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LONE

Two Lone Swordsmen

Still My World (RSD24 EDITION)

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    Lone

    Waterfall Reverse / Triton

    Lone returns to Greco-Roman with a two track 12” of some of his finest work to date. A-side track "Waterfall Reverse" is an ecstatic hardcore song that ascends into a utopian dream. Resident Advisor declaring it 'A fresh reinterpretation of Lone's dayglo breakbeat hardcore.....one of Cutler’s best moments'

    AA-side "Triton" serves as a companion piece and keeps things leaner and focused on a 4/4 club sound. Both tracks are peak Lone; mind bending and  breathtaking machine funk full of colour and vivacity. 

    STAFF COMMENTS

    Matt says: Whilst hitting the accelerator on his 4x4 stuff, "Waterfall Reverse" marks the iconic UK producer's move into hyper-kinetic drum and bass. With slightly liquid feels, and his usual day-glo optimism; this is a hardcore-flecked, rainbow-coloured DnB blast you're unlikely to forget in a hurry.

    TRACK LISTING

    A. Waterfall Reverse 
    AA. Triton 

    Lone Bison

    Wave Construction

      Lone Bison / Nick Bonell lives by the sea in Ramsgate. Mainly a guitar player and pedal junky, Nick bought a used Korg MS20 and fell in love with synths. As one half Stuntmen, Nick released the sample-heavy single 'You're the Beat Find' on the very groovy Tummy Touch label, which led to him scoring three Ford adverts in the U.S and a few pieces of well-used production music - which paid for more synths and pedals! An album, 'Transistor Memory' and single 'Drugs' came out via Dom Martin's Polytechnic Youth records in 2021.

      Lone Bison's music is influenced by Krautrock, electronica, post-punk, soundtracks and post-rock.

      Wave Construction is his first album for Castles in Space. There will be many more.

      K-Lone

      Swells

        Wisdom Teeth co-founder K-LONE returns with his second full length project, ‘Swells’: a kaleidoscopic and expansive record that looks to deep house, synthpop, leftfield R&B and beyond for a spellbinding masterwork of melodic electronica.

        His debut LP ‘Cape Cira’ became the accidental soundtrack of the long strange summer of 2020 - its lush marimbas, hazy atmos and synthesised bird calls providing the ideal soundtrack for some much needed collective escapism. The record was widely deemed one of 2020’s standout electronic LPs, gaining glowing reviews in Pitchfork, DJ Mag, Mixmag and Resident Advisor, and ranking highly in end of year lists by Crack Magazine, Bleep.com and beyond.

        Approaching its follow up, the Brighton-based producer felt a fresh perspective was needed. Originally landing on the name ‘Swells’ as a secret pen-name to write the record under, the intention was to keep the project as separate as possible from ‘Cape Cira’ to avoid settling into familiar territories - but as the record took shape it became clear that it made perfect sense amongst his already diverse discography.

        Like ‘Cape Cira’, there is a distinct and intentionally limited sound palette at play on ‘Swells’. Looping vocal cuts, rich cluster chords and undulating arpeggios sit front and centre here - as does the lo-fi plonk of of the CR78 drum machine. But while the record clearly takes influence from a range of vintage sound sources, its overall aesthetic is unmistakably contemporary. Sounds are not artificially degraded nor obscured under washes of sampled tape hiss. Rather, everything is processed with a gloss, hi-fidelity sheen. The record’s rhythms are bright, dry and snappy, and its melodies are processed with a neon poppy glow.

        The producer’s unabashed love of contemporary pop music is most obviously exemplified by the appearance of British singer-songwriter Eliza Rose. The pair met for a session at a North London studio back in 2021, and the now Brit Award-nominated singer’s warm, emotive vocal takes became an immediate source of inspiration early in the record’s conception. As such, Rose’s voice is heard in various states of manipulation throughout its duration - initially as reduced and looped phrases, and then finally in full form on ‘With U’: a low-lit, dubbed-out slice of leftfield R&B that beckons comparisons with Tirzah, Little Dragon and even Erykah Badu.

        Elsewhere, there are references to G-Funk (‘Oddball’), Autonomic drum and bass (‘Shimmer’), hip-house (‘Love Is’) and even Metronomy-era electro pop (‘Love Me A Little’).

        As always, the true magic of K-LONE’s artistry is to present complex, subtle and original ideas in ways that feel familiar and immediate. Melodies are introduced as effortless earworms, only to be twisted out of shape into strange and unusual formulations. Looping rhythms unspool into washes of hazy, dubbed-out ambience before rebuilding themselves. Refined and endlessly creative, ‘Swells’ marks a captivating next step for a producer and record label that have both reliably positioned themselves at the very forefront of contemporary electronic music.

        TRACK LISTING

        1. Saws
        2. Love Me A Little
        3. Oddball
        4. Strings
        5. Shimmer
        6. With U (feat. Eliza Rose)
        7. Gel
        8. Love Is
        9. Volcane
        10. Multiply

        Lone Ranger

        Love Bump

          All time party Studio One dancehall tune from the legendary Lone Ranger, guaranteed to make people dance. Monster, monster tune! 100% essential!

          Lone Bison

          Transistor Memory

            An incredible 13 track, electronic project for Ramsgate UK based Nick Bonell. Inspired by a love for ‘70s German electronic music and the current golden age of synthesizer based film soundtracks, it’s key theme as Nick says is “Repetition. I just like to lose myself in interlocking arpeggios which transport me away from the stresses of the day job. The tunes came out of me moving increasingly away from guitar and towards using hardware synths like the Korg MS20, and, having made music as part of a band or a duo- I fancied something solo this time. The album was recreated very quickly, often with single takes and carefully choosing times when the family and neighbours were out!”

            Hugely recommended to fans of Tangerine Dream / Klaus Schulze or Edgar Froeses’ solo work as well as Cluster and lots on (label favourite) Sky records’ output. Musically, the album is wonderful but the sleeve is pretty neat too; Nick adds “I will be forever grateful for the amazing linocut cover art by Ieuan Edwards aka The Black Gold Press. I originally asked if I could use an existing print, but he insisted on a bespoke piece and chiselled lino all night to turn around the print in 24 hours. Then Jules Bigg (one of the original team behind the launch of Ramsgate Music Hall) did the photography and graphic design, the man is a wizard. I am truly lucky to live in an area where, if you chuck a rock in the air, it will land on an artist or musician. I had pretty much given up on making original music, after the untimely death of my songwriting partner some years ago. However, living in an area where new venues have mushroomed and great gigs are so plentiful, has inspired me to dig out the synths and fx pedals again”.

            Released in a one time pressing only of 500 with insert cards carrying more of Ieuan and Jules’ work, the album is released by Polytechnic Youth in December. 

            STAFF COMMENTS

            Barry says: This is just superb, a rich and beautiful collection of krautrock-inspired jams. Twinkling arps all slightly off-kilter and saturated into a wonderfully organic juxtaposition of glitchy filter artifacts and blissful, euphoric melodies.

            Vectorvision is Brian Bishop, the man has decided to release his first twelve full of electro vibes. His tete-a-tete with the machines produce four electro tracks that share a unique combo of cold, industrial and robotic soundscapes. At times, the great Carl Finlow or the legendary Kraftwerk pop to mind but there is no pop here and the melody factor is kept to a minimum. This will appeal folk that want it darker, that can see the apocalyptic future around the corner and really need a soundtrack to enhance their visions. Vectorvision is your man.
            If you have come across his 12" released last november with Convextion and titled Zy Clone' on the mighty Legwork, you will get a clear idea of what is on the menu here. 
            So there you have it, amigos! Raw electro as no other. Always nice to get out of the disco and house dominated scene and see that there are alternatives out there. 

            STAFF COMMENTS

            Sil says: No frills electro for the dark minds out there. Imagine the darker side of Carl Finlow with a slower bpm and you can envision what you will get on this ep. Carefully curated and selected for you, discerning shopper.

            TRACK LISTING

            A1. Age Of Ruin
            B1. City Of Illusion
            B2. Vortex Unknown

            Featuring the haunted guitar meanderings and ambient excursions unearthed in his previous incantation 'Ghost Riding', Paul Gallagher builds on that sturdy and fascinating foundation with a resolve brought about by a conviction in his craft, and a handy knack for alluring production values. 

            'Saloah' brings bright string plucks and scattered static, gradually moving from haunting ambience into scattered population before growing into the bustling musical thoroughfare it culminates into. 'All the horses' brings things back gain into haunting territory with infrequent, panned bell chimes helping to move things from the staggering acoustic interplay of the first section into an almost melodic carrier / melody refrain. 

            Move a little further along, and the 'Refiner' duo each play a part in the building of a musical monolith, with the scratching and staggering field recordings being interspersed with auphoric chimes tucked away far enough in the background to be felt rather than heard. 

            Once again, a brilliantly constructed and meticulously balanced suite of personable ambience, and storytelling field recorded drones. 

            TRACK LISTING

            1. Saloah 04:40
            2. All The Horses 06:49
            3. Placed In Ember 03:32
            4. Roadside Picnic 02:24
            5. Refiner Pt.1 02:47
            6. Pest Expressed 02:30
            7. Refiner Pt.2 03:27
            8. The Nomad Roads 16:44

            Lone Taxidermist

            Trifle

              Fresh from the twisted machinations and fertile imagination of Cumbrian-born, London- dwelling artist and seer Natalie Sharp, ‘Trifle’ is a gallery of grotesquery not recommended for either the nervous of disposition or lactose intolerant. Arriving from a nocturnal world of sex and skullduggery, urban alienation and costumed ritual, these irreverent and outlandish ditties exist on a unique psychic realm in which profane and profound happily step out together on the lash.

              Whether chronicling the drama and drudgery of the night bus, inhabiting a magical fantasy landscape or delving deep and dark into her own psyche for inspiration, Sharp’s tales and travelogues arrive at a unique environ equally rich in the caustic and the cosmic. Lurking somewhere between the eldritch diva manifestations of Diamanda Galas and the wry reflections of Victoria Wood, yet equally driven by a magpie spirit and conceptual chutzpah redolent of Leigh Bowery and an acidic wit damaged by John Cooper Clarke, Natalie Sharp’s brainchild here engineers a collision between the high-maintenance and the kitchen sink that’s a feverish spectacle to behold. Along with her co-conspirators Philip Winter (Wrangler/Tuung) and Will Kwerk, Sharp decamped to the splendid isolation of the otherworldly Bodmin Moor studio of Benge (John Foxx & The Maths/Wrangler) to sculpt these serenades, surrounded by vintage analogue equipment and sci-fi paperbacks.

              There, a unique and deliriously disconcerting confection took shape, equally informed by post-punk angularities and electronic experimentation - as on the opening clarion call ‘Home’ or the salacious ‘Knicker Elastic’ - not to mention torch song visions and choral reverie, as on the ethereal ‘Dribble Wizard’ and the poignant closing lament ‘Nowhere’, yet with dramatic panache, abundant absurdity and emotional impact to offer at every turn.

              TRACK LISTING

              1/Home
              2/Knicker Elastic
              3/Bijoux Boy
              4/When The Water's Cold
              5/Nowhere
              6/Dribble Wizard
              7/ Mr Coral
              8/Shame
              9/Cornflakes
              10/Hammered In Homebase

              Lone Piñon is an acoustic trio from New Mexico whose music celebrates their region’s cultural roots. Using violin, accordion, guitar, guitarrón, upright bass and harmony vocals in Spanish, English, and Nahuatl, the group has revived and updated the Chicano string band style that once flourished in New Mexico, bringing a devoted and explosive musicianship to Northern New Mexican polkas and chotes, virtuosic Mexican huapango and son calentano, and classic borderlands conjunto. The musical landscape of New Mexico, like its culture, is beautiful and complicated. Lone Piñon is the first of their generation of musicians to embrace the full scope of that complexity. Onstage, they cluster around a single microphone and play with a fiery intensity, moving seamlessly through several dozen of the dance forms that resonate in their home state. The result is a new sound, rooted in a deep respect for the past and undeniably alive.

              “Lone Piñon is easily the best band in New Mexico right now. They have tapped into an almost forgotten vein of rich Chicano folk music, learning from some of the great elders of the tradition like Antonia Apodaca and revitalizing the Southwestern string trio with a wonderful virtuosity.” - Jeremy Barnes (A Hawk And A Hacksaw, Neutral Milk Hotel, New Mexico native).

              TRACK LISTING

              LP TRACK LISTING
              1. Borrachito
              2. Estas Lindas Flores
              3. Las Conchitas
              4. Cuando Bebo
              5. El Potosino
              6. El Querreque
              7. El Canario
              8. Happy Days
              9. Jovencita Idolatrada
              10. Mirada Que Fascina
              11. Cien A'os
              12. Feliz A'o
              13. Corrido De Rio Arriba

              CD TRACK LISTING
              1. El Borrachito
              2. Estas Lindas Flores
              3. Jovencita Idolatrada
              4. Happy Days
              5. Cuando Bebo
              6. Las Conchitas
              7. Cien A'os
              8. Feliz A'o
              9. El Querreque
              10. La Llorona
              11. Chote De Flores
              12. Mirada Que Fascina
              13. El Potosino
              14. El Corrido De Rio Arriba
              15. Patricia
              16. El Canari

              Lone Arrivals Presents Paul Gallagher Tapes

              Ghost Riding

              Ambient plucked guitar interspersed with churning drones, folklike textures relieve the suggestion of shadows. Patterns reveal themselves through repetition and perseverance, and beauty shines through at every turn. Ambient for those with a penchant for melody. Recalling early Alexander Tucker or GYBE! alumni Set Fire To Flames, Paul Gallagher has crafted a haunting collection of experimental drone pieces with heart and depth. Mysterious but uplifting, rewarding the patient with an understanding of Ghost Riding as a whole, a cohesive journey and a bracing one. Highly recommended, 

              STAFF COMMENTS

              Andy says: Ghosts in the machine! Excellent stuff.

              TRACK LISTING

              1. Codorphine
              2. Mule Bone
              3. Draked
              4. Drifters Fayre
              5. Feliner23
              6. Glow Seeds
              7. Midnight Latitude
              8. Two Note Celeriac
              9. Another Moon
              10. Sojourn
              11. Palace Meltdown
              12. The Returned

              Lone Wolf

              Lodge

                Just who is LONE WOLF aka Paul Marshall? In 2010 Bella Union introduced a storyteller dressed in black, pedaling ballads of murder on critically lauded album ‘The Devil and I’.

                At this point there was barely a night that Marshall was not to be seen playing live, being asked personally to tour and perform with the likes of Wild Beasts, Bat For Lashes, St Vincent, John Grant, Broken Bells, Jose Gonzales and Radiohead’s Philip Selway to name a few. He was even chosen by Richard Thompson to perform a set at his Meltdown Festival.

                His video for lead single ‘Keep Your Eyes on the Road’ was a homage to Peter Gabriel’s seminal ‘Sledgehammer’, and was both approved and complimented by Gabriel himself.

                By 2012, the story started to take a different turn when Marshall parted ways with his label Bella Union, and decided to crowd fund his next record ‘The Lovers’. Gone were the acoustic guitars and huge grandiose soundscapes one had come to expect from ‘The Devil and I’, and a new synth led, art-pop sound was introduced. Also gone was the
                narrative based blood soaked lyrics, in favour of what seemed to be a listener’s personal insight into Marshall’s sleep anxiety and depression.

                Though the record gained significant critical acclaim, Marshall was barely to be seen on the live circuit, playing only two UK sell out shows at the Brudenell Social Club in Leeds, and The Lexington in London.

                But as time went on, it was starting to seem that Marshall was becoming disenfranchised with the music industry, and even his own desire to create or perform. In one spit of bile on social media, he described his desire to make any new music as ‘terminally ill’. Marshall withdrew himself from the public eye, got married, went back into full time employment and took up the challenge of scoring his first motion picture, a film by Tunisian director Nejib Belkadhi entitled ‘Bastardo’.
                The film went on to be selected for multiple respected film festivals worldwide including Toronto, Palm Springs, Milan
                (where it won best picture), Abu Dhabi and many more. It seemed that Paul had opted for an alternative career in music.

                In July 2014, out of the blue, Marshall posted a blog on his website speaking openly about how his diagnosed anxiety had finally gotten the better of him, and was now the thing that pretty much determined his decision making process. He spoke of locking himself away in his house and almost trying to shed the ‘musicians skin’ he had been living in.

                He spoke about the strong feelings he had previously had about never releasing a record again but now due to a significant event in his life, the tables had turned and he now felt the need to make a new album more than ever.

                Paul found out that his long time producer and band mate James Kenosha’s studio ‘The Lodge’ in Bridlington was soon to be no more. ‘The Lodge’ is a small converted barn in the middle of nowhere, and the location in which pretty much all of Paul’s material up to now has been recorded, and the one room in which Paul feels like the veil of anxiety becomes lifted.

                Paul decided to lock himself in The Lodge for six days with only Kenosha and trumpet player David Wärmegård, as a swan song to the room in which so much of his music has been created, to see what sounds and personal lyrics would emerge. He specifically wanted ‘no studio trickery’ on this album and wanted a record that captured the very essence of performing in that room, most significantly the piano.

                There are no acoustic or electric guitars on this album.

                Every note on this album was recorded in that room.

                Marshall performs every instrument, except the trumpets.

                Most importantly, nothing is processed.

                Paul did the most important thing to him, and that was to lock the door, wear his heart on his sleeve and make the record he wanted to make in The Lodge before it was no more.

                So who is LONE WOLF? You are about to find out. 

                TRACK LISTING

                01 Wilderness
                02 Alligator
                03 Crimes
                04 Give Up
                05 Mistakes
                06 Mess
                07 Taking Steps
                08 Art Of Letting Go
                09 Get Rough
                10 Token Water
                11 Pripyat

                Explosions In The Sky & Steve Jablonsky

                Lone Survivor - Original Motion Picture Soundtrack

                  The Lone Survivor Original Motion Picture Soundtrack is a collection of tracks by composers Steve Jablonsky and Explosions In The Sky. Jablonsky is the composer behind many blockbuster movies, such as the Transformers franchise, A Nightmare on Elm Street and Chicken Run. He has also won 5 BMI Film Music Awards and 3 BMI TV Music Awards with Danny Elfman for the theme track and excerpts featured in ‘Desperate Housewives. In 2013 alone he composed the scores for Gangster Squad’, ‘Enders Game’ and Pain & Gain with Jablonsky already signed up for the new, unnamed Transformers sequel. Texan rockers Explosions In The Sky have released 6 studio albums as well as having their music included in a number of films such as This Means War, The Kite Runner and Friday
                  Night Lights.


                  Nathan Fake

                  Paean - Inc. Lone / Lukid Remixes

                    Fake’s ‘Steam Days’ album opener ‘Paean’ gets the remix treatment from two of Nathan’s favourite young British electronica upstarts: sometime Werk Discs brethren Lone, and Lukid.

                    Recent R&S album recruit Lone takes the Fake original and makes it very much his own, as 'Paean’s wistful strains slot seamlessly into Lone's seductive wobbly, wonky, early Nineties retro-futurist world view.

                    Fresh from 'Lonely At The Top' album duty, Lukid’s rework is a more transformative affair, sprinkling his trademark bass heavy hypnotic drum mantras with a suitably warped smattering of Fake’s mystical twinkles.

                    Finally, Fake’s own bonus contemplative ‘Coda’ version wrings every last ambient drop out of his utopian original.

                    The ultra-collectable 10” vinyl edition (with artwork by Jack Featherstone) is strictly limited to just 500 copies.

                    Lone Wolf

                    Keep Your Eyes On The Road

                      Lone Wolf, is Leed’s singer songwriter Paul Marshall. “Keep Your Eyes On The Road” is the first single to be lifted from his “The Devil & I” album.
                      It’s an intoxicating blend of intricate folk-tinged guitar, pounding drums, and hushed vocals. With some nice rhythmic twists and turns along the way it eventually ends in heavy crashing climax. But despite the rock-out ending it still sits well alongside the likes of Fleet Foxes, John Grant , Tunng, Vetiver etc.
                      One to watch we think!

                      TRACK LISTING

                      Keep Your Eyes On The Road
                      This Is War

                      Two Lone Swordsmen

                      Wrong Meeting II

                        Andrew Weatherall is no stranger to rock and roll. Generally credited with inventing indie dance through his work with Primal Scream, Flowered Up and My Bloody Valentine he pioneered the crossover between big electronic beats and equally big guitar chords. His fondness for good old fashioned rock'n'roll is celebrated with this release. With elements of garage and rockabilly mixed in with the more familiar layers of electronica this album both promises and delivers a whole new direction. Weatherall argues that rock'n'roll is a lot more futuristic in its way than most electronic music at the moment. 'Go to the past, but look to the future, don't get bogged down in the present. It's about distilling the essence, be it from the 50s or the present day'. "Wrong Meeting II" wears its influences on its sleeve while sounding utterly contemporary. Once again TLS has created an album that looks to push boundaries between musical genres and remain challenging to the listener. Best described by DJ magazine as 'raw scuzz-rock that sounds like PiL remixing the Birthday Party'.

                        Idaho

                        The Lone Gunman

                          "The Lone Gunman" is Idaho's most keyboard intensive work featuring a collection of pianos, a Wurlitzer and an old Prophet 5. "The Lone Gunman" is already drawing praise as Idaho's most experimental album, 'a richly realized throwback to Eno's early work with Bowie.' Once dubbed 'the ultimate underground band', Idaho has garnered critical acclaim for 12 years, everywhere from the New Yorker to Paris's Liberation newspaper.


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