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ITALIANS DO IT BETTER

'I Want To Be With You…But Sometimes Life Becomes Too Real…I Want To See The Things In My Heart I Know I Feel'.

The opening track is a love song written from the perspective of the camera, asking to be held up to see the world through the eyes of its user. Chromatics’ dense electronics are anchored by the intimacy of Ruth Radelet’s vocals. Framed by negative space, this is pop music from the blurry hours. She softly sings, 'I write a song in my head, pretend that I’m lying in your arms'. The music is minimal & bare, layered with sparse percussion. The Camera EP features unreleased material, including a haunting take on Dear Tommy’s title track & the midnight mood of "Flashback To Forever".


STAFF COMMENTS

Matt says: Chromatics turn their daze to the auto-tuned neo-tropicalia-R'n'B that seams to be the commercial sound of the Summer and deliver it in effortless style.

FORMAT INFORMATION

Ltd LP Info: 3rd Edition pressed on 180-gram cherry red vinyl

Ltd 12" Info: Ivory white vinyl.

Chromatics

Nite

    This Was The Follow Up To The "Healer/Witness" White Label 12 Inch & The Last Recordings Chromatics Made Before Ruth Radelet Joined The Band. Archival Reissue Originally Recorded 2004-2005 In Portland. Out Of Print For Over A Decade. LP Includes Unreleased Outtakes & Alternate Mixes From The Original Tapes. Recorded During The First Experimental Studio Period For Chromatics That Would Would Eventually Become The Sound Of The "Night Drive" Album.


    FORMAT INFORMATION

    Coloured LP Info: Gatefold LP pressed on 180-gram ivory vinyl.

    Chromatics

    Lady

      B-side features the unreleased “Lady” (On Film) which contains the 3rd vocal verse that was never released on “Kill For Love,” plus the extended 15 minute disco version of “Looking For Love”.

      FORMAT INFORMATION

      12" Info: Pink champagne coloured vinyl.

      Symmetry

      Themes For An Imaginary Film

        The neon lights that decorate a dive bar’s window cast a vivid reflection in rainwater on the pavement outside, as steam rises from deep beneath the ground. A slow pan across the scene, past alleys cast in shadow, twilit corners & glass doorways streaked with the mist of humid bodies fuming inside: the camera catches the denizens of an unnamed city, studying faces heavy with secrets too sad to bear. Cut to the motorway. Sleek cars barrel through the night. Sirens moan. Engines rev. You’re behind the wheel, over the edge as the credits roll.

        This film does not exist — but the soundtrack does. Symmetry is Johnny Jewel & Nat Walker, & Themes For an Imaginary Film is their two-hour cinematic opus pokus, a sprawling score for a movie that screens only in your mind. A “conceptual tangent between Glass Candy, Chromatics, Mirage, & Desire’s more abstract sides,” as Jewel himself describes the project, Symmetry is a vigorous, electric, restless exploration of ideas on the bleeding edge of instrumental sound. Analog synthesizers roll and crest, drums collide, keys cascade clear & crystalline. These themes evoke the phantasmic images that inspired them: urgent and ethereal, sinister & romantic. It’s a neo-noir epic of pink fog & femme fatales hidden behind rain drenched windshields after dark.

        In Mirrors

        Escape From Berlin

          Escape from Berlin is the last surviving nitrate print of a film thought lost to time — a bleak noir fantasy on the outer limits of sound. Its after-hours tenor has the beautiful blur of a night spent in the gutter, a confrontation with despair long past last call. Defiance in the face of suffering. Curtains of texture and electronic noise drape the walls.

          Recorded in deep isolation on location at Nite Prison in Vancouver, the album plays as a dizzying singular collage. Acutely focused on texture & the negative space between moments, composer & poet Jesse Taylor is the anchor in a revolving cast of cameos. For this album, his partners in crime are Suzanne, Hiromi Inada, & Andrew Grosvenor on clarinet. As enigmatic & fleeting as reflections in a hall of mirrors, these themes are fractured & textural. Taylor ambitiously asks us to look beyond the mirror…through to the other side. We imagine Phillip Glass playing chess with William Burroughs while Klaus Schulze slaves over a droning synthesizer in the corner. We hear vapor trails from Coltrane, Carpenter, & Amon Duul. This debut is a glance at one of the most varied artists on Italians Do It Better’s roster. Johnny & Jesse have been collaborating behind the scenes since 2003. Distilled in a process strengthened by time from Portland to Montreal…Los Angeles to B.C. In Mirrors blurs the imaginary lines between genres. Opening with a sultry Stevie Nicks cover & closing with 14 minutes of expansive aural fusion. Perhaps Taylor’s good friend, Joey Casio said it best…”Change the channel, this one is the mirror.”


          FORMAT INFORMATION

          Coloured LP Info: 180-gram grey marble vinyl.

          Farah

          The Only Ones

            Persian-American cryptic electronic ingenue Farah can’t be solved or explained. She makes dreamy, archly somber disco tunes that somehow sound both spontaneous & immaculate, painstaking & off-the-cuff. Crooning laconically — sometimes in English, sometimes in Farsi, but always with the taste of a woman too cool to betray anything as vulgar as emotion. “Come, come, come, come, come, come, come” she commands on “The Only Ones”, the chant a wanton incantation. It’s difficult to tell if the majestic synths that swirl around her are in harmony with the spirit or its counterpoint.

            B-Side “Baby Girl” delves into a chorus of Persian idiom: “Dooset daram,” she sings, or “I love you” in the Iranian expression. The song has the air of enigma — another of Farah’s dance floor mysteries. The instrumental tracks that bookend the record are its atmospheric framing device. Enter the maze.


            FORMAT INFORMATION

            12" Info: 180-gram pink champagne vinyl.

            Nite Jewel

            Want You Back

              Nite Jewel is the performing moniker of Ramona Gonzalez. She is a composer, songwriter, and multimedia artist from Los Angeles, California, where she has exhibited a number of video and sound installation pieces. The Nite Jewel project is a combination of revisionist Bronx pop and hazy musical impressionism. This re-release from Italians Do It Better features "Want You Back", a sparkling, hazy electro-pop / oddball post-disco song sounding like it's been made on vintage 80s keyboards. We get two mixes of this, plus two versions (English! Spanish!) of B-side gem "All Out Of Order", a slo-mo electronic groover which gives Ramona's vocal the vocoder treatment.

              Desire

              If I Can't Hold You Tonight

                As you may know, Desire's "II" album was one of our favourites of 2009, so this 12" re-release has got us all excited here at Piccadilly Records HQ. Basically we get four versions of "If I Can't Hold You Tonight" spread over two sides of wax, all exclusive to this release. Singer Megan Louise is at her melancholic, sultry best here, as her vocals get pushed forward in the mix, and the backing track is stripped right down to ultra-minimal house - just a kick drum, ocassional percussion, a few chime fills and a bit of keyboard work. And then there's a shorter version of the same mix. Deeeeeep! "I Can Dream About You" is another of these "If I Can't Hold You Tonight" mixes, this time instrumental, while the final '8 Track Demo' version is more like the LP mix, but - you've already guessed it - in demo form. Delicious.

                Invisible Conga People

                Cable Dazed/Weird Pains

                  For their tenth release, (now re-released) Italians Do It Better offer up some psychedelic electro-acoustic Kraut-disco boogie by Justin Simon (guitar, other, runs Mesh-Key Records) and Eric Tsai (synths, other, makes some of the band's equipment himself). "Cable Dazed" is a slowly building epic that features a muted kick and shaker rhythms, watery keyboards and scratchy guitars, plus subtle vocal. "Weird Pains" has a similar backing track, but with an edgy, infected 'vocal' and urgent, pulsing keyboards. Think "E2-E4" meets early house music!

                  Reissue of this now classic Chromatics' 12" - "Shadow" 12". Originally on ultra clear vinyl dipped in emerald green, this time round its dipped in magenta!

                  Originally released digitally in 2015, the six track EP showcases five (count em!) different version of lead track, backed with "White Light" (no relation to the Velvet's track of the same name... - ed).

                  The cinematic qualities of the track are obvious, emphaized through the cleverly titled 'End Credits' and seeing the same refrains, hooks and motifs repeated throughout the various takes. It's dreamy, yearning, melancholic and swathed in emotion - a sure fire hit for IDIB mob then! Back in stock once again and looking dazzling - don't miss out! 


                  FORMAT INFORMATION

                  Ltd 12" Info: Ultra clear vinyl dipped in magenta.

                  Produced & Mixed By Johnny Jewel - Artwork By Johnny Jewel.

                  The Desire trio is made up of John Padgett, Megan Louise, and Nat Walker. Together, they've released a handful of EP's and an LP for the excellent Italians Do It Better, and they return to the label with a new six-tracker of off-the-wall, sultry synth disco. "Under Your Spell" is a soundtrack kind of tune, where Louise's vocals ride ever so well amid crunchy, mid-tempo drum machine beats, but there's also plenty of uplifting discotheque fun such as "Don't Call", and the supremely funky "Mirroir Mirroir". The B-side features a moodier vocal mix of the title track, the quirky bleeps and beats of "I Can Dream About You", and the beatless vocal mix of "Don't Call". Whether you're into synth pop, coldwave, or disco, Desire is sure to please your needs.


                  STAFF COMMENTS

                  Barry says: Another killer EP from Desire, with massive reverbed drums, silken vocals and shimmering synths. A perfectly balanced suite of heart-aching reminiscence, shining synthwork and evocative lyrics. Beautiful stuff.

                  FORMAT INFORMATION

                  Ltd 12" Info: 12” pressed on ultra clear vinyl dipped in ice blue.

                  It was a year ago now that Twin Peaks: The Return arrived like a godsend and defied every plausible expectation. David Lynch and Mark Frost’s sprawling, unprecedented 18-part masterpiece proved unlike anything seen before on television.

                  Nobody will forget the moment the show’s uncanny two-part premiere drew to an enigmatic close, as Chromatics took the stage at the Roadhouse bathed in cobalt, inaugurating with their hypnotic performance of “Shadow”. This was only the beginning of Johnny Jewel’s sonic presence on the series. His mesmerizing, dreamlike “Windswept” became the bona fide theme song of Kyle MacLachlan’s Lodge-dazed Dougie Jones — a siren song of melancholic saxophone calling out to him from the beyond.
                  “I was about a year deep into recording what would become Windswept when I heard that David was making Season 3,” he explains. “It’s been a year since Chromatics performed at the Roadhouse. With disintegrated memory through the haze of television snow, I wanted to share a glimpse behind the red curtain.”
                  Themes for Television is an epic from the cutting room floor. A nearly hour-long foray into the blurry hours of night. “The project began as a sonic exploration of the sounds I was hearing in my nightmares,” Jewel says. “I wanted to find my way out of the maze by focusing on beauty over fear — like the way the fractured sunrise looks in a dream.”
                  Themes for Television is in keeping with the unpredictable twilit splendour one expects of Jewel. Working entirely without images, drawing from his own imagined version of what The Return might be, Jewel produced a monumental six hours of material. The 21 tracks that comprise this album have been culled from that prolific streak of inspiration, sequenced and edited last winter in Tokyo.

                  STAFF COMMENTS

                  Barry says: It's amazing that there keeps being more material from Johnny Jewel and Italians Do It Better in general, and it's even more amazing that it comes out this well every time. Brilliantly immersive glacial soundscapes and pristine pads all wrapped in the pitch-perfect production talents of a musician at the top of their game.

                  FORMAT INFORMATION

                  2xColoured LP Info: Limited edition red vinyl.

                  Tess Roby

                  Beacon

                    The Beacon crowns Ashurst Hill in Dalton, Lancashire, looming over the verdant English countryside nearly six hundred feet above sea level. This spartan brick monolith was erected in 1798 as a watch tower to warn of French invasion during the Napoleonic War — and there it silently remains, keeping infinite vigil. It stands in Tess Roby’s mind. The Beacon calls to her. “Throughout my life I have felt the pull to return to it,” she says. “I’m beckoned by father’s roots and by the sullen landscape of fields leading to the coast.”

                    Tess Roby is an artist with a vision. The Montreal-based photographer and musician, an eight-year veteran of the Canadian Children’s Opera Company, seems utterly original, moving with a restless energy toward the sublime. Her sound betrays an intrepid longing to discover and explore, to reject convention and transcend cliché: Roby is a born traveller, absorbing everything she hears and making it new. Ethereal and crystalline, bathed sumptuously in synths, her music is heady, dreamy, singular — a transmission from parts unknown. The classical training and aesthetic omnivorousness combine like worlds colliding.

                    Roby’s debut album Beacon was written in 2015, following the death of her father. She collaborated with her brother Eliot to create what they describe as a kind of spiritual homage — both to her father and to the Beacon, where the family travelled often. Roby recorded these songs with the drum machines and synthesizers she found in her father’s recording studio, and galvanized by his spirit she imbued the music with love, movement, whispers, memories, and pain. “All the while the Beacon remained effervescent in my mind,” Roby remembers. “Visions of it ablaze on the hilltop, standing motionless while I searched for understanding.”

                    STAFF COMMENTS

                    Barry says: Tender, Balearic chimes and languid strummed guitar meet with Roby's enchanting voice and tentative arpeggiated synths, Beacon is a brilliantly written and perfectly measured triumph.

                    Johnny Jewel

                    Digital Rain

                      Hot on the heels of the critically acclaimed 2017 LP "Windswept" - which soundtracked David Lynch's Twin Peaks, "Digital Rain" is Johnny Jewel’s latest album. Jewel is known for his extensive collaborations with film makers David Lynch, Nicolas Winding Refn, and Ryan Gosling, as well as for his work with groundbreaking musical groups such as Chromatics, Glass Candy, and Desire.
                      The 19 movements of Digital Rain are three dimensional beds of analogue warmth encompassed in raw electronic moisture. The result is an expansive pallet of soft color amid canyons of jagged oscillations. According to Jewel, "Digital Rain is a mirror image of itself designed to play as a singular liquid movement."
                      "After living a few years in a desert climate, I realized I was nostalgic for the constant presence of precipitation from every city I once called home. The sound of hail ricocheting off my roof in Houston...The floods crashing in from the Gulf of Mexico that would destroy my mother's house three times...The constant kiss of drizzle on the streets of Portland, and the morning rain against the windshield of Trimet city bus number 15 that I would ride home after recording all night...The snow buried row houses of Montreal where my daughter was born, and the rhythmic feel of ice cracking under my boots for six months straight."
                      "The desert is constant, and I love this repetitious ritual of Los Angeles so much. As moisture and humid weather seem more and more like a dream I once had or a fading memory of the places I fell in love with...I wanted to make a record without drums, without lyrics, vague in form. Each track morphing and eclipsing the next like the ever-changing movement of clouds obscuring the moon."


                      STAFF COMMENTS

                      Barry says: It's pretty rare that Johnny Jewel / Chromatics / Italians Do It Better as a whole put anything bad out. This is no exception. Brimming with the sort of tender arpeggio's and kosmische atmospherics that make my eyes go all dewy, this is absolutely stunning.

                      FORMAT INFORMATION

                      Coloured LP Info: LP pressed on Pink Champagne coloured vinyl – limited to 2000 units world wide.

                      Chromatics

                      Nite

                        When "Nite" first appeared way back in 2006, Chromatics had yet to release their breakthrough album, "Night Drive". Since then, the Johnny Jewel-helmed combo has gone on to bigger and better things, with each successive album bringing a fresh wave of success. As this reissue neatly proves, their sound was a little different back then. While there are nods towards their later soundtrack-inspired sound (see "Birds of Prey" and "Sleepwalker"), much of the mini-album is split equally between fuzzy, guitar-heavy art-rock workouts and, more thrillingly, the kind of thrusting, muscular Italo-disco revivalism that Mike Simonetti's Italians Do It Better imprint once excelled at delivering. 

                        STAFF COMMENTS

                        Patrick says: Italians Do It Better go back to their roots with this mega reissue of the impossibly rare "Nite" LP from back in 2006. A perfect example of the early sound of IDIB, "Nite" perfectly captures the world of neon-tinged diners and 80s movies with a super cool combination of Italo synths, dark disco and post punk guitars. Warriors...come out to play.

                        Say yes! The definitive gossamer Italo floor fuel of Ida No and Johnny Jewel's Glass Candy outfit enjoys an expanded reissue here on sexy lavender vinyl after over a decade out of print. Nothing but synthetic positivity as both the title track and "Drumm" stride with an almost marching feel before "Where Time Sits Still" plunges much deeper into moody new romantic cinematics. Elsewhere other highlights include the slinky poignancy that lingers from every spacious bass pluck on "City Lights" and the trembling ambience and pressurised atmosphere of the finale "Sanctuary". Yes please.

                        STAFF COMMENTS

                        Patrick says: Moonlit, melancholic majesty from the early days of Glass Candy. Before "B/E/A/T/B/O/X/" and their superb Belle Epoque cover on "After Dark", Johnny Jewel and Ida No were holed up in Portland, perfecting their VHS-hazed brand of nocturnal Italo pop with this set of floor oriented gems.

                        Montreal based Desire is blissed out Euro disco featuring Johnny Jewel on synth and guitars, (Chromatics, Glass Candy) Nate Walker on drums, (Chromatics) and hot as glass, Montreal singer, Megan-Louise. What sets Johnny Jewel's great production style apart from so many others is his reluctance to use computers and new equipment in both production and live performance, thus giving the music and analog quality that is infinitely more arresting than most contemporary disco counterparts. Features the hit song "Under Your Spell" which was on the Original Soundtrack for 2011's Drive (film featuring Ryan Gosling).

                        "Windswept" sees exceptional Italian Johnny Jewel doing it just as well (you couldn't do it better than) as Angelo Badalamenti, delivering an excellent collection of Twin Peaks compositions.

                        Solely based on song titles, you’d say "Missing Pages", "Strobe Lights", "Slow Dreams", "Motel", "Between Worlds", and "The Flame" were written for Twin Peaks, and except for maybe "Strobe Lights", it’s a safe assumption. The jazzy vibraphones on "The Crimson Kiss", another title that could easily be a reference, and "Motel", an instrumental in collaboration with another Johnny Jewel project called Glass Candy - made them instant adds to the Audrey Horne-inspired Isn’t It Too Dreamy playlist.


                        FORMAT INFORMATION

                        CD Info: Limited Edition Of 2000 CD. Packaged in Wallet Slipcase

                        Glass Candy

                        B/E/A/T/B/O/X - Clear Vinyl Pressing

                        It's hard to think of any other record that so perfectly encapsulates that favourite part of the day for all nighthawks, revellers and DJs. The hour before dawn, when the streets of the city are empty, lights change for traffic that isn't there and a lone fox is you're only companion on your walk home. Taking their inspiration from the synth-heavy soundtracks of John Carpenter (especially "Assault On Precinct 13"), Kraftwerk, Madonna and Timbaland their sound is unique because of the absence of sequencers and computers. There's something undeniably refreshing about dance music that goes out of time occasionally. Highlights include "Rolling Down The Hills" and "Beatific" but it's their cover of Kraftwerk's "Computer Love" that's the record's masterpiece. It's hard to believe that a song written nearly thirty years ago could soundtrack, so perfectly, the alienation of city living in the twenty first century. Thank you Italians Do It Better for "B/E/A/T/B/O/X".

                        Six years ago Mike Simonetti launched Italians Do It Better with the faultless "After Dark" compilation. It was one of those rare occasions when a label nails its sound and vision, wonderfully evocative of late night New York diners and subway cars decorated with graffiti, soundtracked by the blurred lines between disco, italo, new wave, post punk and 80s cinema. From that moment onwards the label has gone from strength to strength, its roster touring the world and creeping into the mainstream consciousness, especially after featuring in Bronson and Drive. "After Dark II" is a snapshot of where the label stands in the present day, collecting some of the best tracks from recent 12" singles as well as a number of brand new tracks exclusive to this release. Glass Candy kick things off with the heartfelt "Warm In The Winter", which could be the greatest 80s film soundtrack to never have been, and roll the credits with the brooding "Redheads Feel More Pain", a carpenter-esque track with Jewel's synths at their most intense and Ida No's vocals other worldly and Lynchian. Amongst the 13 tracks in between we hear ballads of love and longing from Chromatics ("Cherry" and "Camera"), Desire ("Tears From Heaven") and Mirage ("Let's Kiss"), cinematic synthwave from Mike Simonetti's Symmetry guise and analogue grooves from Glass Candy ("Beautiful Object" and "The Possessed"). But this compilation isn't just about the big names, the piano house inspired "Half Lives" by Twisted Wires is perfectly formed and Farah's "Into Eternity" is an utterlessly remorseless horror theme. New signings Appaloosa also turn in two stadium sized pop songs to whet your appetite for their forthcoming debut LP for the label. From the first note to the last, After Dark II is a flawless showcase of the sound the label created six years ago but shows that the artists involved have come on leaps and bounds in terms of songwriting.


                        With a West Coast tour looming and problems with the recording (burnt singers, overheated tape reels, the final mix getting lost in the post etc), Chromatics' Johnny Jewel decided to run off a few demo CDs of "Night Drive" to sell at the band's shows anyway. However, as soon as the press and bloggers got hold of copies, the album became in overnight sensation. In need of money to get Italians Do It Better going (this was 2007 remember), and with big demand for copies, Jewel decided to release this demo version as a full album... Which is how it remained - until now! When that lost final mix finally turned up 18 months later (!), it was decided to remaster the whole production, add the tracks missed off the original demo CD copies and press up some vinyl too.

                        The record opens at the end of a long night with our heroine making a phone call to her lover. In the background through the muffled walls of a sweaty nightclub you can hear music playing. She drives to the coast to clear her head, with "Night Drive" on the car stereo. As the hi-hat attacks your speakers, her hair blows in the breeze. This is the opening of the record that continues to define Chromatics' unique sound. The music is drenched in reverb echoeing the death of hope and the price of nostalgia. The most powerful example of this is Chromatics daring take on the Kate Bush classic, "Running Up That Hill," a favorite amongst fans and critics alike. With ethereal songs like "Tomorrow Is So Far Away", "Tick Of The Clock", & "Let's Make This A Moment To Remember", they give the listener the space to breathe. We get a glimpse of their chequered past with the post punk sheen of Joy Division on "Healer".

                        The lost side of the album is dark and abstract. Opening with the almost funerial "Shining Violence". Where detuned analog synths collide and struggle to hang onto a fading melody. Followed by the sleeper hit, "Circled Sun", and the Vangelis-inspired reflection of life's duality in "The Gemini". "Night Drive" closes with an arpeggiated musical refrain from the beginning of side one. "Acelerator" reinterprates elements of the chord progression from "Night Drive" while leaning heavily on the gear shift. As painted lines in the road begin to strobe, Chromatics propels full speed ahead into an uncertain future.

                        FORMAT INFORMATION

                        Coloured LP Info: Pink champagne coloured vinyl.


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