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I-DEAR

Sam Burton

Dear Departed

    Sam Burton’s upcoming second album, Dear Departed, was produced by Jonathan Wilson (Angel Olsen, Father John Misty, Margo Price) at his Topanga Canyon studio with some of the best studio players in LA. Together, Wilson and Burton achieved a sound that doesn’t descend into retro pastiche, but rather becomes an evocative echo, a dream of the past. In scope, it finds Burton using a far bigger canvas than on his acclaimed 2020 debut I Can Go With You, giving the emotions therein a new sense of urgency and intensity. Burton has a knack for mining pure Laurel Canyon AM gold. Pastoral string arrangements bloom in the background of Sam’s striking honeyed vocals - like a modern-day Campbell, Orbison, or Nilsson.

    STAFF COMMENTS

    Barry says: Brittle acoustic guitar and swooning strings, hearty slo-mo country anthems and staggered lounge groove, all brought together with Burton's syrupy smooth vocals. A hugely evocative, expansive work that expands on his debut with aplomb. Lovely stuff.

    TRACK LISTING

    1. Pale Blue Night
    2. I Don't Blame You
    3. Long Way Around
    4. Coming Down On Me
    5. Empty Handed
    6. Maria
    7. I Go To Sleep
    8. Looking Back Again
    9. My Love
    10. A Place To Stay

    The Juan McClean

    Happy House (Mark E Remix Of Matthew Dear V Audion Remix) / Happy House (Matthew Dear V Audion Remix) (RSD23 EDITION)

      THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      The launch of a brand new Record label by Skint Records Head honcho - Damian Harris ~ a rare never released on Vinyl remix of The Juan McClean classic "Happy House" Licensed from james Murphy's (LCD Soundsystem) DFA Records remixed by Matthew Dear, & Audion and then reimagined for 2023 by Mark E - A Happy House (Mark E remix of Matthew Dear v Audion Remix) AA Happy House (Matthew Dear V Audion Remix)

      Shawn Robinson / Bessie Banks

      My Dear Heart / I Can’t Make It (Without You Baby)

        Two more classic tunes from the Deptford Northern Soul Club Records dancefloor. Remastered for maximum effect.

        Shawn Robinson’s ‘My Dear Heart’ was originally released on Minit in 1966. Original copies go for around £250 plus. Filled with positively glowing soul sounds underpinned by gorgeous vibes and a heady beat. Big at Wigan back in the day, a favourite of Richard Searling.

        The flipside, from 1967, is from the inimitable Bessie Banks, the hit maker of ‘Go Now’ fame. Originally released on the Verve imprint. Fired up by choppy guitar and a heavy cross mix of vibes and horns, it’s a chugger with some essential breaks for added impact.

        A triumphant anthem. 

        TRACK LISTING

        1. Shawn Robinson - ‘My Dear Heart’
        2. Bessie Banks - 'I Can’t Make It (Without You Baby)'

        Michael Head & The Red Elastic Band

        Dear Scott - Piccadilly Exclusive Bonus Disc Edition

          THE PICCADILLY RECORDS ALBUM OF THE YEAR 2022.

          PICCADILLY RECORDS EXCLUSIVE: 
          For a limited period only, buy either the CD or vinyl you’ll get an exclusive 14 track CD bonus disc, 'Live At Strathaven'.

          Finding that luck, love and letting things roll works out for him just fine, Michael Head leads his Red Elastic Band into a fresh chapter with optimism and some of the best music of his career, releases his, Bill Ryder-Jones-produced album, Dear Scott.  

          Revered by heavyweight songwriting peers and discovered by new generations of discerning listeners, all enraptured by the fruits of Head’s winding, 40-year career, the Liverpool singer-songwriter enters a new age of creativity and collaboration with Dear Scott. Promising to be a shimmering jewel cast by the minds and hearts of Merseyside’s finest musicians, the 12-track album is dusted with both Ryder-Jones’ artistry and the heavyweight musicianship of The Red Elastic Band, which Head found had ‘stepped up’ following almost a year apart, forcing him to dig deeper himself.

          Of slipping back into writing and recording in 2021, Head continues: “After being apart for a while, I went for a walk on the beach with the band and it was beautiful, literally and personally. Rehearsals followed and it clicked into place, with one thing leading to the next. It’s very much the ethos we’re working by, keeping things simple, but keeping the momentum. I’d met Bill a few times and he’s a lovely guy. Once we knew he was interested in producing the album we didn’t need to think about it again, it just progressed and became a completely natural thing.”

          Dear Scott refers to novelist, F. Scott Fitzgerald, whose debt-ridden, down-and-out years captured the imagination of Head, specifically a postcard Fitzgerald addressed to himself upon checking in at Hollywood’s infamous Golden Age retreat, The Garden Of Allah Hotel. Head explains: “A decade after being the king of the jazz age, Fitzgerald arrived unfashionable and sober, ready to conquer Hollywood. His agent with a sense of humour booked him into The Garden Of Allah, where writers, movie stars and even Stravinsky sometimes lived. He famously picked up a postcard on checking in and addressed it to himself.”

          The postcard read: Dear Scott, How are you? Have been meaning to come and see you. I have living at the Garden Of Allah. Yours Scott Fitzgerald

          Head states that the formation of The Red Elastic Band in 2008 began with ‘whoever was available at the time’, primarily as a vehicle for live performance, producing one, previous album in 2017’s Adiós Señor Pussycat. The band has since developed into a cohesive, mutually-supportive and permanent line-up, with Phil Murphy on drums, Tom Powell on bass, Danny Murphy on guitars and Nathaniel Cummins on guitars and backing vocals being the musicians taking on the world in 2022 alongside Head. 

          STAFF COMMENTS

          Andy says: Dear Scott is a masterpiece. Twelve perfect songs with melodies to die for and words that feel like scenes from a film condensed into poetry. Michael Head is the Liverpudlian genius renowned for his classic pop songs from “Thank You” and “Jean’s Not Happening” through to “Comedy” and “Meant To Be”. Forty years making music and he’s just made his joint best LP, one that if you’re into guitar based pop music you’d be daft to ignore.

          It’s not always been like this. In a career buffeted by personal problems and dodgy deals it has taken the arrival of erstwhile Coral guitarist Bill Ryder Jones, a fellow Merseysider and huge fan, to draw the very best out of Mick. Bill has helped create what feels like a greatest hits LP but made up of brand new songs. There’s jangling indie pop, jazz, mystical folk, roving psych pop and even a splash of bossa, taking us right back to Mick's days as a teen star in the Pale Fountains! As I mentioned, each track is a short story or mini movie touching on the kindness of strangers, old Hollywood dreams, the futility of war, Liverpool trips, Love from afar and even a murder in gangland made wild and funky on album highlight “Gino And Rico”.

          The tunes themselves are proper ear worms and the album is designed as an old fashioned two sided listen. Side 1 has six perfect pop songs, hit after hit, but flip it over and you’re whisked off into what almost feels like a song suite, interspersed as they are with towering strings, mad interludes (each track has contrasting parts that surprise and amaze) and psych rock guitar; it’s bewildering but oh so beautiful and it grows and grows with every listen. The record starts off neat but slowly expands into the stratosphere only to end on a heavenly lullaby, melancholic and magical.

          Mick’s other great album, Waterpistol, was loved by all at Piccadilly nearly 30 years ago. That we’re here again all these years later is bizarre and brilliant.

          TRACK LISTING

          A1 Kismet
          A2 Broken Beauty
          A3 The Next Day
          A4 Freedom
          A5 American Kid
          A6 Grace And Eddie
          B7 Fluke
          B8 Gino And Rico
          B9 The Grass
          B10 The Ten
          B11 Pretty Child
          B12 Shirls Ghost 

          Honey Hahs

          Dear Someone, Happy Something

          ‘Dear Someone, Happy Something’ is the debut album by London based sisters Rowan, Robin and Sylvie. The three sisters from Honor Oak Park in South London, with an average age of only 13 and a ½ years old, write songs that reflect a disarmingly frank child’s-eye view of the world.

          Honey Hahs have been championed by, and played shows with, Goat Girl, Fat White Family, Insecure Men, Shame, Micachu and The Moonlandingz amongst others.

          ‘Dear Someone, Happy Something’ was recorded in London with Steve Mackey. Rowan plays guitar and piano, Robin plays bass and Sylvie plays drums, and they all sing and harmonise.

          TRACK LISTING

          Forever
          River
          Rain Falls Down
          I Know You Know
          OK
          Olive Green
          Beer Fear
          Sometime Ago
          Away
          Concrete
          Stop Him
          Swallow
          Whoever

          Twenty-plus years into his career, producer / vocalist / songwriter / DJ Matthew Dear remains artistically unpredictable in pursuit of his prescient strain of electronically-formed, organically-delivered indie pop. His work traverses myriad musical worlds, belonging to none. But these fluid moves have not been without a few forks in the road, decisive turns, and what-ifs. Most notable is the pivot-point following Dear’s acclaimed 2007 avant-pop LP, “Asa Breed”, in which he broke away from the 4/4 grid of his techno / house debut “Leave Luck To Heaven” and into something much more wild and idiosyncratic. Traveling between his adopted Detroit and his home state of Texas throughout 2008 and 2009, Dear amassed a set of personal, playful, looping guitar-centric recordings he’d consider for his next album. Given the new momentum of the hybrid electronic pop of “Asa Breed” which led to an opening slot for Hot Chip and remixes for ‘00 heroes like Spoon and Postal Service, Dear decided to shelf the material. He moved ahead to work on his watershed 2010 album, “Black City”, a steely noir set which earned him a Best New Music on Pitchfork and a worldwide tour with a besuited band. This lost album had a sound, a spirited country romp in the techno barn, and it had a rough title, a scribble on one of the CD-Rs passed to Ghostly label founder Sam Valenti IV, Preacher’s Sigh & Potion. He never fully walked away from it, and merely kept moving down the road, waiting for the audience to catch up. Over a decade later, that time is now.

          “Preacher’s Sigh & Potion” finds Dear unknowingly at an intersection in his young run, a burgeoning songwriter at his most freewheeling and unaffected. In hindsight, there were hints of Preacher’s sound on “Asa Breed”, but the set still registers endearingly out of step with his eventual direction. This was the first time Dear tapped so directly into his late father’s influence as a fingerpicking guitar player in the 1960s and ‘70s and a gateway to the music of John Prine, Townes Van Zandt, and Emmylou Harris.

          From the twang and tambourine stomp of album opener “Muscle Beach,” to the metronome-like pulse of “Hikers Y” complete with an unmistakable Matthew Dear dryly dismissive mantra, to the gloomy carnival-leaving-town pomp of “Gutters and Beyond”, “Preacher’s Sigh & Potion” is filled with the reckless notions of an artist dashing the history of pop and rock, the twang of country, the build and release of techno. Dear is an auteur, and in retrospect, so many of his signatures crop up in these relics from his former self. Dear remembers him well: ‘It’s crazy how music memory exists in a very deep and indescribable tangibility. I know the person who made all these, and remember glimpses of the desk, or studio set up for each recording. I know who wrote these lyrics, and where they were mentally during that process.’ Revisiting this material now also has Dear thinking about his father’s legacy.


          STAFF COMMENTS

          Matt says: A cosmic-acid, hillbilly-'tronica album anyone? It sounds pretty batshit, but I can't help thinking this was everything Moby was trying to achieve in 1999.

          TRACK LISTING

          01. Muscle Beach
          02. Sow Down
          03. Hikers Y
          04. Never Divide
          05. All Her Fits
          06. Supper Times
          07. Crash And Burn
          08. Heart To Sing
          09. Eye
          10. Head
          11. Gutters And Beyond

          Various Artists

          Dear Sunny...

            Big Crown Records is proud to present Dear Sunny... a compilation of Sunny & The Sunliners covers by Big Crown artists. Since the first time we heard "Should I Take You Home" by Sunny & The Sunliners, we have been avid fans. That record, which we were introduced to on MF Classy Chris' now legendary mixtape, The Time Is Right, set a lot of things in motion. It started of course with tracking down copies and collecting all of Sunny's records for our personal collections.

            That quickly turned into the desire to reissue some of his vast catalog on our label for the rest of the world to hear. We got in touch with Sunny and his son David and brought the idea to them. After getting to know each other well enough Dave said, "You have been calling us non-stop for more than three years, you MUST mean what you are saying" and with that, we signed a deal to do a reissue project on Big Crown. We then flew out to San Antonio again, this time with a scanner and a videographer. We sat down with Sunny to interview him, went through his vast collection of photos, and talked about his life and career. Sunny was even kind enough to let us film him performing acoustic versions of a few songs.

            We used all of that material for our 2017 compilation, Mr Brown Eyed Soul. That release is our highlight reel of Sunny's Soul tunes. We also made his rarest records readily available to collectors at a price that wouldn't empty their pockets. The concept for Dear Sunn came to us right after we signed the deal. We wanted our artists to cover his music as a tribute to him. Three years later we released the digital album on Sept 4th to coincide with Sunny's 77th birthday. The response has been nothing but love and now we are ready to press this up on vinyl with the addition of Liam Bailey's scorching cover of "Give Me Time". Everyone here stepped up to fill very big shoes doing these covers. Bobby Oroza teamed up with Cold Diamond & Mink and made a smashing version of "Should I Take You Home". The Shacks took on the anthemic "Smile Now, Cry Later" while Holy Hive covers "If I Could See You Now" building off the uptempo dance floor energy of the original. Paul & The Tall Trees bring a crooning vibe to "Rain Makes Me Blue" and Brainstory turned "Runaway" into a haunting ballad reminiscent of early Lee Hazelwood productions.

            Some of these turn out to be covers of covers. Bacao Rhythm & Steel Band takes on the funk collector's holy grail from Sunny, his cover of War's "Get Down" while 79.5 take Sunny's version of "My Dream" and change the vibe from a floating love song to theme music for the brokenhearted. Mr. Lee Fields does "The One Who's Hurting Is You" and the latest addition to the Big Crown Roster, Lizette and Quevin, do a rendition of the song that brought Sunny to Dick Clark's American Bandstand in 1963 and catapulted him to fame; his cover of Little Willie John's "Talk To Me". So as the letter begins, "Dear Sunny.." we hope that you enjoy this homage Sir. Thank you for all the music you have given all of us, it has been a pleasure to work with you and to get a chance to know you and your family. We hope everyone enjoys this homage to the living legend, San Antonio's finest, Mr. Brown Eyed Soul, Sunny Ozuna as much as we do

            TRACK LISTING

            SIDE A

            1. Smile Now, Cry Later - The Shacks
            2. Should I Take You Home - Bobby Oroza
            3. My Dream - 79.5
            4. If I Could See You Now - Holy Hive
            5. Get Down - Bacao Rhythm & Steel Band.

            SIDE B

            1. Give Me Time - Liam Bailey
            2. The One Who’s Hurting Is You - Lee Fields & The Expressions
            3. Talk To Me - Lizette & Quevin
            4. Rain Makes Me Blue - Paul & The Tall Trees
            5. Runaway – Brainstory

            Loney Dear

            A Lantern And A Bell

              Loney dear is the singer, songwriter and multi-instrumentalist Emil Svanängen’s idiosyncratic musical project where classic song-writing meets complex productions – both wide open and uplifting as well as sensitive and heart breaking…

              Recorded by Svanángen with producer Emanuel Lundgren in a mythical studio on western Södermalm in Stockholm, ‘A Lantern and A Bell’ is Loney dear’s second album for Real World, following 2017’s self-titled release.

              Maritime themes permeate across ‘A Lantern and A Bell’ - the album arrives bearing artwork depicting the international nautical flag for distress and Emil’s voice is frequently bolstered by diffused water sounds at dark low frequencies and the calls of sea birds. For those who know their Loney dear, the constant references to sea and ships are hardly something new. All that is an important part of my inner life, maybe a romantic dream of adventure, but also a phobia, a danger I cannot help but be drawn to, says Emil; Near where I live, freighters pass by every day and the sounds of their engines get into my head. And further into the music.

              Speaking about Emil’s new record - on which he has consulted as a sounding board, label founder Peter Gabriel says; Sad soulful melodies that create space in your head that fill with memories dreams and tenderness. I am very proud that we are working with such a gifted songwriter. When you’re isolating, what better than to be wrapped up in these beautiful imaginative constructions - the work of a master. 


              TRACK LISTING

              1. Mute / All Things Pass
              2. Habibi (A Clear Black Line)
              3. Trifles
              4. Go Easy On Me Now (Sirens + Emergencies)
              5. Last Night / Centurial Procedures (the 1900s)
              6. Oppenheimer
              7. Darling
              8. Interval / Repeat
              9. A House And A Fire

              Brendan Benson

              Dear Life

                “There's something about this record,” Benson says, describing his Third Man Records debut album Dear Life. “A friend of mine called it ‘life-affirming.’ I thought it was a joke at first but then realized, well, it’s about life and death for sure. I don’t know if that’s positive or optimistic or whatever, but that's what's going on with me.”

                Brendan Benson finds himself in an enviable spot as he enters the third decade of a remarkably creative, consistently idiosyncratic career – an accomplished frontman, musician, songwriter, producer, band member, husband, and dad. Benson’s seventh solo album, and first new LP in almost seven years, Dear Life is this consummate polymath’s most inventive and upbeat work thus far, an 11-track song cycle about life, love, family, fatherhood, and the pure joy of making music. Produced and almost entirely performed by Benson at his own Readymade Studio in Nashville, the album sees the Michigan-born, Nashville-based artist – and co-founder, with Jack White, of The Raconteurs – reveling in a more modernist approach than ever before, fueled by a heady brew of cannabis, hip-hop, and a newly discovered interest in software drum programming. The result is an untapped playfulness that elevates expertly crafted songs like the opener, “I Can If You Want Me To,” and the first single, “Good To Be Alive,” with voluble arrangements, elastic grooves, and incandescent power. Imbued with revitalized ambition and confidence, Dear Life is Brendan Benson at his very best.

                Beginning with his now-classic 1996 major label debut, One Mississippi – recently reissued by Third Man in its first-ever vinyl pressing – and its masterful 2002 follow-up, Lapalco, Benson has always infused classic craftsmanship with contemporary invention. Along with his own critically acclaimed canon, Benson is of course co-founder – with Jack White, Jack Lawrence, and Patrick Keeler – of The Raconteurs. The band first convened in 2006, winning worldwide acclaim, Grammy Award nominations, and a chart-topping smash single in “Steady As She Goes,” with their now-classic debut album, Broken Boy Soldiers The Raconteurs returned two short years later with 2008’s Consolers Of The Lonely. Like its predecessor, the LP proved a popular and critical phenomenon, earning the Grammy Award for “Best Engineered Non-Classical Album” as well as a nomination as “Best Rock Album.”

                Dear Life came about gradually and organically after a self-imposed creative hiatus rooted in the happy arrival of his son and later, a daughter. Having spent the majority of his adult life on the road, Benson decided he’d prefer to stay home for a change and just be a dad. “I just couldn’t bear the thought of leaving,” he says. “I was so enamored with my kids, I just sort of lost touch with my career. I just didn’t want to go back to work.” Instead, Benson directed his musical energies elsewhere and fast proved an in-demand producer/engineer (Robyn Hitchcock, Young The Giant, Trapper Schoepp, The Greenhornes) and collaborative songwriter, with a CV that includes partnerships with Jake Bugg, Iain Archer (Snow Patrol), and The Kooks’ Luke Pritchard, among others. Despite his successes, after a few years in this voluntary wilderness, Benson surprised himself in 2017 by writing and recording the rocker “Half A Boy (And Half A Man).” “It just felt really good,” he says. “I felt like I was like born again. Seriously, it was almost a religious experience, like, oh my God, I love making music. I had forgotten. That’s how it started. It was kind of a spark. A re-ignition.”

                TRACK LISTING

                SIDE 1
                1. I Can If You Want Me To
                2. Good To Be Alive
                3. Half A Boy (Half A Man)
                4. Richest Man Alive
                5. Dear Life

                SIDE 2
                1. Baby's Eyes
                2. Freak Out
                3. Evil Eyes
                4. I’m In Love
                5. I Quit
                6. Who’s Gonna Love You

                Luluc

                Dear Hamlyn

                  Luluc released their debut album, Dear Hamlyn, in 2008; the songs were written following the death of Randell's father. Dear Hamlyn eventually gained a large group of influential admirers. Peter Blackstock co-founder of No Depression Magazine, wrote of the album, "The most beautiful album I've heard in ten years." In 2011, Nick Drake's producer, Joe Boyd, also taken by Dear Hamlyn, invited Luluc to feature in his Nick Drake tribute tour. They contributed the tracks "Things Behind the Sun" and "Fly" to the live tribute album, Way to Blue: The Songs of Nick Drake in 2013. Luluc went on to sign with Sub Pop Records and release the critically acclaimed albums Passerby (2014) and Sculptor (2018). This edition of Dear Hamlyn is the first time it has been available on vinyl.

                  TRACK LISTING

                  I Found You
                  Little Suitcase
                  The Wealthiest Queen
                  Black Umbrella
                  Body On The Water
                  Warm One
                  Gillian
                  One Day Soon
                  Abigail & The Whale (The Blue Queen Of The Deep)
                  A Whisper
                  My Midnight Special

                  Matthew Dear is a shapeshifter, oscillating seamlessly between DJ, dance-music producer, and experimental pop auteur. He is a founding artist on both Ghostly International and its dancefloor offshoot, Spectral Sound. He writes, produces, and mixes all of his work. He straddles multiple musical worlds and belongs to none, now nearly 20 years into his kaleidoscopic career, with five albums and two dozen EPs plus millions of miles in the rearview of his biography.

                  Bunny is the name of Matthew Dear’s fifth album. His first since 2012, it bounces into plain sight preceded by two slyly different singles in 2017: the moody, urgent "Modafinil Blues” and the buoyant, blithe, Tegan and Sara-featuring “Bad Ones.” Bunny follows both modes, among others, parading down a rabbit hole of unhinged phrasings, dreams, and interludes. It saunters in the shadows; it stands brightly in the moonlight. Bunny is a dual vision of avant-pop; an artistic reckoning from a 21st-century polymath; persona splintered, paradox paraphrased, a riddle rendered.


                  TRACK LISTING

                  01. Bunny’s Dream
                  02. Calling
                  03. Can You Rush Them
                  04. Echo
                  05. Modafinil Blues
                  06. What You Don’t Know
                  07. Horses (feat. Tegan And Sara)
                  08. Moving Man
                  09. Bunny’s Interlude
                  10. Duke Of Dens
                  11. Electricity
                  12. Kiss Me Forever
                  13. Bad Ones (feat. Tegan And Sara)
                  14. Before I Go

                  Swedish singer-songwriter and multi-instrumentalist Emil Svanängen makes records and plays shows under the enigmatic name of Loney Dear. In the early 2000s, in his Stockholm apartment studio, Svanängen made a name for himself by creating homemade CDrs with a minidisk microphone and a home computer, self-releasing albums which, by 2007, had pricked Sub Pop’s ears and they released ‘Loney Noir’. Two more albums - ‘Dear John’ and ‘Hall Music’ - followed, as did glowing reviews in The Guardian, BBC, Drowned in Sound and Pitchfork and earlier this year The Line of Best Fit went as far as calling him a “brilliant genius.”

                  Loney Dear has consistently crafted elegant, deeply stirring music, described by The Quietus as “the obsessive work of one man, albeit one that can sing with the vulnerable delicacy of an angel and makes bedroom recordings that sound like God’s own orchestra.” Multi-layered with instrumentation and Svanängen’s fragile yet irrepressible vocals, Loney Dear’s songs bloom with a sense of both intimacy and openness, at once uplifting and heartbreaking, tenacious yet tender.

                  TRACK LISTING

                  Pun
                  Humbug
                  Hulls
                  Sum
                  Lilies
                  Little Jacket
                  Isn't It You?
                  Dark Light
                  Harbours
                  There Are Several Alberts Here

                  South African via Berlin Indie Pop darlings Dear Reader return with Day Fever, their fourth album on City Slang and the first, in four years. It was recorded in John Vanderslice’s San Francisco studio, Tiny Telephone. Well-known as a producer for acts like Spoon and The Mountain Goats, and a musician in his own right, Vanderslice has made a name for himself in analog recording, something Dear Reader hadn’t explored prior to the decision to record at his studio.

                  Already far from home in Berlin, the South African musician’s trek to San Francisco meant a huge adjustment in terms of her recording style. Recording on tape helped Dear Reader mastermind, Cherilyn MacNeil, commit to the performance and narrative act of making an album, and to break, in her words, the habit of “editing the life out of things.” In Day Fever, those old habits have died, and hard. The raw, melodious, at times discordant record has most certainly retained its life, left fresh and untrampled by infinite do-overs. In fact, each song on the album is the result of just one, or a maximum of two, studio performances.

                  Day Fever sounds more minimal, more vanguard than Dear Reader’s previous albums, bending to match the album’s thematic pitch: if Rivonia (2013) pulled us back into the MacNeil’s (and South Africa’s) history, Day Fever slingshots us into the present to confront life in real time.

                  TRACK LISTING

                  Side A
                  1 Oh, The Sky!
                  2 Tie Me To The Ground
                  3 So Pretty So Pathetic
                  4 Mean Well
                  5 Wake Him
                  6 Placate Her

                  Side B
                  7 If Only Is
                  8 I Know You Can Hear It
                  9 Nothing Melodious
                  10 Then, Not Now
                  11 The Run

                  Dear Prudence

                  Valentine - Inc. Blood Diamonds / Ford & Lopatin Remixes

                  “I got into Siouxsie, The Cure, Depeche Mode at school,” Madi says. “Everyone else was listening to chart music and I was looking for something different. Those groups struck a chord with me. Their legacies are such an inspiration.”

                  Madi has an extraordinary, spellbinding voice, a giant, soulful siren that crackles with heartbreak and sadness, irony and elation. Lyrically, the songs have a bittersweet, lovelorn feel, a fact that Madi ascribes to events in her personal life. “Songwriting is a form of escape for me. I grew up in a very quiet coastal town where I’d spend hours imagining the future. As I got older songwriting also became a way of dealing with the difficulties of things like love and loss.”

                  Powerful and dark, Dear Prudence's recordings have a modern pop flavour, underpinned with a strong undercurrent of moody 80s darkness. On this 12" we also get hipster R&B and synthwave refixes from Blood Diamonds and Ford & Lopatin.


                  TRACK LISTING

                  A1. Valentine
                  A2. China Doll
                  B1. Valentine (Extended 12" Remix)
                  B2. Valentine (Blood Diamonds R&B Fantasy)
                  B3. Valentine (Ford & Lopatin Remix)

                  Electricity In Our Homes

                  Dear Shareholder

                    Electricity In Our Homes consist of Paul Linger (drums), Charles Boyer (guitar / vocals) and Bonnie Carr (bass / vocals). ‘Dear Shareholder’ is their first album since forming in 2007, which if nothing else shows how the trio have been moulding careerist convention to suit their own means in the shadows of this hyperfrantic get-rich-quick-or-split-up-trying music industry. The casual pace has been working in their favour, too: 2011 found the trio starring on the main stage at the 1234 Festival with the likes of Black Lips and The Raveonettes, and their European excursions mean they are now as likely to play in Leipzig as they are Liverpool. Nor have they been slacking on the recording front: championed by alternative icons as varied as Tim Burgess and Colin Newman of Wire EIOH have worked stealthily on the East London underground and released six singles on a selection of esteemed indie labels including Too Pure and 4AD.

                    Of those previous products last year’s ‘Appletree’ single and their most recent double AA-side 'Aching, Breaking’ / ‘Drumming Around The Room (Parts 1 & 2)’ – released on the Tim Burgess-owned O Genesis label in the summer – make the cut on ‘Dear Shareholder’, with another seven prime examples of pop-defying melodic bendiness bringing up the gently riotous rear. With a clattering rhythmic undercurrent, some seriously scratchy guitars and Bonnie Carr’s gently growling bass often to the fore, ‘Dear Shareholder’ melts the mind by putting the disco into discordant. ‘Fast As Lightning’ evokes the intense knockabout spirit of Postcard, the hypnotic ‘Oranges’ is borne of the Stereolab lab, ‘Buddy Lemonade’ guzzles from the C86 siphon and pretty much everything else sounds like there’s a rum-swiggingly room-spinningly ramshackle Peel Session party going on in their head and everyone’s invited.

                    TRACK LISTING

                    1.Drumming Around The Room (Part One)
                    2.Appletree
                    3.Fast As Lightning
                    4.Oranges
                    5.Buddy Lemonade
                    6.We Are All Trooping Off In A Big Old Gang
                    7.Nothing If Not Lovely
                    8.South Of France
                    9.Aching, Breaking
                    10.Drumming Around The Room (Part Two)
                    11.Play It Over

                    After his last time touring the United States in support of 2009’s ‘Dear John’, Emil Svanängen AKA Loney Dear returned home to Sweden and began to play shows with chamber orchestras throughout the country. As such, he was forced to revisit his earlier material -- re-writing and re-arranging these older songs for performance on a grander scale. This experience had an indelible influence on the writing and recording of the appropriately titled ‘Hall Music’, an expansive record that finds Svanängen closer to creating the type of orchestral music he has always sought to bring to life on stage (whether he’s actually playing with an orchestra or not).

                    Above all, ‘Hall Music’ is a study in merging contrasts, an album of impossible pairings. The pacing is simultaneously fast and slow, with gently weaving harmonic structures propelled forward by quickly moving notes. The instrumentation is orchestral and synthesized; organic and invented. A church bell paired effortlessly with horns and an analogue keyboard.

                    Though at first listen it occupies your ears for just over a halfhour, it is an all-consuming sonic affair. This is intimate music that effortlessly fills vast, empty spaces -- in your head, in your room, in your life -- with a grip so delicate yet unyielding that you can’t (and don’t want to) escape it.

                    Drawing from both of the emotional states it joins together - joy and darkness – ‘Hall Music’ creates its own unique expanse -- one you’ll surely want to re-visit again and again.

                    TRACK LISTING

                    1. Name
                    2. My Heart
                    3. Loney Blues
                    4. Calm Down
                    5. Maria, Is That You
                    6. D Major
                    7. Largo
                    8. Young Hearts
                    9. Durmoll
                    10. I Dreamed About You
                    11. What Have I Become?

                    "Here, My Dear" is a wrenching yet beautifully rendered chronicle of the end of Gaye's first marriage to Anna Gordy Gaye. Released in December 1978, the suite was attacked by critics as indulgent and irrelevant, a misstep in a musical career noted for breakthroughs and artistic bravery. With mixed reviews and no hit singles, the album was not a big seller and failed commercially. Yet in the decades since "Here, My Dear" has become recognized as a masterpiece of romantic anguish. It's also one of Marvin's most influential recordings. Hear it in today's young soul singers and in hip hop's confessional raps. Listen to the many producers who obsess over every note. This is a Marvin gem waiting for you to rediscover it.


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