenly Recordings - the first of five albums they are set to release in 2017.

                                  Talking about the making of Flying Microtonal Banana, Eric Moore of the band said: “Earlier this year we started experimenting with a custom microtonal guitar our friend Zak made for Stu. The guitar was modified to play in 24- TET tuning and could only be played with other microtonal instruments. We ended up giving everyone a budget of $200 to buy instruments and turn them microtonal. The record features the modified electric guitars, basses, keyboards and harmonica as well as a Turkish horn called a Zurna.”

                                  Shimmering, hypnotic and propulsive and powered along, as ever, by the metronomic beat of two drummers, ‘Flying Microtonal Banana’ takes a subtle musical shift away from the frazzled freak-beat of its predecessor, ‘Nonagon Infinity’. Trance like, in parts clipped and concise yet deeply psychedelic, it reveals yet another musical side to a band seemingly in perpetual motion.

                                  Perhaps one of the most exciting live bands out there right now, they appeared at both Green Man and End Of The Road festivals over the summer as well as playing sold-out London shows at the Electric Ballroom, Moth Club and The Electric during 2016. The band will bring their unrestrained and free-wheeling live show back to the UK in 2017.

                                  STAFF COMMENTS

                                  Barry says: K-Gizzle pull out another brilliant and no doubt in-demand album of angular melodies, psychedelic freak-outs and grooving churns of noise, interspersed with funked-up melodies and brilliantly effervescent indie rock. There really is a bit of everything here, classic rock, jazz, psych, noise. You name it, it's here, and executed to perfection.

                                  FORMAT INFORMATION

                                  LP includes MP3 Download Code.

                                  Saint Etienne

                                  Foxbase Alpha - Box Set

                                    It’s hard to believe that Saint Etienne’s debut album ‘Foxbase Alpha’ turns 25 this year but the good news is that it still sounds as fresh, vibrant and relevant as the day it was released. Often hailed as one of the most important DIY albums of all time, ‘Foxbase Alpha’ became the first long player released on fledgling Heavenly Recordings in 1991 and went on to be nominated alongside ‘Screamadelica’ in the first ever Mercury Music Prize in 1992.

                                    This special edition triple vinyl box set includes the original album cut over two discs at 45rpm plus a bonus album (at 33rpm) of associated recordings from the era, most of which appear on vinyl for the first time.

                                    A one sided 7” single featuring a previously unreleased demo of Moria Lambert (vocalist for ‘Only Love Can Break Your Heart’) singing over a radically different version of ‘Kiss And Make Up’, plus a 32 page book and assorted inserts - including band photos, original press releases, Foxbase trading cards and a digital download code - complete the package.

                                    The band kicked 25th anniversary proceedings off with three sold out shows where they performed the album in its entirety followed by a short set of career highlights. The shows were at London’s Heaven - scene of the first ever Saint Etienne show back in 1991 - and the Rockaway Beach Festival in Bognor Regis.

                                    It’s hard to believe that Saint Etienne’s debut album ‘Foxbase Alpha’ turns 25 this year but the good news is that it still sounds as fresh, vibrant and relevant as the day it was released. Often hailed as one of the most important DIY albums of all time, ‘Foxbase Alpha’ became the first long player released on fledgling Heavenly Recordings in 1991 and went on to be nominated alongside ‘Screamadelica’ in the first ever Mercury Music Prize in 1992.

                                    FORMAT INFORMATION

                                    LP Info: The album is re-issued on vinyl for the first
                                    time since its original release, as an exact replica
                                    of the original UK pressing. Includes digital
                                    download.

                                    2xCD Info: Double CD version includes the original album plus a disc of 14 associated recordings from the era and a lavish 28 page booklet.

                                    If their debut album, ‘Highest Point In Cliff Town’, released in August last year, was Hooton Tennis Club’s sprightly statement of intent, ‘Big Box Of Chocolates’ may well be their coming of age - a record that retains all the colour and invention of their debut while being elevated by richer instrumentation and lyrics that hint at slightly heavier themes: love and loss, nihilism and the ‘non-spaces’ of Northern England, all delivered in the band’s typically laconic, bittersweet style, like a Mersey Beat Murakami.

                                    Recorded over three weeks in Helmsdale, during which time they all grew beards, drank copious amounts of tea and became birdwatchers and whiskey tipplers, the album reflects the band’s relaxed approach to songwriting. They tend not to labour over recording demos or strumming and beating the life out of songs in the practice room. Instead, ideas are allowed to form spontaneously: melodies are hummed into phones or computers, lyrics batted back and forth, songs worked out alone in the bedroom, or layered up from scratch together in the studio.

                                    STAFF COMMENTS

                                    Barry says: A fancy-free and assured romp through the recesses of indie-rock and late psychedelia ; jangly guitar melodies and waves of reverbed drums all topped with emotive but relaxed vocal wanderings. Imbibed with melody and soul, but heavy and grooving enough to keep you moving. Rock out with your Big-Box-Of-Chocs out.

                                    Recorded with Keith Cooper and Andrew McCalla in the band’s home-town of Memphis, the album features artwork by lead vocalist / guitarist Natalie Hoffman.

                                    Nots are still a wild guitar band, but above and below the guitar, bass and drum pound, Alexandra Eastburn's analog synth blurps melodies and nonsense, teasing squiggles of freedom which defy the false grid of modern life.

                                    With Hoffmann on guitar & vocals, Eastburn on synth, Charlotte Watson beating drums, and Meredith Lones steering a solid path through the chaos on bass, Nots are neither content with the smug "stare at your shoes" approach of bands from both coasts, nor an Earth-hugging "we need to get back to nature" hippie copout. There might not be any answers here. That might be the point. Nots have arrived at the next level of their attack with a confidence and a music that lays waste to the wasteland without romantic attachment to a thing.

                                    STAFF COMMENTS

                                    Barry says: Channeling the spirit of early punk (distorted backline, shouty singer, 2 minute songs etc) Nots have presented us with a scathing collection of dynamic and vitriolic bursts of noise. Single-string melody lines and broken-speaker distortion back up the hollered vox. Clanging and concise, this is punk-rock for a new generation.

                                    The Parrots

                                    Los Niños Sin Miedo

                                      Oh Dios mio! Madrid racket-makers The Parrots have announced their debut album 'Los Ninos Sin Miedo'. With an album title that roughly translates as 'Children Without Fear,' the band's first full-length comes out via Heavenly Recordings.

                                      The Parrots - Diego García (vocals / guitar), Alex de Lucas (bass) and Larry Balboa (drums) - are a loose-hipped, primordial rock ‘n’ roll band from Madrid who met at university in the city and evolved from the same firmament of like-minded artists, photographers, DJs and musicians that recently spawned the acclaimed band Hinds. (The Parrots’ Diego produced Hinds’ recently released acclaimed album ‘Leave Me Alone’.) 

                                      The band recorded ‘Los Niños Sin Miedo’ in one week last September down by the sea in Cádiz at the studios of much-loved Spanish sound engineer Paco Loco. An idyllic setting conducive to the recording of the album, Paco’s infectious enthusiasm and artistic insight made the process even easier.

                                      ‘Blood Moon’, M. Craft’s third full length album, is very much a score for seclusion. Inspired by witnessing the titular lunar event twice during his time as a desert resident, ‘Blood Moon’ began life in a studio in nearby Los Angeles as a series of unstructured, experimental piano pieces.

                                      Constructed from those piano recordings with additional percussion from another temporary desert dweller, Seb Rochford (Polar Bear) and occasional orchestration, ‘Blood Moon’ is a stunning fusion of freeform instrumental explorations and properly pure songs.

                                      Amber Arcades, the moniker of Dutch musician Annelotte de Graaf, unveils her debut album, released on Heavenly Recordings.

                                      With motoric rhythms and ethereal vocals, ‘Fading Lines’ was recorded in New York with producer Ben Greenberg (The Men, Beach Fossils, Destruction Unit).

                                      STAFF COMMENTS

                                      Millie says: This is definitely my favourite summer album of the year. Hazy yet dazzling, it flickers between her honey-like vocals and jangly guitars. Sunny and shimmering, it's not one to be overlooked. Fans of Alvvays will love this!

                                      Palehound, the musical alias of 21-year-old Boston-based guitarist and songwriter Ellen Kempner, releases the ‘Dry Food’ album on Heavenly Recordings.

                                      Recorded with Gabe Wax (Wye Oak, Speedy Ortiz), ‘Dry Food’ is full of sonic and emotional twists and turns, written as it was at a time in Kempner’s life that was defined by instability and uncertainty.

                                      “The way some people have a way with words, Palehound singer/songwriter Ellen Kempner has a way with a guitar: Looped lines tumble out in the knotty configurations worthy of a sailor’s handiwork, or maybe of academic writing.” - SPIN Album Of The Week

                                      “‘Dry Food’ confronts the point it’s been evading: kidding yourself is no way to recover, and comfort offers little impetus to move on. Palehound’s discomfiting, unflinching debut suggests she knew it all along.” - Pitchfork (8/10)

                                      “Palehound’s ‘Dry Food’ is one of the best albums this year because it doesn’t reinvent any wheels so much as the axis the wheels spin on.” - The Observer

                                      STAFF COMMENTS

                                      Laura says: One of my favourite 'new band' things so far this year. Lovely inventive guitars topped with Ellen's insightful lyrics; at times playful at others melancholic. The rhythms tumble along intertwined with clever melodies, bringing to mind past gems such as Belly and The Breeders, while at other times the sudden changes in direction and tempo bring to mind Pavement. But despite these references, it's by no means retro, it has a really fresh feel to it.

                                      Nots

                                      Reactor - Mikey Young Remix

                                        Ultra limited one sided white label 12".

                                        Remix by Mikey Young of Total Control!




                                        King Gizzard & The Lizard Wizard

                                        Paper Mâché Dream Balloon

                                        Starting out in 2010 as a solid garage rock group, King Gizzard & the Lizard Wizard followed their collective muse wherever it chose to lead them. For their latest opus, Paper Mâché Dream Balloon, they initially thought it was going to be filled with the darker, heavier material that the band has been playing live of late. But front man Stu Mackenzie soon decided that it was time to put aside the longer, more conceptual pieces and go in a completely new direction.

                                        On previous records King Gizzard has channeled many different sounds: From heavily distorted, kraut-driven rock on their 2014 album I’m In Your Mind Fuzz to expansive, almost jazzy, Dead-like head trips on Quarters! Or as Mackenzie puts it, “I always wanted to be a band where you would expect the unexpected each time, with each album being treated like a different phase.”

                                        Hence, the band’s seventh album was recorded using nothing but acoustic instruments. Mackenzie elaborated on this with: “Acoustic guitars, flute, double bass, fiddle, harmonica, drum kit, clarinet. Whatever we could find really.” The result is a lovely, lilting pop masterpiece that still evokes the same intoxicating exuberance as KGATLW’s most recent work, but with a more pastoral, communal feel to it.

                                        "Their songs are dense, intricately crafted, and most importantly, powerful … King Gizzard & the Lizard Wizard don't do predictability.” - Pitchfork”

                                        “King Gizzard are on a dizzying trip to the center of psychedelia, cocooning themselves in spaced-out guitar lines and engorged melodies that demand to be viewed Disney-style, through a dodecahedral prism of light.” – The Guardian

                                        FORMAT INFORMATION

                                        Ltd LP includes MP3 Download Code.

                                        ‘What Green Feels Like’ is the hauntingly beautiful debut album from Eaves.

                                        The album was recorded in the Autumn of 2014 at Voltaire Studios, London with acclaimed producer Cam Blackwood.


                                        “One of the most compelling British debuts in years” - The Sunday Times

                                        “Strikingly fresh and moving” - Mojo (4/5)

                                        “Echoes of Tim Buckley but he’s very much his own (young) man” - Metro (4/5)

                                        Fever The Ghost

                                        Zirconium Meconium

                                        Transmitting cosmic narratives and inventive song structures, Fever The Ghost’s sprawling pop saga ‘Zirconium Meconium’ sleekly marries the group’s esoteric tendencies with an inescapable melodicism.

                                        Described by the band as a “collection of songs musically interpreting the third dimensional integration process from the perspective of vital force energy incarnating into the physical world” the album combines interstellar vibrations and a sense of youthful wonder into an unparalleled pop sound.

                                        Drinks (Cate Le Bon & Tim Presley)

                                        Hermits On Holiday / Eighteen Teenage Revenge Pair

                                          Drinks is the new project from Cate Le Bon and Tim Presley, aka White Fence, whose forthcoming album ‘Hermits On Holiday’ is preceded by a single featuring the title track ‘Hermits On Holiday’ backed with ‘Eighteen Teenage Revenge Pair’.

                                          King Gizzard & The Lizard Wizard

                                          I'm In Your Mind Fuzz

                                          Australia’s King Gizzard & The Lizard Wizard announce details of new album ‘I’m In Your Mind Fuzz’ on Heavenly Recordings.

                                          This Australian beast of a band, with a bear of a name and a thick herd of band members, deliver many things on ‘I’m In Your Mind Fuzz’, namely a skeleton of propulsive Krautbeat fleshed out with a liberal dose of citric sweetness, flutes and harmonicas, a ton of wah, many lovely left turns of delicate psych and a dash of DMT dread.

                                          The Voyeurs

                                          Stunners / Orgy #2

                                          The Voyeurs (formerly Charlie Boyer & The Voyeurs) return with a brand new single.

                                          Featuring the B-side Orgy # 2, the single was produced by Oli Bayston (Boxed In) and recorded at the Flesh & Bone and The Premises studios in east-London.

                                          Released on 7” and download, the track features on their forthcoming 2nd album, Rhubarb Rhubarb, which is released the following week.

                                          The Wytches

                                          Burn Out The Bruise

                                          The Wytches release the third single from their acclaimed debut album ‘Annabel Dream Reader’ on 7” and digital download.

                                          Recorded at Toe Rag Studios and co-produced by Kristian Bell and Bill Ryder-Jones, the single also features a brand new track ‘Darker’.

                                          “They’re equal parts sordid, spiteful and slightly damaged” - NME

                                          “The Wytches inject their misery with a little ‘Miserlou’ and ride an ocean wave awash with oil spills and blackened birds.” - Pitchfork

                                          “‘Annabel Dream Reader’ is heavy, wavy; you’ll feel very high and a little sick.” - Crack Magazine

                                          Cherry Ghost return with third album ‘Herd Runners’ on Heavenly Recordings.

                                          For the last couple of years, Simon Aldred has been in a state of wilful musical schizophrenia. Since 2007, Bolton-born Aldred has - to all intents - been Cherry Ghost, a band known for perfecting a kind of widescreen North Western country soul. Yet the third Cherry Ghost album, ‘Herd Runners’, arrives after an extensive period in which Aldred’s own music been pulled in multiple different directions.

                                          Firstly, as a songwriter-for-hire, Aldred has helped nurture the best of nascent British talent (including hugely tipped artists like Sam Smith and Kwabs). Latterly, he produced a set of critically lauded post-midnight electronic love songs under the Out Cold guise. Somewhere in the middle, there’s the small matter of the phoenix-like rebirth of Aldred’s Ivor Novello winning 2007 single ‘People Help The People’ as it went on to chart highly in fourteen different countries in 2010 when it was covered by the teenage singer Birdy.

                                          Far from muddying the musical waters, each of these diversions has only helped sharpen Aldred’s songwriting, providing a major spur for the finest Cherry Ghost album to date. “Exploring different styles has helped my own songs,” says Aldred, “Musicians need to stretch themselves and keep on learning.” · It was that exploration that has helped bring ‘Herd Runners’ to life. Shifting from soaring, symphonic pop (‘Clear Skies Ever Closer’) to melancholic lock-in blues (‘Drinking For Two’) via an almost uncompromisingly hopeful rhythmic shuffle (‘The World Could Turn’), ‘Herd Runners’ is a sublime collection, a reminder of Aldred’s singular skill as a composer; a skill that can twist bitter loss into teary optimism (and back) in less time than it takes to toss a coin.

                                          Lyrically, the album paints Edward Hopper-esque observations of the lives of others. Where previous records would have focused on the gloomy edges of the picture, ‘Herd Runners’ takes something of a longer view. “These songs aren’t as dark as those on previous records. This time round I thought it was important to keep a real empathy for the people I’m writing about.”

                                          Recorded in Sheffield with longterm Richard Hawley collaborator Colin Elliot and mixed in Bath with Dan Austin, ‘Herd Runners’ is ten perfectly crafted tales of heartbreak and hope. That musical schizophrenia is clearly working wonders for Simon Aldred. Long may it continue.

                                          FORMAT INFORMATION

                                          Ltd LP Info: Available exclusively to independent retailers on cream coloured vinyl (limited to 400 copies).

                                          Ltd LP includes MP3 Download Code.

                                          Cherry Ghost

                                          We Sleep On Stones

                                            Album standout "We Sleep On Stones" is given the rework treatment by San Fran label Stones Throw affiliate Mr Chop & features Heliocentrics Malcolm Catto on drums and Jake Ferguson on bass. Comes backed with a once-in-a lifetime cover of Ce Ce Peniston’s uber-hit "Finally".

                                            FORMAT INFORMATION

                                            Ltd 12" Info: Oooh, look what we just found!

                                            What’s in the water up on Merseyside? It’s as if there’s an endless source of almost psychedelic otherness running deep beneath the place. It’s there in the music of everyone from the La’s to Ladytron; an off-kilter wonder that sets the place and its art apart from the rest of the country.

                                            Stealing Sheep are very much a group channelling that source. You could hear it in their first recordings, released collectively as the Noah & The Paper Moon e.p. And its there flowing throughout their debut album proper, Into The Diamond Sun, a collection of songs that don’t so much defy genres as gleefully hand-pick the most mellifluous elements of everything from voodoo folk, DIY pop, post punk and analogue electronica, and stitch them together into a glorious harmonic whole.

                                            Recorded at Mello Studios with Sam Crombie, Stealing Sheep’s debut album proper is an Olympian leap forward, so much so that at points the record sounds like it’s arrived from its own private universe. Whereas on one track - White Lies – the group could be the much-missed Broadcast closing the main stage of the Green Man festival, on another they sound not a million miles from a properly wigged out Go Go’s (Genevieve). Elsewhere, ghostly piano codas (Bear Tracks) brush up against galeophobic warnings about the perils of the seaside (Shark Song).

                                            Into the Diamond Sun is a glimmering, shimmering work, where Rebecca, Emily and Lucy’s unique visions of music warp into a singular whole. It’s also an exceptional addition to Liverpool’s celebrated lineage of unconventional art and music.

                                            STAFF COMMENTS

                                            Andy says: Mainly folky, but also psychy and creatively lo-fi, it's the sweet harmonies that'll pull you in. Ace and lovely.

                                            FORMAT INFORMATION

                                            Vinyl comes with CD version of the album enclosed.

                                            The Head And The Heart

                                            The Head And The Heart - Bonus Tracks Edition

                                            The Head and the Heart came together in the summer of 2009, during frequent visits to the open mic night at Conor Byrne in Seattle's Ballard neighborhood.

                                            Californian Josiah Johnson and Virginia-native Jonathan Russell formed the core songwriting partnership, before adding keyboardist Kenny Hensle. Kenny, then 21, had packed up his piano and moved up to Seattle from California to pursue musical score-writing. Charity Rose Thielen, violin and vocals, had just returned from a year of studying and playing music in Paris. Drummer Tyler Williams moved from Virginia after Jon sent him the demo of Down in the Valley, relocating across states to be a part of this. Finally, Chris Zasche, was bartending at Conor Byrne and mentioned one day that he'd be happy to play bass for the nascent band. It all felt right: The Head and the Heart was born.

                                            The band entered Seattle's Studio Litho in early 2010 to record these songs that had been kicking and twisting in the catalytic development of their live show. Recorded by Shawn Simmons at Studio Litho and Steven Aguilar at Bearhead Studio, the band was selling burned copies in handmade denim sleeves at local shows within a few weeks. Self-released in June 2010, the debut album helped build an impressive head-of-steam for the band through the second 1/2 of the year, gaining fans at influential Seattle station KEXP, local record shops (a consistent top 10 seller for Easy Street and the #1 album of 2010 at Sonic Boom), and venues up and down the west coast.

                                            For the 2011 re-release of the album, Sounds Like Hallelujah has been re-recorded, live favorite Rivers and Roads has been added, and the album has been re-mastered.

                                            Rising out of Helsinki’s local electro-pop-punk scene in 2007, sisters Emma and Mia Kemppainen’s musical vehicle LCMDF (Le Corps Mince de Francoise) was quickly picked up by bloggers and music fans across the globe. Their incredibly vibrant, leftfield pop gained them countless fans, earning them the top spot on the Hype Machine, out-ranking even Kanye West..

                                            Heavenly say of their newest signing, 'the band holds true the qualities of the bands we love: conviction, tunes and a love of POP'. Indeed, the ten tracks that make up LCMDF’s debut album "Love & Nature" - produced by Kaiku Studios in Berlin - are embossed with the kind skewed pop vision that recalls the likes of Tom Tom Club, Neneh Cherry and Shaun Ryder.

                                            The result of cutting their teeth listening to everyone from the Beastie Boys to Gaga whilst getting lost in Ghost World, LCMDF’s debut LP is as immediate and accessible as it is dazzlingly unique - an unblinking, hyper-coloured record that balances pop gratification with deftly intricate production. "Gandhi" is something of a statement of intent. Its loopy buzz-saw guitars and lolloping beats trundle along with the hazy eyes of "Second Coming" era Roses, until the girls' unmistakably gleeful, dizzy mantras pave way for the giddiest sing-a-long chorus about an iconic spiritual leader ever committed to wax. Their first ever release as LCMDF, "Something Golden" sounds like a pop classic as dancehall snare rolls rise into a huge arms aloft synth breakdown. "Cool And Bored" mixes castanets, lo-fi Brimful of Asha strums, and a scatty hollering chorus that sounds like Plastic Bertrand doing an impression of Nicky Minaj. An album littered with singles, "Take Me To The Mountains" propulsive squelches find a barmy middle ground in between booty-bass and Hanna-Barbera soundtracks, whilst "We Are Cannibals" shimmers with a similar Nordic menace and beauty as fellow Scandinavians, The Knife.



                                            James Walbourne

                                            The Hill

                                            Despite only still being in his late 20s James Walbourne’s musical pedigree is already an enviable one. Stints playing live with the likes of The Pernice Brothers, Son Volt, Jay Farrar and The Pogues and session work with Jerry Lee Lewis, Edwyn Collins and Linda Thompson amongst others have gained him a respect beyond his years.

                                            "The Hill", named as a nod to Muswell Hill, Walbourne’s locale, is beautifully soulful, full of deftly written songs and features Jim Keltner on drums (primarily known for his session work with Bob Dylan and on solo recordings by three of The Beatles – George, John & Ringo) and Ivan Neville on keyboards (son on Aaron Neville, songwriter in his own right, Rolling Stone collaborator).

                                            The Magic Numbers

                                            The Pulse

                                            The 1st single to be taken from the Magic Numbers forthcoming 3rd album produced by Valgeir Sigurdsson (Bjork, Bonnie Prince Billy) & string arrangements by the late Robert Kirby (Nick Drake, Paul Weller).

                                            STAFF COMMENTS

                                            Laura says: "The Pulse" is a big swoonsome pop number full of their trademark vocal harmonies and West Coast vibes, augmented by waves of lush strings.

                                            Raised in Leeds, Greenwood, 27, had relocated to London in 2002 with his then-band. When the band floundered, he enrolled upon a music degree at Goldsmith's, where he signed up for a songwriting class. Greenwood sat at home with a pad of paper and a guitar and worried. He listened to "Blood On The Tracks" 'a few hundred times' and he worried some more. And then he set to writing. The result was "Any Given Day", one of "Sirens'" most intoxicating tracks, a tale of a poor boy and a stranger and a crush. In truth Greenwood's musical education began long before university. As a child he would sit at his father's feet and watch him detune his guitar, he learned piano, and grew up steeped in folk music. There have been other inspirations since then — a brief jazznut period in 2002, for example, when he was supposed to be playing in 'an angular punk pop band' but instead bought a double bass, started using liquorice rolling papers and professed a desire to play like Charlie Mingus. Although he also plays with The Loose Salute and The See See, Greenwood's heart lies in writing his own material, and for the past two years he has been enjoying exploring the strange new world of songwriting. The result is less of an album and more of a sort of musical trellis; twelve songs of structure and rigidity and lush lyrical sprawl, including Greenwood's attempts at writing 'a really really crappy ITV drama', tales about taxi drivers on the Westway, Victorian gin, Charles Manson and the search for a pair of decent shoes, all told in his soft, earthy tones. It is a collection of songs that he hopes tethers him to a narrative songwriting tradition.

                                            "Home Again" is Edwyn's 6th solo long player. Work began on the album at West Heath, Edwyn's North West London studio in late 2004 / early 2005 but was halted as Edwyn was struck down with a serious illness. Work to complete the album was resumed earlier this year following a long period of rehabilitation which sees Edwyn happily back creating music again. Edwyn formed his first band, The Nu-Sonics in Glasgow in 1976 and was later to form Orange Juice and the hugely influential Postcard Records on which they released a string of acclaimed singles including "Falling And Laughing" and "Simply Thrilled Honey" in the late 1970s. They went on to record four ambitious albums which fused the rhythm and drive of Chic and Stax with an edge and attitude born out of their post-punk roots; such a sound was, at the time, completely unique and their influence on subsequent waves of British guitar bands cannot be underestimated. Orange Juice disbanded in 1985 and Edwyn has subsequently enjoyed a successful solo career (his 1994 single "A Girl Like You" was a worldwide hit) and has produced a number of albums, including The Cribs 2004 long player "The New Fellas". He has released five solo albums since his debut, "Hope And Despair" in 1989.

                                            Ed Harcourt releases his fourth full length album, "The Beautiful Lie", and it features guest appearances from Graham Coxon, The Magic Numbers and BJ Cole. Once again it's choc-full of brilliantly melodic songs and it's a mystery why he hasn't been more successful. There's more than a hint of melodrama, which may put some people off, but really his super-romantic, rich in imagery mega-stories deserve these flourishes. Each song is like opening a 3-D picture-book and tumbling into a different world. It's magic!

                                            He was Mercury nominated for his first album but his second bettered it and now his third is simply breathtaking! First listens suggest a lighter, more direct record and I was worried that Ed had copped out a little; it's certainly not as murky or mysterious. But when the songs start to kick in and you realise that every single one is brilliant, any preconceptions will vanish, lost in the pure pop rush! It's joyous yet melancholic (there is no better blend!) and his voice is just spine tingling. The songs are all proper; crammed with melodic twists (The Beatles often spring to mind, or shall we say Elliott Smith) and enriched by piano, trumpets and violins. There's even a David Crosby-ish mellow number which is something new for Ed, I think. But as the songs roll by and you realise there's not one you'd skip; there you have it, a super pop album, catchy but moving, frothy yet deep. It's perfect!

                                            22-20s

                                            Why Don't You Do It For Me?

                                            Tribal thumping, taut guitars, it's a high octane MC5 style pure rock 'n' roll assault on the senses. This is the first new stuff from this lot since their incredible debut mini-album last summer, and like The White Stripes it's bringing the blues up to date; it's young, exciting, explosive stuff. Shake it like a bowl of soup!

                                            Still mining the richest of rock seams, from Beatles to Nirvana and taking in West Coast psychedelia with a side order of garage-band nuggets, this LP nicely consolidates things for The Vines. The limited 7" "F*** The World" flew out of Piccadilly, so we know you still love them; there's been some negative press but that's just a reaction to the hype they got first time round. If you enjoyed their debut then you'll love this one too. There's 3 enormous ballads which, to me are their best work yet. "Sun Child", "Winning Days" and "Autumn Shade II" are worth the price of admission alone. They're not the Rock Saviours they were hyped up to be; they're just a smart melodic group with some cool and tasty reference points. Good stuff.

                                            FORMAT INFORMATION

                                            LP Info: Was £14.99

                                            Ed Harcourt

                                            From Every Sphere

                                            Calling all lovers of classic pop! He's here! A bona-fide super-talented romantic songwriter crafting half-experimental half-sugar-coated catchy nuggets for your delectation! Rich, melodic West Coast flavours collide with a British folksy whimsy on mostly piano-led tunes which are all gorgeously crooned and sprinkled with fairy dust. He's got a gift for narrative that really pulls you in and he's been compared to Costello and even Tom Waits. Either way, he's dealing in magic and he's conjured up what will surely be seen as one of the albums of the year.

                                            Ed Harcourt

                                            All Of Your Days Will Be Blessed

                                            "Strawberry Fields" keyboards and heavily phased guitar propel this top song skywards. A catchy tune with a lovely sentiment.

                                            FORMAT INFORMATION

                                            CDS Info: Limited edition enhanced CD, includes "Coal Black Heart", "Blackwoods Back Home" and the enhanced video of "All Of Your Days Will Be Blessed".

                                            Beth Orton

                                            Daybreaker

                                            Third studio album from Beth Orton. The album features new songs that see her collaborating with Ryan Adams, The Chemical Brothers, Emmylou Harris, William Orbit, Ben Watt & Johnny Marr.

                                            Saint Etienne

                                            Smash The System

                                            Saint Etienne epitomise the best of indie pop and this great best-of has many classics such as "Only Love Can Break Your Heart" (their brilliant reworking of the Neil Young song) "Kiss And Make Up" and loads more.


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                                            191 NEW ITEMS

                                            Good morning. Open and ready for New Music Friday. Loads of great releases out today. https://t.co/KL1FeNcZ4F https://t.co/1xLXOCJu8X
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                                            RT @dinkededition: HAPPY RELEASE DAY TO @_black_peaches_ - ‘Fire In The Hole’ is out today! DINKED EDITION 13 Exclusive numbered teal LP +…
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                                            RT @dinkededition: This peach lands in all DINKED shops tomorrow. BLACK PEACHES ‘Fire In The Hole’ They may have flown a little under th…
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