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MOLLY

Molly

All That Was EP

    Limited-edition EP released to coincide with the Austrian shoegaze duo's extensive European tour. Pressed on snow white vinyl, it compiles three remixes of tracks from last year’s acclaimed debut album All That Ever Could Have Been that have only been released digitally to date. Maps’ version of previous single ‘Weep, Gently Weep’ takes the glacial and grandiose structure of the original and adds an avalanche of electronic beats and snow-capped synths. William Doyle (formerly East India Youth) turns the title track into an ambient epic, with sequencers bubbling like mountain springs, and the bells from the Tyrolean sheep ringing out on what is essentially an Alpine version of The KLF’s Chill Out. Mark Peters, meanwhile, combines Parts I and II of ‘Coming Of Age’ and relocates them from the Alps to the windswept hills of northwest England that inspired his own album, Innerland, resulting in six minutes of cloudy ambient beauty, before the skies clear for a stunning Kevin Shields-style sunset. Rounding out the EP is a brand new re-recording of their classic song ‘Glimpse‘, here re-titled ‘Another Glimpse’ and amplified in every way, veering from serene Sigur Rós to splenetic Smashing Pumpkins within eight minutes. 

    FORMAT INFORMATION

    Coloured LP Info: Snow white vinyl.

    Molly Burch

    The Molly Burch Christmas Album

      On this collection of holiday songs, Austin chanteuse Molly Burch does Christmas with a twist. Quite an omnibus, the album features classics like “I’ll Be Home for Christmas” and “Auld Lang Syne” alongside heartland hits like “Hard Candy Christmas” and “Snowqueen of Texas”.

      “This is the most fun I’ve had making a record yet,” Burch says. And you can hear that joy on tracks like ABBA’s “Happy New Year” as well as a playful cover of Wham’s “Last Christmas” with two special guests: actor / comedians John Early (Search Party, Wet Hot American Summer) and Kate Berlant (Sorry to Bother You) add a blithe intro and backing vocals throughout.

      Recorded by Will Paterson (RF Shannon, Jesse Woods) and Jarvis Taveniere (Woods, Martin Courtney, Purple Mountains), the album also features two beautiful originals penned by Burch to add to your holiday canon. “I hope it’s a Christmas album for people who love Christmas music and people who don’t love Christmas music. May these songs welcome in a fresh new year and many warm, happy nights.”


      STAFF COMMENTS

      Barry says: It's November.

      Molly Sarlé

      Karaoke Angel

        From the cliffs of Big Sur to the North Carolina backwoods - Molly Sarlé (one third of Mountain Man) brings open-hearted, unflinching songwriting perfect for late-night karaoke comedowns, plaintive morning walks and conjuring the spirit world. West Coast incantations with a warm, Appalachian glow.

        The work on ‘Karaoke Angel’ began in a trailer on a the pacific coast and continued with stints in Los Angeles and Durham, NC. Recorded in a church-turned-recording studio in Woodstock, NY with production by Sam Evian, a minimal but carefully assembled palette of guitar, bass and percussion form the foundation; an orchestra of unrecognizable atmospherics bounce off the high ceilings - but Molly’s delicate, expressive voice is always at the centre.

        For fans of Laura Marling, Lucy Dacus, Wye Oak, Big Thief, Angel Olsen, Phoebe Bridgers, Molly Burch, Jessica Pratt, Julia Holter, Joni Mitchell, Weyes Blood, Tiny Ruins, Aldous Harding, Cate Le Bon.

        FORMAT INFORMATION

        LP includes MP3 Download Code.

        Molly

        All That Ever Could Have Been

          “Skeletal, celestial shoegaze [that] reflects the cold beauty of the Austrian Alps” Stereogum. Innsbruck-based Lars Andersson and Phillip Dornauer’s shoegaze-inspired beginnings coalesced on their acclaimed 2017 EP, ‘Glimpse’, which did just as it said, offering a tantalising peek into their world; the full, glorious vista is now revealed on their accomplished debut album. And ‘All That Ever Could Have Been’ really is breathtaking. It begins with an almost 15-minute post-rock epic and takes in nods to ambient, dreampop and even prog, with echoes of Galaxie 500, Low, Beachwood Sparks, Dungen, The Besnard Lakes, Sigur Rós and M83. Its eight tracks belie both the band’s youth and their small number, forming a mountain of sound that suggests they are more of a geological outfit than a musical one.

          Long overdue reissue of this Molly Nilsson early release (her fourth), now repackaged and reissued via Night School / DSA.
          “I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us at the exact same time”

          By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade YouTube videos and home-burnt Cdrs. Writing from a distance, it’s clear that History is the first classic album in her canon and arguably a classic of the 21st Century underground music panorama. While the methodology on History hadn’t changed from Nilsson’s previous 3 albums – it was recorded solo at The Lighthouse, Nilsson’s home studio based on a Berlin crossroads – on this record the songwriting reached a new peak and the emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has excavated the modern psyche so clearly and perfectly.

          The tracklist to Nilsson’s fourth album reads as an early greatest hits for Molly Nilsson followers and also serves as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer’s excesses with their anxiety towards the harshness of every day life. It’s a call to arms for a generation who fell in love on Skype. On I Hope You Die, one of Molly Nilsson’s most iconic songs, the songwriter flips the song title into a tale of doomed romance, a relationship based on miscommunications and the thrill of the other. It’s also one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society leaves behind.

          On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to comment on the patriarchal rendering of history by power. With by now trademark panache, she turns complicated subject matter into a glorious song that transforms into an ecstatic pop moment.

          Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful tool that propels the artist forward through her travels. It’s a song that hints at an endearing self-awareness also; the writer is never at home, living life on the road, content that “the world will find me when the time is ripe.”

          'Twenty-Twenty' is Molly Nilsson’s 8th album; the latest opus of an artist in a constant state of development and strength. 'Twenty-Twenty' is about emerging from the husk of your old self, about binning the chrysalis and daring to stand up both to power, and also to your own limits. In 2018, we see the climate changing, democracy crumbling, inequality and injustice erupting. 2020 examines the near future, seeking out clarity, reflection, renewal and opportunity. It contains anthems so tall as to induce vertigo, leaving the taste of Euro Dance in your mouth, albeit without a four on the floor beat. Here, the pop auteur is haunted by the late Prince, channelling Courtney Love and Lou Reed, anger and love.

          Recorded as ever in her own Lighthouse Studios and co-released with her imprint Dark Skies Association, the record is consistent in strategy and approach to past releases, yet on 2020 Nilsson pushes the limits of what can be said in the scope of a pop song even further. Despite working with used keyboard sounds that evoke memories of a distorted past, the sound is distinctly contemporary. The record drifts between playful punk methods and hi-fi ideas, strikingly clear through the fuzz of a surrounding world painted with reverb. Rather than gracefully dissecting, 2020 rips apart personal neuroses and insecurities, looking for the roots of issues and the equation that, when solved, will produce the future. “I don’t care if the world is through, every night is new,” 2020 erupts with fist-in-the-air empowerment, a realization that if we’re all alone down here, we can still make it. Every Night Is New is a personal and societal manifesto, a slogan comprising the different layers that make this record Molly Nilsson’s most personal, evocative and emotionally packed in years. First single Serious Flowers is a naked confessional trance hit stripped of its beat. Centred around broken trust and friendship, Nilsson sings over suspenseful synth strings with a vocal delivery so inexact and honest, its vulnerability seems almost unaware of itself. Although very much in the vein of Nilsson’s production style on her recent albums, Days of Dust, accomplishes escape and breaks free from the past. There’s a carpe diem immediacy to this fast-paced Rock Song that belies Nilsson’s near-iconic self-contained delivery: “Like I had just been saved from a burning building of desire, I got back up and I ran right into the fire.” It’s so immediate, and speaks so perfectly about the nature of desire, that you wonder how you’d never thought about it like that before.

          The themes on the album are submerged in the inner life, lucidly dreaming with one eye open, fixated on the external world and its growing pains. Nilsson turns inward and seeks answers to questions imposed by physical existence, examining one's own responsibility in the face of climate change (A Slice of Lemon), the political depression of society (Gun Control), and the struggles with drinking, between euphoria and despair (Blinded by the Night). The serious topics aren't met with hopelessness; the tone suggests defenceless optimism and a tight grip on desire. This time around, we’re not examining the past with Molly Nilsson, we’re becoming who we want to be. We’re exploring the future, accepting who we are, clear eyed and with perfect vision, near and far sighted alike.

          FORMAT INFORMATION

          LP Info: Black vinyl edition.

          Molly Nilsson

          The Travels

            Starting out by hand-dubbing CDrs and forging a singular path in the global pop underground, Nilsson’s art has grown to the extent where hers is a precise songwriting devoid of unnecessary flourish. Her songs are perfect silhouettes of feelings everyone shares but that few can articulate with such heart-rending, icy pathos.

            Journeys offer change - the possibility of renewal - and accordingly on The Travels Molly Nilsson’s resonant voice is found curling around a new sense of optimism and wide-eyed discovery that was only alluded to in her previous work. Songs like “Dear Life” might be spiked with a barbed sense of the dejected, but the presiding feeling is one of optimism, of being in love with life despite a shield of cynicism. “Dirty Fingers” brings a melancholy recognisable from previous work but with an incessant beat and ecstatic underpinning it becomes apparent that a new force is at play here. In case the listener missed it, “The Power Ballad” brings an endearing, sincerity to proceedings that also offers a tantalising question: can you be sceptical about love but still be bewitched?

            On her 5th long-player, Nilsson’s perspective is challenged and manipulated by changes in environment and psychological space: like any other traveller the protagonist brings their own set of values and emotional states to new places, colouring them with a wash of subjectivity. Like any other traveller Molly Nilsson reacts to her environment and shares her unique version of it to other people. Based loosely on Marco Polo’s “Travels” and reading like a map of the protagonist’s geographical and inner journey, The Travels reveals new places and new emotions that are never the same to the beholder. Nilsson’s art is in turning this subjectivity into a cloak that almost anyone can don for the trip.

            Molly Nilsson

            Single

              Molly Nilsson is in a mood: the mood for love, perhaps? For an artist who has spent almost 10 years skirting the issue of love, almost addressing it, taking it out to dinner only to stand it up, “Single” almost lands a sucker love-punch to the listener’s heart. About Somebody seems to be about somebody, or maybe even somebody’s body, about desire too, perhaps. How else to interpret the line “Babe I want to party with you every night, and have a hard-on for the rest of my life?” But this is a Molly Nilsson song, and this is Empowering Content. Over a rousing, even anthemic, verse/chorus one-two, a soaring synth-string hook that rides the handclaps beautifully, we‘re soon left wondering whether our beloved narrator is really focusing on the “other” at all. Love lets you down: treat it mean, keep it keen, and remember if you can’t love yourself how the hell are you gonna love any body else?

              On the flip, Quit (In Time), is a classic minor-key Nilsson elegy to obsession and addiction, sounding almost close to an early 80s Springsteen love-story. Here we imagine Nilsson at the piano, her heart a resounding bell for all longing. If About Somebody is the tumultuous onset of an affair, here we’re hopelessly drawn to the flame, unable to leave alone that which causes the sweetest pain. It’s a universal theme, the longing for something we shouldn’t have, and Nilsson seems to elucidate the feeling with a precise, razor-sharp lyrical nous that fans will instantly recognize.

              “Single” is about the self and the other; about navigating the love of others that tries to trip us up. But it’s also about you. “Single” is because you’re worth it.

              STAFF COMMENTS

              Laura says: Sublime hook-filled, synth infused pop from Molly Nilsson.

              FORMAT INFORMATION

              7" Info: Limited to 800, handmade Lino-block stamped sleeves, Hand Numbered, with Download Card and Insert. Preceding her epic new record Imaginations, due May 29th,

              That we live in a world changed is beyond question. Since 2015’s Zenith, Berlin-based songwriter Molly Nilssonhas surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political landscape and imagining a better world. For an artist who has so successfully created her own environment and gradually let others in, her 8th studio album Imaginations sees Nilsson directly engaging with her surroundings, engendering change and allowing love in.

              Molly has built an almost 10 year career on perfectly summing up how we feel and this is no different... W ho else could write a song about privilege (Let’s Talk About Privileges) and make a heart-r endi ng c hor us of “It ’s never being afraid of the police, it’s expecting every thank you, every please.” The artist’s vision on this album is perhaps more forceful than the emotionally fragile moments of previous album Zenith, at times exemplified on songs like Memory Foam, a bright, driving pop song that belies themes of nostalgia and the past, reminding us that Molly alone can make us feel so welcome in loneliness.

              If there’s overt anger in songs like Money Never Sleeps, an anthem for a post-capitalist utopia if ever there was one, there’s also seams of optimism sewn into the album’s genetic code. A ny revolutionary will tell you that anger alone achieves nothing - Nilsson’s mission on Imaginations is to offer some alternatives we can hold close. Not Today Satan is a song about accepting love as the agent of change; “D on’t be sad, but do get mad at all the small men who act so tall, in the end they always fall; there ain’t no sin in giving in to love, that’s just how we’re winning the f i g h t . ”

              STAFF COMMENTS

              Sil says: This is perhaps the poppiest album we have had in the shop this year. Catchy and sweet yet unique and elaborate in its message. Swedish Molly Nilsson transports you back to the 80s with her synth drenched compositions. This is not polished glossy plastic mainstream pop. ‘Imaginations’ has an overall home-made feel to it, reminiscent of the cold wave genre and dark side of post punk 80s aesthetics. The melodies are smart and ingenious in places yet they manage to pull together a great result when coupled with the potent lyrics and themes covered in tracks like “Let’s Talk About Privileges”, “Not Today Satan” or “Modern World”. The main characteristic in this great LP is the balance in place between evoking an array of emotions whilst sounding carefully detached from it all. As a whole this is an album where intensely personal music and universally understood pop converge successfully. A future classic indeed.

              “The closest we’ll ever get to heaven, with a stolen six pack from 7/11, and though the city sleeps I better she never dreams, she never dreams like you and me.”

              The beginning moments of Molly Nilsson’s second album Follow The Light now seem like the start of a personal mythology that was to reach further than she could have imagined. Few contemporary artists have so seeped into the underground pop psyche than the Stockholm-born songwriter. After releasing her debut These Things Take Time on hand-made CDrs, Nilsson’s follow up was a leap in scope and ambition. Of course, the personal takes on a tumultuous life in Berlin and the journeys to and from it inform the songs as before, but there’s a growing maturity in the songwriting in evidence. From the diary pages of These Things Take Time to a growing stature as a songwriter in touch with the universal, Follow The Light contains many of Nilsson’s now firm fan-favourites.

              The Closest We’ll Ever Get To Heaven is classic Molly Nilsson. Over plaintive piano chords and little else, Nilsson narrates a story of doomed friends lost, the onset of an East German winter reminding the singer of a time lost, nostalgia frosting the windows to the past. Meanwhile In Berlin, perhaps a passing nod to Leonard Cohen in the melodic refrain, opens up the sonic palette, with synth strings fitting Nilsson’s delivery perfectly. Never O’Clock is a pure pop moment, with a lilting funk and percussion adding a carpe diem immediacy to the album’s flow. Last Forever, which remains a staple to live encores now, seven years later, is fist-pumping melancholy that only Molly Nilsson knows how to do. It’s over before it begins and begs eternal repeat. Truth, a synth pop song that sees Nilsson exploring the upper and lower registers of her voice, feels like a lost chart hit from the mid 80s. I Hope You Sleep At Night, a vitriolic lover’s admonishment gives way to one of Nilsson’s most popular songs: I’m Still Wearing His Jacket. It’s a sentiment that needs no real explanation: the mementos of a completed love affair remain in our wardrobes waiting to hurt us all over again. Hello Loneliness could also be an updated Leonard Cohen song, a peon to melancholy which reminds us that Nilsson has a knack for distilling the complex into sharp epithets. We end on one of Nilsson’s greatest songs. A Song They Won’t Be Playing On The Radio is so finely loaded with emotion that it’s the singer’s reserved delivery that makes it so powerful.

              Follow The Light is the second installment of an ongoing Molly Nilsson reissue campaign and is the first time the album has been available on vinyl.

              Tracey Thorn

              Molly Drake Songs

                THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                In the autumn of 2013 respected music journalist and broadcaster Pete Paphides approached Tracey Thorn to re-interpret a couple of songs by Molly Drake - the mother of revered folk singer-songwriter, Nick Drake - for a special BBC Radio 4 documentary he was making about her. The subsequent broadcast was widely acclaimed.

                Brought together here on a special 7” pressing for Record Store Day 2014 in a sleeve designed by the acclaimed John Gilsenan (iWANTdesign) are Tracey’s handpicked choices for the documentary, ‘How Wild The Wind Blows’ and ‘Night Is My Friend’.

                Tracey asked long-time partner and Everything But The Girl collaborator Ben Watt to accompany her in raw stripped back versions featuring only electric piano, guitar and vocal.

                Limited to 500 copies for the UK and Ireland.

                Recorded live at Molly Malone's in 1997, "Alive Behind The Green Door" was Flogging Molly's very first recording. It documents the raw and raucous energy of their early days, and includes three Flogging Molly originals only found on this CD, early live versions of songs that are now fan favourites, and the only recorded version of "Delilah" which was a staple of the band's live show during their early years.

                Flogging Molly

                Within A Mile Of Home

                The worthy follow up to last year's excellent "Drunken Lullabies" effortlessly picks up their trad-Irish influenced punk baton and runs with it at exuberant velocity. Their brash Pogue tinted punk rock hoedown is usefully interspersed with the now staple heartfelt ballads, giving you just enough time to get some breath back into your burning lungs before you're cudgelled into a frenzied dancing again. Acetylene party music.

                Hog Molly

                Kung Fu Cocktail Grip

                Seattle legend Tad Doyle returns to the fray with new band Hog Molly. One of the leading lights of the grunge scene that threw up Nirvana, Mudhoney and many more, he is back and rocking out more than ever. Relentless, driving hooks & thick as molasses sludge grooves, produced by Jack Endino.


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