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HEAVENLY RECORDINGS

Unloved

Why Not / Strange Effect (Love Record Stores Edition)

    Love Record Stores Edition available from 9am on Saturday June 20th.
    Limited to one per person.


    From ‘Killing Eve’. Black vinyl.


    FORMAT INFORMATION

    Ltd 7" Info: From ‘Killing Eve’. Black vinyl.

    Saint Etienne

    Words & Music (Love Record Stores Edition)

      Love Record Stores Edition available from 9am on Saturday June 20th.
      Limited to one per person.

      White Vinyl with yellow, Green and Black splatter LP.



      FORMAT INFORMATION

      Coloured LP Info: White Vinyl with yellow, Green and Black splatter LP.

      King Gizzard & The Lizard Wizard

      Sketches Of Brunswick East (Love Record Stores Edition)

        Love Record Stores Edition available from 9am on Saturday June 20th.
        Limited to one per person.


        Rancid rainwater eco-wax editions. Recycled board and biodegradable packaging. This release has been carbon offset from production to your local record store.


        FORMAT INFORMATION

        Coloured LP Info: Brown Vinyl.

        Cherry Ghost

        Beneath This Burning Shoreline (Love Record Stores Edition)

          Love Record Stores Edition available from 9am on Saturday June 20th.
          Limited to one per person.



          FORMAT INFORMATION

          Ltd LP Info: Black vinyl.

          King Gizzard & The Lizard Wizard

          Paper Mache Dream Balloon (Love Record Stores Edition)

            Love Record Stores Edition available from 9am on Saturday June 20th.
            Limited to one per person.


            Rancid rainwater eco-wax editions. Recycled board and biodegradable packaging. This release has been carbon offset from production to your local record store.


            FORMAT INFORMATION

            Coloured LP Info: Brown Vinyl.

            King Gizzard & The Lizard Wizard

            Quarters (Love Record Stores Edition)

              Love Record Stores Edition available from 9am on Saturday June 20th.
              Limited to one per person.


              Rancid rainwater eco-wax editions. Recycled board and biodegradable packaging. This release has been carbon offset from production to your local record store.


              FORMAT INFORMATION

              Coloured LP Info: Brown Vinyl.

              King Gizzard & The Lizard Wizard

              I'm In Your Mind Fuzz (Love Record Stores Edition)

                Love Record Stores Edition available from 9am on Saturday June 20th.
                Limited to one per person.


                Rancid rainwater eco-wax editions. Recycled board and biodegradable packaging. This release has been carbon offset from production to your local record store.


                FORMAT INFORMATION

                Coloured LP Info: Brown Vinyl.

                King Gizzard & The Lizard Wizard

                Head On / Pill (Love Record Stores Edition)

                  Love Record Stores Edition available from 9am on Saturday June 20th.
                  Limited to one per person.


                  Rancid rainwater eco-wax editions. Recycled board and biodegradable packaging. This release has been carbon offset from production to your local record store.


                  FORMAT INFORMATION

                  Coloured LP Info: Brown Vinyl.

                  Hatchie / The Pains Of Being Pure At Heart

                  Sometimes Always (Love Record Stores Edition)

                    Love Record Stores Edition available from 9am on Saturday June 20th.
                    Limited to one per person.


                    Purple vinyl 7”.

                    FORMAT INFORMATION

                    Ltd 7" Info: Purple vinyl 7”.

                    King Gizzard & The Lizard Wizard

                    Gumboot Soup (Love Record Stores Edition)

                      Love Record Stores Edition available from 9am on Saturday June 20th.
                      Limited to one per person.


                      Rancid rainwater eco-wax editions. Recycled board and biodegradable packaging. This release has been carbon offset from production to your local record store.


                      FORMAT INFORMATION

                      Coloured LP Info: Brown vinyl.

                      King Gizzard & The Lizard Wizard

                      Polygondwanaland (Love Record Stores Edition)

                        Love Record Stores Edition available from 9am on Saturday June 20th.
                        Limited to one per person.


                        Rancid rainwater eco-wax editions. Recycled board and biodegradable packaging. This release has been carbon offset from production to your local record store.


                        FORMAT INFORMATION

                        Coloured LP Info: Brown Vinyl.

                        King Gizzard & The Lizard Wizard

                        Murder Of The Universe (Love Record Stores Edition)

                          Love Record Stores Edition available from 9am on Saturday June 20th.
                          Limited to one per person.


                          Rancid rainwater eco-wax editions. Recycled board and biodegradable packaging. This release has been carbon offset from production to your local record store.


                          FORMAT INFORMATION

                          Coloured LP Info: Brown Vinyl.

                          King Gizzard & The Lizard Wizard

                          Flying Microtonal Banana (Love Record Stores Edition)

                            Love Record Stores Edition available from 9am on Saturday June 20th.
                            Limited to one per person.


                            Rancid rainwater eco-wax editions. Recycled board and biodegradable packaging. This release has been carbon offset from production to your local record store.


                            FORMAT INFORMATION

                            Coloured LP Info: Brown Vinyl.

                            King Gizzard & The Lizard Wizard

                            Nonagon Infinity (Love Record Stores Edition)

                              Love Record Stores Edition available from 9am on Saturday June 20th.
                              Limited to one per person.


                              Rancid rainwater eco-wax editions. Recycled board and biodegradable packaging. This release has been carbon offset from production to your local record store.


                              FORMAT INFORMATION

                              Coloured LP Info: Brown Vinyl.

                              Mark Lanegan

                              Straight Songs Of Sorrow

                                When considering any great work of art, be it a painting, a novel, or a piece of music, it’s natural to wonder what might have inspired it: ‘the story behind the song’. Mark Lanegan’s new album, Straight Songs Of Sorrow, flips that equation. Here are 15 songs inspired by a story: his life story, as documented by his own hand in his new memoir, Sing Backwards And Weep.

                                The book is a brutal, nerve-shredding read, thanks to Lanegan’s unsparing candour in recounting a journey from troubled youth in eastern Washington, through his drug-stained existence amid the ’90s Seattle rock scene, to an unlikely salvation at the dawn of the 21st century. There’s death and tragedy, yet also humour and hope, thanks to the tenacity which impels its host, even at his lowest moments. As Lanegan writes near the end: “I was the ghost that wouldn’t die.”

                                Today, Lanegan is a renowned songwriter and a much-coveted collaborator, as adept at electronica as with rock, constantly honing his indomitable voice: an asphalt-laced linctus for the soul. While the memoir documents a struggle to find peace with himself, his new album emphasis the extent to which he came to realise that music is his life.

                                “Writing the book, I didn’t get catharsis,” he chuckles. “All I got was a Pandora’s box full of pain and misery. I went way in, and remembered shit I’d put away 20 years ago. But I started writing these songs the minute I was done, and I realised there was a depth of emotion because they were all linked to memories from this book. It was a relief to suddenly go back to music. Then I realised that was the gift of the book: these songs. I’m really proud of this record.”

                                Straight Songs Of Sorrow combines musical trace elements from early Mark Lanegan albums with the synthesized constructs of later work. The meditative acoustic guitar fingerpicking – provided by Lamb Of God’s Mark Morton – on Apples From A Tree and Hanging On (For DRC) echo 1994’s Whiskey For The Holy Ghost. Yet one of that record’s touchstones was Van Morrison’s Astral Weeks, echoed in the new album’s opener I Wouldn’t Want To Say, where Lanegan extemporises *à la Ballerina over musique concrète wave patterns generated by his latest favourite compositional tool, a miniature computer-synth called the Organelle. The lyric clings onto the music, emulating his book’s queasy momentum: *“Swinging from death… to revival.”

                                “That song is the explanation, the beginning and middle and end of that entire period of time,” Mark says. “The encapsulation of the entire experience, book and record. So I started with that.”

                                Lanegan affirms that every song references a specific episode or person in the book, albeit some more explicitly than others. Hanging On (For DRC) is a loving ode to his friend Dylan Carlson, genius progenitor of drone metal and a fellow unlikely survivor of Seattle’s narcotic dramas. “I was always unhappy, and he was the guy who was always smiling, even through my crazy schemes that eventually got both of us into a lot of trouble.” The richly cinematic mood of Daylight In The Nocturnal House, meanwhile, paints a more impressionistic scene: factory smoke, rain, a phone call from *“somebody’s grand-daughter”, who’ll *“pay to make somebody crawl/And send you to heaven.” The singer’s perspective is ambiguous. “I got into a lot of shady business in those years,” Lanegan says.

                                Longtime observers will recognise some familiar recurrent themes. Death. Destruction. Bad behaviour. In the case of At Zero Below, all in the same song. “Yes, I did burn someone with a cigarette,” Mark says. “Yes, I did spit in somebody’s face – maybe more than once in my life. Stuff I’m not proud of. That song is also about one of my many ex-girlfriends who is no longer with us. It’s all linked to the book.”

                                At Zero Below features two of the album’s many stellar guests. Singing admonitory harmonies with himself is Greg Dulli, another ’90s alt-rock veteran, Lanegan’s erstwhile partner in mischief and fellow Gutter Twin. The song’s incantatory fiddle is played by The Bad Seeds’ Warren Ellis. No lesser figure than Led Zeppelin’s John Paul Jones provides Mellotron on the serpentine Ballad Of A Dying Rover (*“I’m just a sick sick man/My days are numbered”). Aside from mandolin, all Daylight In The Nocturnal House’s cobwebbed atmospherics are by Portishead’s Adrian Utley. Ed Harcourt is Lanegan’s pick for album MVP (“He’s all over it – everything that he plays, piano or Wurlitzer, becomes magical”), with special mention to bassist Jack Bates, son of Peter Hook; that duo make especially distinctive contributions to Churchbells, Ghosts a bleakly humorous lament to the drudgery of life on the road (*“I’d ask somebody for a quarter/If there were someone for me to phone”).

                                Ketamine is a numb blues, with Lanegan shadowed by Cold Cave vocalist Wesley Eisold, who inspired the album’s only overt drug song (ironically, about a drug that Lanegan has never actually taken). “Wes is good friends with Genesis P-Orridge,” explains Mark, “and he said the last time he saw Gen she was in a hospital bed, saying to this priest, ‘No thank you sir, I don’t need any last rites, but if you have any ketamine that would be perfect.’” He laughs. “So I immediately wrote that song and had him sing on it. There’s drugs throughout the record – they’re rife in Bleed All Over – but that song was the only real specific one.”

                                The material on the last two Mark Lanegan Band albums had Lanegan’s words set to music by various other sources. But aside from the Mark Morton collaborations, Straight Songs Of Sorrow was built from the ground up by Lanegan alone, aided by producer Alain Johannes, his longtime consigliere. Only two other songs have shared credits, and even these stay in-house: Burying Ground and Eden Lost And Found were co-written by Mark’s wife Shelley Brien, with whom he also duets on the Rita Coolidge/Kris Kristofferson-style ballad This Game Of Love. “Let’s put it this way,” says Mark. “Every girlfriend I’ve ever had, for any amount of time, left me. All the good ones left me! Until my current wife. It was great to sing that with Shelley, it really shows she’s a great singer. And it has a depth of emotion that I’m not used to. This is a more honest record than I’ve probably ever made.”

                                A crushing twin-song centrepiece proves that. First, Stockholm City Blues, a sparse, beautiful, strings and finger-picking meditation on the remorse code of addiction (*“I pay for this pain I put into my blood”). Then, the seven-minute epic Skeleton Key, a supplicatory confessional (“I’m ugly inside and out there is no denying”) that also provides the album title. It’s a remarkable performance from a man whose punishment for plumbing the depths was simply to continue further along the road. “My wife called that my ‘redemption song’,” says Lanegan.

                                And indeed, there is a happy ending to this story. Just as his book closes with the hero overcoming adversity and turning, battered but cleansed, towards a new day, so Straight Songs Of Sorrow closes with Eden Lost And Found. *“Sunrise coming up baby/To burn the dirt right off of me,” marvels Lanegan, with his words echoed by Simon Bonney of Crime & The City Solution, an all-time hero. “I wanted to make a positive song to end this record, because that’s the way the book ended,” Mark says. “And what’s more positive than to have your favourite singer sing with you?”

                                Straight Songs Of Sorrow feels both definitive and unique, a culmination of its creator’s arc yet also indicative of the energy that drives him onto future horizons. No wonder Lanegan is proud.

                                “I do feel this is something special for me, something honest,” he says. “’Cos records are not real life, man – in case no one told ya. They’re just a fake version of life!” Mark Lanegan laughs. “Well, at least you have one now that’s a little closer to being real. Unfortunately, it’s by me.”

                                Keith Cameron.


                                FORMAT INFORMATION

                                2xLP Info: Double 180 gram vinyl in a gatefold sleeve with printed inners.

                                2xLP includes MP3 Download Code.

                                Baxter Dury

                                The Night Chancers

                                  Failed Fashionistas, Instagram voyeurs, jilted Romeos, reeking insecurity, the willingly self deluded, the comically unware, the Night Chancers… “Baxter Loves You” The album was co - produced by long time collaborator Craig Silvey (Arcade Fire, John Grant, Artic Monkeys) and Baxter, and was recorded at Hoxa studios West Hampstead in May 2019.

                                  From thrilling affairs that dissolve into sweaty desperation (Night Chancers) to the absurd bloggers, fruitlessly clinging to the fag ends of the fashion set (Sleep People), via soiled real life (Slum Lord) social media – enabled stalkers (I’m not Your Dog) and new day, sleep – deprived optimism (Daylight), the record’s finely drawn vignettes, are all based on the corners of world Dury has visited.

                                  Baxter says “Night Chancers is about being caught out in your attempt at being free”, it’s about someone leaving a hotel room at three in the morning. You’re in a posh room with big Roman taps and all that, but after they go suddenly all you can hear is the taps dripping, and all you can see the debris of the night is around you. Then suddenly a massive party erupts, in the room next door. This happened to me and all I  Could hear was the night chancer, the hotel ravers”.



                                  Unloved

                                  Heartbreak Instrumentals

                                    Unloved release a very special companion piece to their critically acclaimed 2nd LP ‘Heartbreak’ for Record Store Day 2019. These instrumental versions reveal the full depth of the album’s productions and give a fresh perspective on the cinematic beauty of the music, as used in the soundtrack for hit BBC Spy drama ‘Killing Eve’. Perfectly complemented by pulp romance cover inspired artwork by Julian House, director of the band’s ‘Heartbreak’ and ‘Guilty Of Love’ music videos, this limited release is not to be missed. Limited to 500, includes download.

                                    Big Wows is heavier, harder and weirder than Stealing Sheep’s previous work. Bold neon pop songs with rave percussion, steelpans, dreamy segues and breathy experiments. The *fsszzt* sound of lemonade opens the album with a hyper-real sense of optimism that progressively reveals the cracks of dystopian irony amidst sugar–coated pop; held together by Emily Lansley’s bass guitar, Luciana Mercer’s drum kit, Rebecca Hawley’s synths, and the trio’s swooning steely vocal harmonies.

                                    Stealing Sheep describe Big Wows as “a slow rush”; taking shape over a period of nearly three years spent working out exactly what they wanted it to be and creating an album that levitated their identities as individuals as well as merging them into one unit “We’re each finding our own creative intuition,” says Bex “..and then we come together...and we back each other up" adds Lucy.

                                    Just as the title suggests, Big Wows is both cynical and optimistic: dreaminess and pop dance rhythms are cut With eye rolling vocal styles inflected by heartfelt lyrical messages “We hit upon this conversational-style between the vocals and have alternating lead melodies. There's a sarcastic tone to some of the music but there is always a strong wilfulness to incorporate honest integrity, which is hard to do but refreshing when it finally comes out.”

                                    Side one opens with a burst of shimmery synths as ‘Show Love’ and ‘Back in Time’ lead you heart first into the headier feels of ‘Jokin' Me’ and upbeat bounce of 'Why haven't I?' following into the more progressive grooves for ‘Girl’ then fading out with the narcoleptic comforts of ‘Just Dreaming’. Side two digs deeper into a dreamworld, with the manias and hallucinations of ‘Breathe’ and ‘True Colours’ as well as the gorgeous disillusionment of the title track and ending with an unexpected tropical club banger ‘Choose Like You’.

                                    Running through the whole record is a response to living in a tech era: “We wanted sounds to represent TVs, computers and everyday glitches” says Bex “We started to have this feeling that life is like a game and how you can malfunction when you're blasted with too much information…” As well as composing with traditional instrumentation they also started songs solely on the computer; sequencing, building sounds, drum machines and responding to that non-emotional binary world. “The big challenge,” continues Bex “is making machines sound organic, emotional, finding their flaws. That’s why Delia Derbyshire is so important to us. All the effects that she uses serve to humanise the machines.”

                                    Since the release of their last album, 2015’s surreal and fantastical ‘Not Real’, they’ve been in demand as multidisciplinary public artists as well as musicians – on projects including Wow Machine, which brings to life another more conceptual strand of ‘Big Wows’; in a mechanical light up stage with dancers and live music. This summer they also performed at UK festivals with a 15 strong all-female procession to celebrate the centenary of Suffrage. “Being female has become more of a theme in our work” the band say. “It's obviously always been there but now we're playing with it more conceptually and thinking about empowerment"

                                    This greater confidence and rock-solid aesthetic mean that Stealing Sheep can take greater risks and reap more wonderful rewards. They have a broad range of influences – St Vincent, Michael Jackson, The Knife, Kraftwerk, Drake, Little Dragon - but they remain so resolutely and richly themselves. “We try new things out and we get more confident about what we like.” says Bex. "There’s a really good thing Grayson Perry says about developing your creative intuition. You get to a level as an artist where you know on a gut level what you like and what you don’t like. It takes a long time to feel comfortable in that place, to know your palette, to know you like these drum sounds or whatever it is.”

                                    Lucy is working with a full drum kit now instead of just toms, Emily is playing bass guitar, Bex is making her own synth patches and they’re all using new equipment: they are developing and experimenting and moving forward together. “We wanted the machine sounds to be juxtaposed against a full kit and bass guitar, which we tracked live to feel intentionally loose in places. We like the idea of placing robotic tech next to real life energy.”

                                    The songs began at home or in their studio at Liverpool’s Invisible Wind Factory, laying down the main body of the tracks, then the band worked with various producers – including Marta Salogni (Bjork, MIA, Factory Floor), Andy Smith (Years & Years), Ash Workman (Christine & The Queens, Metronomy) and Joe Wills (video artist for Little Dragon) – as they’ve tried out different mixes and ideas to convey their messages. They also teamed up with 8bit video artist Pastle Castle (Emily Garner) from Leeds, who created a Karaoke video series for the whole album; exploring Stealing Sheep's digital dimension and their shifting identities amidst changing cultural moods and millennial paraphernalia. "It's a crazy time and it's challenging navigating through it, but it's like 'whatever' bring on the BIG WOWS.’


                                    STAFF COMMENTS

                                    Barry says: I remember being slightly surprised when Dave told me I should give the new Stealing Sheep single a listen a few months ago (Dave and I have canonically opposed tastes in music), and I actually really liked it. Throbbing synths, sugary percussion and huge 80's reverbs but with perfectly precise production and more than a nod to that classic sound of Italo disco. There's no way this isn't going to be a hit, and it deserves every minute of it.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Splatter disc with mirri-board sleeve (first pressing edition only).

                                    Right as the clock was striking midnight on the last day of the year, King Gizzard issued Gumboot Soup, an entirely new 11-song collection. "Greenhouse Heat Death" and "All Is Known" are microtonal jams that roil and boil like the songs on Flying Microtonal Banana, the metallic "The Great Chain of Being" has the proggy feel of Murder of the Universe, and a bunch of mellow tracks ("Superposition," "I'm Sleepin' In," "The Wheel") could have been warped a bit and slotted right into Sketches of Brunswick East. The rest of the songs are strong neo-psych that would have fit well on the grab bag that was Polygondwanaland; the soft rock "Beginner's Luck" would have been a highlight with its marshmallowy chorus and jabbing guitar solo, and the same goes for the almost funky "Down the Sink," which reveals a loose-limbed side the band doesn't often show. So yes, it's a collection of castoffs and almost-weres, but the amazing thing is that it sounds like a greatest-hits collection made up of songs that are fully realized and played with passion and weirdness, not a half-baked slag heap. In case anyone needed it, Gumboot Soup is yet more proof that King Gizzard were firing all year long on all five cylinders, plus about four more that most bands don't have, and the body of work they created is immensely, intensely, jaw-droppingly impressive.

                                    STAFF COMMENTS

                                    Barry says: Though I feel like I might be getting RSI from writing about King Giz, amazingly they've managed to smash out yet another killer LP, full of their trademark hooks and off-kilter psychedelic scree. Once again, a completely realised and cohesive collection comes from the KG camp.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Limited opaque orange coloured vinyl.

                                    Coloured LP includes MP3 Download Code.

                                    Baxter Dury

                                    Miami

                                      THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                      Heavyweight 180g White vinyl                                                                              
                                      Speaking on the remix, Baxter stated:Jarvis I guess isn’t interested in doing things politely, this is a different song, possibly a better oneMiami (Original)BBC 6 Music:B-LISTED: MIAMI w/c 02/10, 09/10, 16/10A-LISTED: MIAMI w/c 23/10Miami - (Jarvis Cocker and Parrot Remix)the Queitus - 6th top track of 2017 http://thequietus.com/articles/23768-tracks-of-the-year-songs-2017Trevor Jackson - "can't start to tell you how much i love this mix, love the original too and hearing this made me buy the album, which i love too! thanks for sending."Joe Goddard / Hot Chip - "Amazing tune"Kelvin Andrews / wONK / Soul Mekanik / Creative Use - "I'm a big fan of Baxter. This is just great. Nice work Parrot & Jarvis! Thank you! Playing this out loads!"

                                      King Gizzard And The Lizard Wizard

                                      Polygondwanaland - Heavenly Edition

                                        With an insanely prolific year, King Gizzard and the Lizard Wizard return with their twelfth album, Polygondwanaland to journey into the depths of the mind and the limits of the universe. The Australian 7-piece have made a name for themselves with a steady stream of new material since their inception 2010, blending everything surf rock, prog, soul, folk, metal, garage rock, and even elements of spoken word and cinematic presentation, creating a large buzz and rabid fanbase stretching far across the globe from their Melbourne roots. this album is full of the psychedelic rock outfit's jazz and groove laden jams.

                                        STAFF COMMENTS

                                        Barry says: For all of you who missed out on the Piccadilly Records exclusive beer splattered vinyl version of this, their TWELFTH LP, then here it is brought to you by the wonderful Heavenly records on CD and standard LP. If you haven't heard it yet, then get on it, or they'll have another one out before you get chance.

                                        FORMAT INFORMATION

                                        Ltd LP Info: 180 gram black vinyl.

                                        Ltd LP includes MP3 Download Code.

                                        King Gizzard And The Lizard Wizard

                                        Nonagon Infinity

                                        Recording, releasing and touring a couple of albums in 18 months is beyond the realms of comprehensibility for most bands, but then King Gizzard And The Lizard Wizard aren’t ‘most bands’. Forget a couple of albums, Friday April 29th 2016 marks the release of Nonagon Infinity, their fourth long-player for Heavenly Recordings in a little under a year and a half. Workshy they ain’t!

                                        After the acid-flecked cosmic jazz of Quarters and the hazy, pastoral, acoustic bliss of Paper Mache Dream Balloon, with Nonagon Infinity the Gizzard once again dive head-long into the gonzo freak-beat frenzy that mark both their Heavenly debut I’m In Your Mind Fuzz, and their perpetually in motion, double-drummer propelled live show.

                                        Recorded by Wayne Gordon, Paul Maybury, Michael Badger and Stu Mackenzie at Daptone Studios in Brooklyn, in keeping with their indefatigable spirit the 9 track album may be the world's first infinitely looping LP. Each of the nine, complex, blistering tracks on Nonagon Infinity seamlessly flows into the next, with the final song linking straight back into the top of the opener like a sonic mobius strip.

                                        Although little is known about H Hawkline at this stage, international record collector, occasional DJ partner and hirsute head Andy Votel divulges that he is “from a family lineage that comprises of 70s radio DJs and Welsh Horror movie stars.” He continues: “H Hawkline’s own place in the limelight often cascades and intertwines with the likes of his close friends Cate Le Bon [who produced this album], Sweet Baboo and Gruff Rhys. As an adept multi-intrumentalist main vein Huw Evans claws his influences from a broad outernational record collection comprising of Faustian Krautrock, Welsh Damp Wave, Turk Jerk and South American pre-punk.”

                                        An album of “strange pop” (words borrowed from Huw), ‘In The Pink Of Condition’ is a controlled explosion of laser-guided guitar melody (think a careering Television show or Pavement outside the original site of Spillers) and whipsmart bi-lingual wordplay.

                                        Although reluctant to cite a shopping list’s worth of influences, Huw nods to two permanent inspirations - the maverick US author Richard Brautigan (the Hawkline name is appropriated from Brautigan’s 1974 ‘gothic western’ ‘The Hawkline Monster’) and a just-turned-solo Paul McCartney (Huw namechecks ‘Ram’, an album coincidentally recorded when the once-and-future Beatle was also twenty-nine). From the former, a wistful ways with words - songs constructed as slices of life, surrealist observations on the everyday. From the latter - what else would one ask for other than a just smidgeon of McCartney’s sixth sense for abundant, tumbling melody?

                                        Toy

                                        It's Been So Long

                                          The second 7” to be released from the album ‘Join The Dots’.

                                          Screen printed 7” of 500 copies. Also available as a digital download.

                                          As with their debut album, ‘Join The Dots’ was recorded mostly live with Dan Carey at the helm, although increased studio time has enabled the band to experiment more with Carey’s laboratory of effects and pre-amps, and embellish their swirling, psychedelia, Krautrock indebted tracks with overdubs.

                                          Toy’s swirling, psychedelia, Krautrock indebted debut album arrived almost exactly 12 months ago.

                                          Dan Carey sits at the controls once again on ‘Join The Dots’, released via Heavenly Recordings.

                                          As with their debut, ‘Join The Dots’ was recorded mostly live with Carey at the helm, although increased studio time has enabled the band to experiment more with Carey’s laboratory of effects and pre-amps, and embellish the tracks with overdubs.

                                          STAFF COMMENTS

                                          Andy says: As good, if not better than their superb debut. And you can't say that too often! A much more powerful, physical record, but with those shogazery melodies still intact.


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