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Inner Worlds

    “We’ve been reflecting on the relationship between our innerworlds and outerworlds,” says Soccer96’s Danalogue. “How our minds shape our experience and our experience shapes our mind. How caring and nurturing our innerworlds can improve our relationship with our outer experiences. We see the creation of music as the bridge between these two worlds.”

    Betamax, who makes up the duo along with fellow Comet is Coming member Danalogue, describes their latest album as “spiritual combat music to steady us through the stormy changes of the outer world.”

    For this album the pair co-wrote with The Colours That Rise, Tom Herbert, Salami Rose Joe Louis, Simbad and Rozi Plain.

    From the exhilarating electronic charge and propulsive rhythm of ‘Crystal Pyramid’ to the almost cosmic drum n bass of ‘Speak More of Love’ feat The Colours That Rise, the album takes in a vast array of sounds and styles, from jazz to electronica, while never really sitting comfortably within easy genre categorisation. “We are searching for particular spontaneous energies that feel fresh and resonant,” Betamax says. “The hope is that when we reach this experience the music can penetrate the mind and affect the deepest mental processes.”

    The Wave Pictures

    When The Purple Emperor Spreads His Wings

      The Wave Pictures, industrious and prolific as ever, return on Thursday 18 November with ‘This Heart Of Mine’. Following two albums in 2018, ‘Brushes With Happiness’ and ‘Look Inside Your Heart’, this is the first track to be made available from their new double album ‘When The Purple Emperor Spreads His Wings’, due for 2022 release.

      Formed over twenty years ago by Franic Rozycki and David Tattersall in Wymeswold, Leicestershire, and joined by Jonny ‘Hudderfield’ Helm since 2005, The Wave Pictures have released over twenty albums of their own, along with exciting side projects such as garage rock supergroup The Surfing Magazines, several albums with Stanley Brinks, and Dave’s recent guitar contributions to Billy Childish albums, with whom they also collaborated on their 2014 album ‘Great Big Flamingo Burning Moon’. Across these varied releases, accommodating Dave’s free flowing fountain of songwriting, The Wave Pictures have shown their deep affection for rock and roll, blues, jazz, classic rock, and of course Dave’s legendary love of good guitar solo.

      With a nuance of autumn, ‘This Heart Of Mine’ references time and space travel & memory all rolled into one. Musically inspired by classic Neil Young, ‘This Heart Of Mine’ witnesses The Wave Pictures going full-on country and features cowboy harmonica from Dominic ‘Hotdog’ Brider, Franic Rozycki on mandolin, alongside Dave Tattersall’s gentle acoustic guitar strum.


      A1. River Of Gold
      A2. Back In The City
      A3. French Cricket
      A4. Never Better
      A5. Blink The Sun
      B1. Samsun
      B2This Heart Of Mine
      B3. Douglas
      B4. Jennifer
      B5. Smell The Ocean
      C1. I'd Be Doing Anything
      C2. Hazel Irvine
      C3. Don't Forget Me
      C4. Winter Baby
      C5. Flight From Destruction
      D1. When The Purple Emperor Spreads His Wings
      D2. Never Let You Down
      D3. Dale It's A Damn Shame
      D4. Walking To Wymeswold
      D5. Secret Messages

      Wesley Gonzalez

      Wax Limousine

        ‘Wax Limousine’ is the third solo album from London’s Wesley Gonzalez. 

        With its truly eclectic range of musical influences drawing on Gonzalez’s ever developing sonic palette, the album’s uplifting sound juxtaposes its themes, documenting the end of a long-term relationship and the overwhelming experience of dealing with a family member’s cancer diagnosis and subsequent treatment. ‘Wax Limousine’ navigates these hurdles with a razor-sharp wit and often brutally perceptive self-awareness, nowhere more so than on the new single. Inspired by both 'Faithless' by Scritti Politti and Aretha Franklin, it is Gonzalez’s version of an 80’s gospel song and, as he explains, written at a crucial point over the last 12 months

        “This was written right after the breakup and cancer diagnosis. It was that early stage of a breakup where you can't really understand what went wrong for you or for your ex. There was resentment for the extreme change I had suddenly found myself in, and I was asking what it really was I did wrong. The title Wax Limousine came from old phrases like "as useless as an ashtray on a motorbike". I was trying to express how useless I felt within every situation that had just arrived at my doorstep.”

        Wesley Gonzalez first made a name for himself as the leader of Let's Wrestle, whose tuneful and eccentric punk earned critical accolades and a devoted audience with three albums, including 2011’s Steve Albini produced ‘Nursing Home’. Gonzalez wasted little time forging his own path and quickly assembled a live band for his solo work, expanding upon the guitar-driven music of his former band, with an interesting concoction of classic 70’s pop, soul, and indie rock. Gonzalez released his debut solo record ‘Excellent Musician’ in 2017, then the follow up ‘Appalling Human’ in June 2020 through Moshi Moshi Records. 


        1. Greater Expectations
        2. When I Fell For You
        3. Protein & Perfume
        4. In Confidence, I’m Scared
        5. 1,2,3,4,5 Just Get Rid Of It
        6. Wax Limousine
        7. A Taste Of Something New
        8. Penelope Ditches Ulysses
        9. It’s You
        10. Drive You Home
        11. Grateful
        12. Waiting For Your Letter 

        Charles Watson


          Not all new starts offer a fresh beginning.

          While it might seem branching out with a solo album after a decade in a band would provide that clean start, in reality, more time must pass before the real change, movement and progress can occur. “With the last record (Now That I’m a River, 2018), I didn’t really know what I was doing - I just wanted to make something that felt like me,” reflects Charles, as he prepares to release his second solo album YES.

          Out went major keys, swampy reverb, gloomy imagery and the kind of layered production which characterised Now That I’m a River. In their stead - lyrics of joy, minor keys, and a direct, stripped back approach Watson had always shied away from. “I think it’s about having the confidence to be myself,” he says. “The confidence to simplify things, to strip back where I would have added more, to be more direct.”

          In addition, Watson was buoyed by the positivity directed at certain songs from Now That I’m a River - the title track, particularly. “I felt like I had been hiding for so long, behind reverb, behind certain effects and tricks, and that was a hang-up from when I was in Slow Club,” he explains. “And now, I’ve arrived at a place of not wanting to carry my insecurities on to a record. I want to project the purest form of what I want to say. I feel like I’ve come so far in the space of two albums and can already see I’m not the person I was when I was writing this album, just as I’m no longer the person I was when I made the first album. This record is the start of untangling all of those feelings and stepping forward.”

          Alongside his solo career, Charles is known for his work as one half of the band Slow Club and as a member of the garage-rock super group The Surfing Magazines. In recent years Charles has worked as a composer, writing the music for acclaimed Netflix & Channel 4 production 'Feel Good' which led to the show's creator, Canadian comedian Mae Martin, becoming a fan. Charles has also recently composed the score for 'Youngstown', the forthcoming indie feature film from director Pete Ohs (Everything Beautiful is Far Away) due for release in late 2021.


          1. Figure Skater
          2. All My Mountains
          3. Reared In The West
          4. I Was Sent Here To Love You
          5. Afghan Hound
          6. Spectator Sports
          7. Beauty Contest
          8. Going Places
          9. It Must Be Night
          10. People Run Towards People


          This Is My Life / Das Ist Mein Leben / C’est Ma Vie

            Cologne trio SPARKLING announce ‘This Is My Life / Das Ist Mein Leben / C´est Ma Vie’ EP via Moshi Moshi Records (Anna Meredith, Du Blonde, Girl Ray).

            Hailing from a city that birthed the likes of Krautrock, and with LCD Soundsystem’s Al Doyle and Hot Chip’s Joe Goddard on production reins for their upcoming EP, SPARKLING’s remarkable progression continues, having originally formed during their time studying at University and Art School in Cologne, where they developed a reputation live in their homeland for hot, heady and sweat-drenched club-room sets.

            A move to London followed, where they soon worked with Stereolab’s Andy Ramsay on their debut LP ‘I Want To See Everything’; a jagged, quick-witted set of ten pop-flecked post-punk tunes, breaking them out of Germany and attracting widespread support across the BBC Radio 1 (Jack Saunders) and BBC 6 Music (Lauren Laverne, Steve Lamacq) airwaves, as well as an invitation to play at SXSW.

            Arriving ahead of their EP release in spring 2022 and subsequent live run, lead track ‘C’est Ma Vie’ is the sort of irrepressible hands in the air indie anthem that defies resistance. A song about self-doubt and regaining self-confidence, it’s cathartic in its sense of unashamed grandiosity and positivity in contrast to the twin troubles of the pandemic and Brexit that the group have drawn influence from. 

            TRACK LISTING

            SIDE A

            A1. C'est Ma Vie
            A2. Not The Right Place

            SIDE B

            B1. Feelings
            B2.Wir Träumen

            Fulu Miziki

            Ngbaka EP

              Fulu Mizikiroughly translates as “music from the garbage”, which in a literal sense is an accurate description of the thrillingly chaotic eco-friendly Afro-Futurist collective. The instruments they design, build and play are masterclasses in upcycling.

              From guembris built out of computer casing, to jerry-can drum-kits, keyboard inventions from wood, springs and aluminium pipes, and old flip-flops used as pads by plastic tube-wielding percussion players, the Democratic Republic of Congo-formed group’s ethos lies in the respect of nature, the celebration of its gifts and the importance of its preservation through environmentalism.

              Their new EP, entitled Ngbaka, finds Fulu Miziki embracing electronica textures and production styles, in a departure from their traditional sound. This shift in style was prompted by the Coronavirus lockdown in Kampala, Uganda (their current base): with rehearsal rooms and public spaces shut, the collective were forced inside and encouraged to conduct sonic experiments. Lead single "OK Seke Bien" is inspired by the church choir singing from the group members' childhoods,.

              Fulu Miziki draw from the roots of their native Congolese rumba and soukous, incorporating its driving percussion and tightly rhythmic instrumentation alongside group vocals that move between repetitious chanting refrains and effortlessly interloping harmonies. The hyperactive nature of these dizzyingly psychedelic jams is married with Westward-looking touchstones: American R’n’B and hip-hop, pop music and – increasingly – a diaspora of club culture from both at home and abroad.

              The combination forms something of a mutated new strain of dance music: steeped in the heritage of their native Kinshasa but pulsating with the frantic BPM, synthetic processing and manipulated frequencies of modern pop. Lyrically meanwhile, the group are inspired by their environment, with songs centred around climate change – although social issues of police brutality and more conventional love songs find their way in too.

              Fulu Miziki’s message is simple and clear: love the earth you live on. It’s environmental activism meant for the dancefloor, love and devotion to Mother Nature fed through a refraction of Congolese rhythms and western pop; but most of all its about humanity, and asking how we’re going to turn around the damage we’ve done to a planet that we’ve for so long taken for granted.

              TRACK LISTING

              01. OK Seke Bien (ft. Sekelembele)
              02. Lokito (ft. DJ Final)
              03. Bivada (ft. Sekelembele)
              04. Mokili Makambo (ft. Sekelembele)
              05. Toko Yambana (ft. DJ Final And Deboul)
              06. Beta Ndule (ft. DJ Final And Deboul)

              PPJ - formerly Páula, Povoa and Jerge - burst onto the UK scene last year with their 4 track EP ‘Primavera’ a riot of colourful influences straddling the experimental, the unearthed sounds of Awesome Tapes From Africa and continental Europe’s rich house heritage. Now, PPJ are back with a new 4 track EP ‘SONHO'.

              Lead single 'Txu Txu’ meaning Choo Choo - out today - is a tale of how "a simple meeting, on a train, can change the course of our lives.” PPJ’s signature playfulness is relayed with the CHOIRS preset on the Yamaha-790 imitating those audible alerts one hears in a railway station. The trio get a bit serious on 'Sonho Com tu’ (A Dream Of You) a piano led track and described by PPJ as "a whispered dream, a melancholy and poignant declaration of love.” Track two ’Neném’ (baby) gets the party back on track with a loud, shouty love song “it’s a happy mess!`” say PPJ. On closing track Dios Chicos (Two Guys) Páula sings of her unconditional for band mates Povoa and Jerge, how they met via Rio de Janeiro and Paris - “its a connection to the Cosmos and an ode to multiple love!”

              PPJ are producer Jules Rosset aka Povoa, Brazil-via-France vocalist Páula, and Myd collaborator and Christine & The Queens live member Jerge but it was on debut EP Primavera that the trio first worked together. Páula has worked with Jerge before, as members of four-piece Tampon Tango; while Povoa – a graduate of American School of Jazz and Modern Music in Paris – is already familiar to the Moshi Moshi family, following two previous releases: 2018’s pulsating Hiatus EP and its follow-up Layers a year later.

              An orphan in northwest Brazil, Páula was adopted by a French family, returning to live in Rio de Janeiro after 26 years abroad to re-connect with her heritage. With the consequences of Brazil President Bolsonaro’s inept handling of the COVID pandemic quickly revealing themselves, though, she fled the country and made it back to France, just one day before the country’s lockdown. Making it back just in time, the singer consequently chose to join her friends in rural Normandy – it’s was Páula’s story that’s intrinsic to the debut release ‘Primavera’ last year.

              As with ‘Primavera’ PPJ’s new EP is both dance floor friendly and laidback and imbued with an energy and positivity it’s hard to ignore. These long-time friends bring a warmth and simple yet effective message of togetherness resulting in a vital tonic in these uncertain times.

              TRACK LISTING

              Primavera EP
              A1 Doido
              A2 Primavera
              A3 Não Sei
              A4 Sua Boca

              Sonho EP
              B1 Nenèm
              B2 Txu Txu
              B3 2 Chicos
              B4 Sonho Com Tu


              Sweet Morning EP - Signed Edition

                “It was important just to get some new music out sooner rather than later,” says Thomas Sanders, the singer and guitarist of Teleman. “Making an EP felt like we could be more spontaneous and try things out without the pressure and expectation surrounding an album release. So it was a more fun experience I'd say.”

                However, a fleeting, throwaway stop gap this is not. The EP is as realised a piece of work as any the band have created. Although the sense of fun, spontaneity, and intuition that Sanders speaks of can be palpably felt across the breezy five tracks here that span art rock, electronic pop and that unshakable idiosyncratic tone that is always unmistakably Teleman.

                Despite possessing such a distinct sense of tone and personality in all that they do, the band are also keen collaborators having previously worked with producers Dan Carey, Bernard Butler, Bullion, Moscoman and Boxed In. Here they are working with Al Doyle and Joe Goddard of Hot Chip on production duties. “They created a super relaxed and enjoyable atmosphere to work in, it was all about experimentation and fun” says Sanders. “We've been mutual admirer's of each others' bands for quite some time so it seemed to us like a really good pairing.”

                The EP has come after the band’s keyboard player Jonny Sanders left the group to focus on his film and design work (he actually directs the new video for 'Right As Rain' from the EP). However, the forced recalibration of the band’s line-up has reinvigorated them as a unit, opening new areas for exploration and possibilities with Peter Cattermoul taking over most of the keyboard duties and Hiro Amamiya sliding seamlessly between drum machine, live drums and even the odd keyboard solo. “The fact we’ve lost a member forced us to be a bit more flexible and open about how we approach playing the songs,” says Sanders. “You have to try and turn events like this around and make them work for not against you.

                The opening ‘Right As Rain’ combines taut guitar work, sparse rhythms and a soaring vocal take to explore the murky middle ground where contentment and hollowness are often inseparable. “I felt especially over lockdown like life was becoming an endless series of little vignettes of short lived moments of pleasure punctuating a weird void,” says Sanders. “I think quite a few other people felt the same way and I hope people can relate to it.”

                TRACK LISTING

                1. Right As Rain
                2. Sweet Morning
                3. Free Bird
                4. Simple Like Us
                5. Storm Chasing

                Anna Meredith

                Bumps Per Minute: 18 Studies For Dodgems

                  Bumps Per Minute is a full-throttle reinvention of the traditional fairground dodgems, from Mercury Award-shortlisted composer, producer and musician Anna Meredith. The music is part of the DODGE installation, which can be experienced until 22nd August at Somerset House.

                  For Bumps Per Minute, Meredith has collaborated with BAFTA-winning sound artist Nick Ryan to design a bespoke tracking technology so that every thump, bump and swerve of the 18 dodgems around the track can trigger a separate composition. This results in a kind of ultimate shuffle where high octane music and ideas compete for airtime and each performance is unique. The installation will occur approximately every hour at DODGE through the day/evening.

                  The idea for Bumps Per Minute came about when the composer was thinking about what might be a more pandemic friendly replacement for the ice rink at Somerset House where she has her studio. The idea grew from there and now this summer DODGE is taking over the main courtyard at Somerset House, featuring a full smorgasbord of Yinka Ilori designs, DJs, food, drink and of course, dodgem rides.

                  Bumps Per Minute: 18 Studies for Dodgems features full-length individual musical identities of all 18 dodgems – each one a bold and distinct musical track in its own right as well an intro and outro track (voiced by comedian Rob Broderick).

                  The key to both the dodgems themselves and the release is a user ‘driven’ triggering and shuffling of the material. Meredith encourages the listener to ‘take the driving seat’ and jump from one track to another, mirroring the real dodgem ride, shuffling and curating their own listening experience via the virtual interactive dodgems page or their preferred listening platform.

                  Bumps Per Minute: 18 Studies for Dodgems explodes out of the starting gate with Meredith’s uncategorisable sound and signature energy, combining fairground wildness with a healthy dose of the nostalgic electronics of old school gaming.

                  On the composition, Meredith says “I approached writing these 18 tracks like little exercises, making identities that are bold, playful and characterful but without beats, percussion or any acoustic elements and relying on my skills to create melodic and harmonic based energy”. She continues “they’re also less about musical development than my orchestral work or material in my studio albums, these tracks are only themselves and unapologetically so, and that freed me up to unleash some pretty bonkers ideas, knowing it’s about these bold switches - like a sort of musical Whacky Races…"

                  STAFF COMMENTS

                  Barry says: I'm not going to pretend that this isn't an unhinged selection of neon synth stabs and video-game soundtrack influenced fairground music, because that's absolutely what it is but I would also be amiss if I didn't say it's also wildly inventive, heavy af and undeniably brilliant. What madness.

                  TRACK LISTING

                  A1 START ENGINES
                  A2 BPM 100
                  A3 BPM 144
                  A4 BPM 108
                  A5 BPM 178
                  A6 BPM 62
                  A7 BPM 124
                  A8 BPM 112
                  A9 BPM 130

                  B1 BPM 200
                  B2 BPM 72
                  B3 BPM 104
                  B4 BPM 131
                  B5 BPM 110
                  B6 BPM 109
                  B7 BPM 101
                  B8 BPM 194
                  B9 BPM 155
                  B10 BPM 107
                  B11 STOP ENGINES 

                  Callum Easter


                    Callum Easter has always been a force of nature. The singer and multi-instrumentalist thrives on impulse and spontaneity, balancing that with an impeccable song writing craftsmanship that makes even the more outré moments of his current batch of mutated soul punk/rock ‘n’ roll instantly arresting. New album System was recorded largely alone in his Edinburgh studio, but it bustles with a brash, maximalist vigour, that draws a line under his previous work and charges exhilaratingly forwards - beginning a journey that he describes as a “descent into ordinary madness.”

                    Easter's love of rock ‘n’ roll has long been baked in – but there’s a new fervour to where he’s taken this source. Now there is an outward fire; a raging – albeit with the sort of wryly humorous delivery only Easter can provide - against the general noise of everyday living and a longing for something else, something more, something that looks you straight in the eye.

                    System is careful to balance protest with positivity; it’s accentuated on the album’s stirring opener and first single ‘What You Think?’ Which sees Easter urge the listener via his steely growl that “there’s no point crying, what’s the use? No more hiding, what’s the use?” to focus on living and the positive changes we can make as individuals and collectively.

                    TRACK LISTING

                    01. What You Think?
                    02. System
                    03. Little Honey
                    04. Find ‘Em A Home
                    05. Be Somebody
                    06. My Love
                    07. Honey Bee
                    08. Lose Sometime (ft. Law Holt)
                    09.Tell ‘Em Child
                    10. This Feeling

                    Moderate Rebels

                    If You See Something That Doesn’t Look Right - Parts I, II & III

                      It’s one thing to take the drone rock of your debut album in an entirely new direction but quite another when the result is an ambitious 30 track three-part album.  

                      But that’s what London collective Moderate Rebels have done on their biggest project to date, the opus ‘If You See Something That Doesn’t Look Right’. Fearless in their refusal to be pigeonholed, they touch on everything from driving rhythmic repetition, discordant guitar fuzz and hazy psychedelia, to late 60s-indebted folk and lilting melodic hooks, via twinkling piano ballads, drum machine rigidity and playful synth pop.

                      The album touches on the progressive works of Phil Spector, Fripp & Eno and Syd Barrett, the transcendental pop of Spiritualized, St Etienne and Stereolab, and the wry humour of 80s Pet Shop Boys. But it comes stamped with the group’s own inimitable identity.

                      TRACK LISTING

                      LP 1
                      1. Information Research Department
                      2. Higher Than The Hierarchy
                      3. Perfect Grey Day
                      4. Amo Amas Amat
                      5. The Penultimate Truth
                      6. Hug Me 'Til You Drug Me
                      7. These Are The Good Times
                      8. Forever Tomorrow Today
                      9.Vesica Piscis
                      10. Odds Be Never
                      LP 2
                      1. Every Cheat You Meet Sings Love Songs
                      2. Stay Frosty
                      3. Iconomachy
                      4. Trickster Gods
                      5. Neu Romancer
                      6. Don't See It, Don't Say It
                      7. Painballers' Anthem
                      8. Based On An Untrue Story
                      9. You Don't Want To Know What I Think
                      10. In A Hundred Years
                      LP 3
                      1. Swim The Crocodiles
                      2. You & Your Shadows
                      3. Suntory Breakfast
                      4. The Bad Sleep Well

                      5. The World Inside
                      6. The Body Electric
                      7. Peacekeepers
                      8. Remember, Caesar...
                      9. Ministry Of Love
                      10. Sol Invictus

                      Moderate Rebels

                      If You See Something That Doesn’t Look Right - PART 3

                        It’s one thing to take the drone rock of your debut album in an entirely new direction but quite another when the result is an ambitious 30 track three-part album.  

                        But that’s what London collective Moderate Rebels have done on their biggest project to date, the opus ‘If You See Something That Doesn’t Look Right’. Fearless in their refusal to be pigeonholed, they touch on everything from driving rhythmic repetition, discordant guitar fuzz and hazy psychedelia, to late 60s-indebted folk and lilting melodic hooks, via twinkling piano ballads, drum machine rigidity and playful synth pop.

                        ‘If You See Something That Doesn’t Look Right’ will be released in three ten track parts in 2021, part one being released on Moshi Moshi on 30th April 2021.

                        The album touches on the progressive works of Phil Spector, Fripp & Eno and Syd Barrett, the transcendental pop of Spiritualized, St Etienne and Stereolab, and the wry humour of 80s Pet Shop Boys. But it comes stamped with the group’s own inimitable identity.

                        TRACK LISTING

                        Side A
                        1. Swim The Crocodiles
                        2. You & Your Shadows
                        3. Suntory Breakfast
                        4. The Bad Sleep Well
                        5. The World Inside
                        6. The Body Electric

                        Side B
                        1. Peacekeepers
                        2. Remember, Caesar...
                        3. Ministry Of Love
                        4. Sol Invictus



                          A new Soccer96 album is a chance for Danalogue (Dan Leavers) and Betamax (Maxwell Hallett) to return to something of a spiritual creative home. Between them, the keyboardist and drummer have become synonymous with the thriving London jazz scene and, in their mind-bending incarnation as the astral synths-and-drums pairing, they’ve traversed stylistic worlds. Over nearly a decade, the duo have metamorphosed from a DIY outfit whose rough-edged recordings hit with a punk spirit, to cosmic dreamers that use sound to travel the reaches of the mind.

                          “The record is inspired by the idea of humanity’s ever-increasing entanglement with technology and artificial intelligence, balancing fears and moral concerns with the possibilities of evolution’s next phase".

                          TRACK LISTING

                          1 Enter The Vortex
                          2 Prelude To The Age Of Transhumanism
                          3 Psychic Mechanics
                          4 Dopamine Ft. Nuha Ruby Ra
                          5 Entanglement
                          6 Red Skies Of The Anthropocene
                          7 Sitting On A Satellite Ft. Salami Rose Joe Louis
                          8 Use Music To Kill
                          9 Perfect Dystopia
                          10 Telepathic DNA
                          11 Interplanetary Meditations
                          12 Carry Us Home 

                          The Surfing Magazines

                          Badgers Of Wymeswold

                            Consisting of one half of Slow Club and two thirds of The Wave Pictures, The Surfing Magazines’ primary influences are Bob Dylan, The Velvet Underground and all the great surf guitar music of the 1960s. They burst onto the scene with their eponymous debut album in 2017, a lauded LP described by Record Collector Mag as “a vintage-yet-modern rock’n’roll classic”.

                            Mixing the noir surf textures of 1960s garage rock along with westcoast sun beaten harmony pop, the 17-track Badgers of Wymeswold follows the acclaimed debut and is to be released July this year. The London based foursome recorded the album at Ranscomb Studio in Rochester in February last year before the start of the first UK lockdown.

                            Pushing their sound forward, the band utilise their garage rock ethic and have both Drummer Dominic Brider and Rhythm guitar player Charles Watso lead on vocals across multiple tracks. The album sees a return of free form saxophone parts, eerie violins and piano all appear, notably on tracks ‘Nostaw Boogie’ and ‘I’m Going Out Tonight To Play Some Pool’. The title track is drawn from David Tattersall’s nightmare vision about his home town's population of self governing people, the album artwork was also made by Tattersall and depicts a collage of his referenced dreams. The extensive LP showcases their characteristic sound at their brightest, from softer ballads such as ‘Poppies’ and ‘Silver Breasts’, surf guitar rock anthem ‘Locomotive Cheer’, and to the six bar blues ‘Pink Ice Cream’.

                            STAFF COMMENTS

                            Barry says: Surfing Magazines have greta lineage, and you can really hear the talent oozing through the sound, which ends up sounding like a distillation of garage rock, 60's psych and with just a touch of both the Wave Pictures and Slow Club (surprisingly). A Brilliantly dynamic, exciting LP and well worth the wait.

                            TRACK LISTING

                            SIDE A
                            1. Joke
                            2. Locomotive Cheer
                            3. Pink Ice Cream
                            4. I Dreamed When I Was Young
                            SIDE B
                            5. Ten Days Of Shiver
                            6. Running Scared
                            7. Bonsai Tree
                            8. Century Breaks
                            SIDE C
                            9. Badgers Of Wymeswold
                            10. Nostaw Boogie
                            11. Sports Bar
                            12. Hard Times
                            SIDE D
                            13. Silver Breasts
                            14. Caribbean Ginger Cake
                            15. I'm Going Out Tonight To Play Some Pool
                            16. Poppies

                            Moderate Rebels

                            If You See Something That Doesn’t Look Right - PART 2

                              It’s one thing to take the drone rock of your debut album in an entirely new direction but quite another when the result is an ambitious 30 track three-part album.  

                              But that’s what London collective Moderate Rebels have done on their biggest project to date, the opus ‘If You See Something That Doesn’t Look Right’. Fearless in their refusal to be pigeonholed, they touch on everything from driving rhythmic repetition, discordant guitar fuzz and hazy psychedelia, to late 60s-indebted folk and lilting melodic hooks, via twinkling piano ballads, drum machine rigidity and playful synth pop.

                              ‘If You See Something That Doesn’t Look Right’ will be released in three ten track parts in 2021, part one being released on Moshi Moshi on 30th April 2021.

                              The album touches on the progressive works of Phil Spector, Fripp & Eno and Syd Barrett, the transcendental pop of Spiritualized, St Etienne and Stereolab, and the wry humour of 80s Pet Shop Boys. But it comes stamped with the group’s own inimitable identity.

                              TRACK LISTING

                              Side A

                              1. Every Cheat You Meet Sings Love Songs
                              2. Stay Frosty
                              3. Iconomachy
                              4. Trickster Gods
                              5. Neu Romancer

                              Side B

                              1. Don't See It, Don't Say It
                              2. Painballers' Anthem
                              3. Based On An Untrue Story
                              4. You Don't Want To Know What I Think
                              5. In A Hundred Years

                              Fimber Bravo

                              Lunar Tredd

                                Lunar Tredd – Fimber Bravo’s first album on Moshi Moshi since the much acclaimed Con-Fusion – tells the tale. The highlife fusion of You Can’t Control Me resonates in the wake of the global Black Lives Matters protests. There is fire in these impactful clarion calls to resist oppression, recognise strength in resilience and fight against the corruption of power.

                                Bravo’s been a constant collaborative force - as his time as leader of 20th Century Steel Band, as musical director of Steel ‘n’ Skin, and appearances with everyone from Sun Ra Arkestra to Hot Chip, shows. Lunar Tredd reflects the influence of the music handed down to him by “ancestors” . Helped by an enviable cast of friends and collaborators, Fimber has shifted those touchstones to create something that sounds resolutely like the here and now.

                                Those friends that appear on Lunar Tredd, include Alexis Taylor of Hot Chip and The Horrors’ Tom Furse; The Invisible drummer Leo Taylor and Senegalese percussionist, Mamadou Sarr dropping in on rhythm duties, while there are also appearances from Susumu Mukai aka Zongamin, the brilliant Kora player Kadialy Kouyate, vocalist Cottie Williams, Vanishing Twin’s Catherine Lucas, and production from Lapo Frost and Ghostpoet producer Shuta Shinoda. Some, like Zongamin and Williams go way back with Fimber, other connections are newer, but all have quickly become part of the London-based musician’s musical family.

                                Indeed, Fimber never loses sight of where he’s come from on LUNAR TREDD - even as he looks to where he might go next. As a musician, he’s still finding new creative peaks nearly 50 years after he began.

                                TRACK LISTING

                                1. Can’t Control We
                                2. Can’t Control Me
                                3. Hiyah Man
                                4. Call My Name
                                5. Santana’s Daughter
                                6. Singo
                                7. Caribbean Bluez (In The Shadow Of Windrush)
                                8. F. Pan Landing
                                9. Coming Home
                                10. Lunar Tredd
                                11. Tabli Tabli
                                12. Woonya Waa

                                Moderate Rebels

                                If You See Something That Doesn’t Look Right - PART 1

                                  It’s one thing to take the drone rock of your debut album in an entirely new direction but quite another when the result is an ambitious 30 track three-part album.

                                  But that’s what London collective Moderate Rebels have done on their biggest project to date, the opus ‘If You See Something That Doesn’t Look Right’. Fearless in their refusal to be pigeonholed, they touch on everything from driving rhythmic repetition, discordant guitar fuzz and hazy psychedelia, to late 60s-indebted folk and lilting melodic hooks, via twinkling piano ballads, drum machine rigidity and playful synth pop.

                                  ‘If You See Something That Doesn’t Look Right’ will be released in three ten track parts in 2021, part one being released on Moshi Moshi on 30th April 2021.

                                  The album touches on the progressive works of Phil Spector, Fripp & Eno and Syd Barrett, the transcendental pop of Spiritualized, St Etienne and Stereolab, and the wry humour of 80s Pet Shop Boys. But it comes stamped with the group’s own inimitable identity.

                                  TRACK LISTING

                                  1. Information Research Department
                                  2. Higher Than The Hierarchy
                                  3. Perfect Grey Day
                                  4. Amo Amas Amat
                                  5. The Penultimate Truth
                                  6. Hug Me 'Til You Drug Me
                                  7. These Are The Good Times
                                  8. Forever Tomorrow Today
                                  9. Vesica Piscis
                                  10. Odds Be Never

                                  Albertine Sarges

                                  The Sticky Fingers

                                    The universality of music can mean different things to different people. For Albertine Sarges – Berlin-based musician and producer – it’s a vessel that she uses for self-exploration and growth, never more so than on her new album The Sticky Fingers.

                                    The Sticky Fingers has its roots in the south of the German capital – Albertine grew up in Kreuzberg during the fall of the Berlin Wall and records in nearby Neukölln - but from there its branches shoot out to take in feminist theory, musings on bisexuality, gender stereotypes, depression and mental health. These topics fall under the ever-shifting veneer of Albertine’s chameleonic pop motifs: from Viv Albertine-inspired post-punk and kaleidoscopic dream-pop to quiet-loud guitar squall and Merrill Garbus-reminiscent vocal acrobatics.

                                    With her debut, Albertine Sarges demonstrates yet again her versatile musical talents, creating her very own world, a world in which community and open discourse count. The Sticky Fingers is an album that fights for your attention. It’s an album with twists and turns, emotional peaks and troughs and lyrical themes that are at once intensely close to their author’s own life, yet also universal and able to connect on a much broader level – something that is the mark of all great pop music.

                                    STAFF COMMENTS

                                    Barry says: Airy melodies and crisp percussion form into a driven but weightless collection of perfectly progressive melodies and perfectly formed vox. Happily floating between the grooving punk of Courtney Barnett and the Kosmische synth soundscapes of the International Teachers of Pop.

                                    TRACK LISTING

                                    A1 Free Today
                                    A2 The Girls
                                    A3 Beat Again
                                    A4 Oh My Love
                                    B1 Stille
                                    B2 Fish
                                    B3 Post Office
                                    B4 Rollercoaster

                                    Slow Club

                                    Christmas, Thanks For Nothing EP

                                      It is often the case with popular music that those recordings which have the most profound impact and long-term appeal are often the ones which are produced in a moment without much deliberation or agenda. And that has certainly been the case with Slow Club’s EP of Christmas songs.

                                      The first single from the E.P, Christmas TV, was actually written in soundcheck at Birmingham Barfly and released as a free download for Christmas 2008. The rest of the EP was written and recorded in a short burst in late summer 2009 at Axis Studios in Sheffield and in their friend’s bedroom. It came at a moment of intense creativity for the band when the songs were coming thick and fast and the duo were really hitting their stride. The differing musical styles of the pair was already becoming apparent across the three original compositions and three covers, and there is a real sense of a band pushing their limits in a way which would coalesce in the recording of their breakthrough second album the following year.

                                      The E.P was released on 14th December 2009 and on 17th December they played London’s Union Chapel. The show was a huge success and quickly became a much-loved Christmas institution which endured right up to 2016 when the band played their last one before taking a hiatus to pursue solo projects. Of the EP songs it’s Christmas TV more than any other that has seeped into the cultural Christmas soundtrack and has taken on a life beyond the context of the E.P and its creators.

                                      TRACK LISTING

                                      1. All Alone At Christmas
                                      2. Christmas (Baby Please Come Home)
                                      3. It's Christmas And You're Boring Me
                                      4. Christmas, Thanks For Nothing
                                      5. Silent Night

                                      Tom Sanders

                                      Only Magic

                                        Releasing music for the first time under his own name, Sanders has worked to deliver an irresistibly charming collection of tracks for ‘Only Magic’, with similarities around struggles and adventures in life and relationships in the modern world.

                                        The single ‘Little Human’ is an infectiously wistful indie-folk track which finds Sanders reflecting on life lessons to his daughter, and detailing his own personal journey to growing up. His instantly recognisable vocal adds a genuine poignancy. 

                                        Well-known for fronting Teleman, Sanders performs as singer and guitarist for the group which has released three seminal albums to widespread critical acclaim from the likes of The Guardian and Drowned In Sound.

                                        “Making this record really took something out of me; I feel like I might have put too much into it” Sanders reflects on writing towards his album. “But it’s not a sadness that I hear listening back, it's more a kind of deep blue happiness.”

                                        An exciting single steeped in emotion, ‘Little Human’ is the first single to come out ahead of TomSanders’ enthralling debut album via Moshi Moshi Records.

                                        TRACK LISTING

                                        1. Most Of The Time
                                        2. Fly For A While
                                        3. Lonesome High
                                        4. Baby All You've Got
                                        5. Touch Down
                                        6. Distant Light
                                        7. Little Human
                                        8. Tom Quixote
                                        9. Spanish Flat
                                        10. It's Only Magic 

                                        Mera Bhai

                                        Futureproofing EP

                                          Born in London, with roots in India, alongside time spent growing up in Italy, Albania, Saudi Arabia, Dubai and Nigeria, Mera Bhai’s worldly influence seeps into his unique take on dance music. Known as a founding member of Tropical-Psychedelia band Flamingods, the multi-instrumentalist has worked closely with Moshi Moshi Records, Soundway Records and Total Refreshment Centre.

                                          Hard to pin down, Mera Bhai is centred on a musical balance, between eastern and western traditions, the new and the old. Taking influence from Indian Carnatic music, Arabic Rai and 70s Disco, with a heavy dose of 80s/90s Acid House, Detroit techno and Tropicalia on top. “Having grown up all over the world,” Karthik explains, “I was surrounded by a wealth of different sounds - I’m just trying to weave the cultural through line that I hear in music”.

                                          On newest offering ‘Mañana Groove’, Karthik explains, “I wrote this track during a pretty tumultuous time of my life where I was grieving recently lost family members and coming to terms with fraught relationships. I escaped to India for a few months by myself and set up my studio there, and this was one of the first tracks that I wrote.”
                                          Having started a journey of total sobriety, he continues: “I really needed to feel the carefreeness that comes with being in a club/festival environment and wanted to know that I wouldn’t be excluded from feeling that by being sober. I also felt the need to free myself from what I was going through and transmute my challenging experiences into something positive and happy, and that I could share.”
                                          It is an immediately energetic cut, “it’s a sun-soaked anthem to blast out the windows as you cruise out of town. It’s a careless, “I’ll do it mañana” answer to life’s responsibilities, a getaway tune, here to take us out of lockdown into sunnier times ahead.” Karthik explains.

                                          An explosion of various sounds and influences, the track is inspired by ‘Inspector Norse’ by Todd Terje and is sampled from a Mr. Bongo Record’s reissue (close friends of Karthik), ‘A Son Magni’ by Cissé Abdoulaye. “I wanted to take this tune that’s already in my DJ record bag to another dimension,” he continues, “it also gives a nod to one of my favourite anthems ‘Pacific State’ by 808 State, which frames summertime feels for me.”

                                          Previously releasing debut single ‘Jama El F’Na’, Mera Bhai created a bootleg remix of Ahmed Fakroun’s track, from a crossover record combining Libyan influences with western Europop and dance music, “- very much something that mirrors my story. I guess I’ve subconsciously taken his western crossover and made it into my own.”

                                          The merging of cultures is reflected in the artist name also. Mera Bhai is a Hindi greeting, which translates to ‘My Brother’ - the welcoming implication speaks to the borderless nature of dance music, both in a global sense, as well as personal. Infused with a wide, authentic cultural understanding and appreciation for the way dance music brings people together democratically, Mera Bhai seeks to expand minds, or to simply block out the rigorous day to day, and foster a sense of belonging.

                                          TRACK LISTING

                                          1. Manana Groove
                                          2. Futureproofing
                                          3. You, Me, Us (ft Andrew Ashong)
                                          4. Back Whenever (ft. Alxndr London)
                                          5. Jama El F’na Bootleg
                                          6. Manana Groove (dub) 


                                          Time Slips Away

                                            Dancers can always be sure of one thing with Chen Moscovici – a.k.a. Moscoman – a certain unpredictability and energy will always define the music he serves up. As well as having a background in indie and rock, he plays house, acid, techno, dark disco, synth, all from a more alternative angle. For that reason, he is a regular at wide-ranging but iconic places like Space in Miami, Berghain’s Panorama Bar, Glastonbury and Pacha Ibiza.

                                            2020 sees the release of Moscoman’s long awaited second LP.

                                            In the studio Moscoman has always switched up from one release to the next: raw and rugged machine disco, melodic techno and wonky house on past record labels Because, Life And Death, Greco-Roman/City Slang and his own label Disco Halal. Time Slips Away shows Moscoman stay true to his roots, while exploring new sonic textures with more direct themes. The forthcoming LP also sees him collaborate with artists Tom Teleman, Vanity Fairy, Wooze, Niki KiniandNuphar.

                                            Moscoman says of the album: “The best way to describe the album overall is a feeling of ‘happy sad’. It’s inspired by the highs and lows of my touring life–the amazing gigs, the shitty ones, the opportunity to see the world vs the crazy traveling schedules and lack of sleep.”

                                            Next to all this, Moscoman continues to focus on building his Disco Halal label. It is a place where artists like Simple Symmetry, Red Axes, Trikk and Auntie Flo have all freely expressed themselves. Like Moscoman's own approach to music, it is an unrestricted label that never fails to subvert and surprise.

                                            TRACK LISTING

                                            1. Time Slips Away
                                            2. What Do We Care Feat. Tom Sanders (Teleman)
                                            3. Wish I Was In Tokyo
                                            4. Eyes Wide Shut (feat. Wooze)
                                            5. Maker Breaker Faker Taker
                                            6. Myths Still Exist (feat. Niki Kini)
                                            7. Sense Of Time
                                            8. Turning Tides (feat. Vanity Fairy)
                                            9. Back And Again
                                            10. Natural Born Losers (feat. Wooze)
                                            11. Violet Candy
                                            12. Golden Hours (feat. Nuphar)

                                            The Nix

                                            Until Now All Is Well (Featuring Laetitia Sadier)

                                              Until Now, All Is Well is the latest track to be shared by The Nix, a loose collection of uniquely talented musicians corralled together by Nick McCarthy (ex Franz Ferdinand) and Seb Kellig around their Sausage Studio in east London.

                                              Based around the original composition ‘Warm Canto’ by Mal Waldron, the track features founding member of the avant-pop band Stereolab Laetitia Sadier.

                                              Out on Moshi Moshi Records, Seb of The Nix said about the making of the track:

                                              A night at Sausage Studios and nothing falls into place...we talk, we laugh, we mess about. But the 'record' button remains un-hit. Time is not on our side, we need inspiration, and we know where to find it: We saddle our bikes and ride into the mild London night. Down to Homerton, along the Canal, passing Springfield, we end up in Tottenham.

                                              The mighty Jah Shaka tears the place apart. Low ceilings, the place is filled with smoke and bass. One love, unity, another version....the mids, the tweeters - in perfect harmony. Familiar riddims, unknown dubs. Shaka on the wire.

                                              We get back to Sausage as the sun rises. Our senses are numb. We can't hear, don't want to see, how good it feels not to be guided by ears but by the heart. We close the curtains and plug in. A melody by Mal Waldron in one-ness with the song of the morning birds. We turn up the bass, let the Space Echo guide us, and hit record.

                                              No-one but Laetitia Sadier could capture the mood more perfectly, we feel. She is only a phone call away, comes to the studio a few days later, scribbles down lyrics and spoils us with her beautiful voice and mesmerising poetry.

                                              Wolfie from Munich fills the gaps with haunting sax lines, and the track is done.

                                              Thanks to Laetitia, Wolfie, Mal Waldron and Shaka we found what we were looking for. We salute them.

                                              TRACK LISTING

                                              1. The Highest
                                              2. Until Now All Is Well 

                                              Aldous RH

                                              Respect 4 Devotion

                                                Adana born Manchester raised Al Robinson specialises in a languid style of bittersweet funk music, spurred on by the blue eyed soul of 70's icons Todd Rundgren& Daryl Hall besides taking heavy influence from the legends of poetic groove; Curtis Mayfield, Stevie Wonder & the brothers Isley. A former touring musician with Los Angeles psych-pop outfit Drugdealer, starlet Charlotte Gainsbourg and New Zealand's iconic Connan Mockasin, RH remains a prolific and determined figure in Manchester’s musical scene, often seen collaborating & performing with The Birthmarks, The Foetals and Duds.

                                                In his debut LP "Respect 4 Devotion", he unveils the Timbaland flavoured 'Since 1992', Jazz fusion inflected "Better 2" and sorrowful pop ditty 'Jaded Lovers', featured on the LP amongst others are pianist John Carroll Kirby (Solange, Sebastian Tellier), drummer Stella Mozgawa (Warpaint) and guitarist Alex Brettin (Mild High Club). To celebrate the release, Aldous RH shared the first single ‘Since 1992’. Al explains, “Lyrically we're talking about looking for true love, with some trials and tribulations along the way”. The track is accompanied by a video which Al adds, “mainly serves as an homage to RNB video directing. The idea behind the clock is to show that time can heal almost any wound of the heart. And of course some believe the zodiac to serve as an oracle for relationship compatibility - how true that rings I cannot say. Henceforth I believe the potential for the zodiac to find you your soul mate is merely down to the time elapsed in your search for them & for me personally I was born in 1992, so it all began on that day.”

                                                TRACK LISTING

                                                1. Far N’ Distant Memory
                                                2. True Lust
                                                3. Since 1992
                                                4. Reply
                                                5. Respect 4 Devotion
                                                6. The Endless Search
                                                7. Jaded Lovers
                                                8. Playa 4 Life
                                                9. Better 2’ve Loved



                                                  Doomshakalaka is a new project by Paul Rafferty, former vocalist and bassist for Liverpool indie rock band Hot Club De Paris. 

                                                  On his 30th birthday, Rafferty formed a band called Doomshakalaka in his mind. The name was like “Boomshakalaka!” (a snippet of in-game commentary from the video game NBA Jam) but with a D, giving a usually celebratory exclamation a paradoxical sense of dread.

                                                  He set about concocting an album’s worth of songs that embraced this juxtaposed vision:

                                                  “I thought it would sound like being sad at a party or maybe it would sound like being invited to a party and feeling good about not going.”

                                                  Over the following years, Rafferty worked to fulfil this uncertain vision and wrote hundreds of fragments of music, melodies and lyrics and slowly distilled them down into 10 songs of stirring, nostalgia-tinged indie rock.

                                                  Influenced by luminaries such as Television, Big Star, Wings-era McCartney, Deerhunter, Pavement and Stephen Malkmus’ solo work, Rafferty divided himself between the roles of writer, performer, engineer, producer and mixer and took about the task of making physical the sounds that had long lived unsatisfied in his head.

                                                  “Some of the songs off this record started life in 2011”, Rafferty explains, “but without a band or the capital to record, they waited in the wings until I could beg, borrow or buy the gear to record them exactly how I thought they should be heard”

                                                  Doomshakalaka is constructed of chord sequences that conjure longing, sadness, desire and hope in equal measure. With strange and surprising arrangements that avoid the ancient and familiar beaten paths of guitar music, Doomshakalaka seeks to tell Rafferty’s stories in a playful and inventive manner and provide a platform to showcase the album’s central theme of the unfinished business of youth.

                                                  Rafferty says “It’s largely a record about remembering moments from my teens and 20s and what those moments mean to me now. I love the texture that ageing brings to an artist’s output. I like the sound of a big hole dug deep.”

                                                  Rafferty also designed the album cover with this concept in mind, stating

                                                  “Barnett Newman’s painting Who’s Afraid of Red, Yellow and Blue II was controversially slashed by a vandal in Amsterdam. When it went for repair, the conservator further damaged the painting when he spent the best part of a decade repainting it with a bucket of red gloss paint and a roller. The gallery had to repair the repair work. The painting today is a sum of its own turbulent history. It comes with baggage. It’s the same for a musician making a solo record in their 30s. To reflect this, the sleeve is a replica of Newman’s painting but torn up, glued together and cut into pieces until it became a brand new composition. All of the noise created in the process is present and celebrated. Its imperfection is the best bit”

                                                  TRACK LISTING

                                                  1. One Last Saturday Night
                                                  2. The Curse
                                                  3. James Asleep
                                                  4. I'll Kill You, Motherfucker
                                                  5. This Is War (And I'm So Bored)
                                                  6. Werewolf Shadow
                                                  7. The Lost Homework Of Isabella Perez
                                                  8. The Fate Of The Hero Montage
                                                  9. Skinhead Suit
                                                  10. Black Balloons

                                                  The Social Singing Choir

                                                  Sings The Hits Of Moshi Moshi Records

                                                    Moshi Moshi first came across the choir in 2017 when they booked them to play Caring Is Creepy in Margate. The choir was a new thing then and a little rough around the edges (They initially wondered if it was a cover for mid-week drinking by some of Margate’s mums, and for that they sincerely apologise). It seemed like a nice idea to ask them to cover some Moshi Moshi songs to mark their 20th birthday celebrations but they never dreamed they would come out sounding as good as they have. Much of the credit for that must go to the expert guidance of choir master Hughie Gavin who arranged and directed the recordings and took these songs in some deeply moving and unexpected directions, with some additional help in the mix from Margate resident Adem Ilan. This has been one of Moshi Moshi's most joyous releases in recent years and maybe just the start of a wonderful working relationship.

                                                    TRACK LISTING

                                                    1. Crap Kraft Dinner (Hot Chip)
                                                    2. Let’s Go Swimming Wild (Sweet Baboo)
                                                    3. Dog Days Are Over (Florence + The Machine)
                                                    4. Paris (Friendly Fires)

                                                    Jeffrey Lewis & Voltage

                                                    Bad Wiring

                                                      Jeffrey has received jaw-dropping praise from practically every major news and music outlet over the years, as well as awed testimonials from the likes of David (Silver Jews) Berman, Jarvis (Pulp) Cocker, Ben (Death Cab For Cutie) Gibbard, Will Oldham and others… and this new album “Bad Wiring” makes it completely clear why. In all of indie-rock there is no force like Jeffrey Lewis. Although mostly recognized for his lyrical skills (as well as his illustration/comic book skills), the secret weapon in Lewis’s arsenal has been his slow evolution from DIY folkie in the late 90s to barn-burning indie-rock live sensation.

                                                      New band name The Voltage is a bit of a slight-of-hand, as the musicians are the same bassist, Mem Pahl, and same drummer, Brent Cole (also of the Moldy Peaches), that Jeffrey has been touring the world with for the past four years as “Jeffrey Lewis & Los Bolts.” But Jeffrey continues his tradition of using a new band name for each release… and as Jeffrey says, “everybody knows most good bands have a ‘v’ in their name… Velvets, Nirvana, Pavement, Vaselines, Violent Femmes, Camper Van Beethoven, Modern Lovers, etc!” Recent Jeffrey Lewis band names like “The Rain”, “Los Bolts” and “The Voltage” are also in reference to the fact that Jeffrey’s middle name is Lightning, the result of being born on the Lower East Side in the 1970s to hippie parents. It was almost his first name but got moved to the middle name when he was born!

                                                      The album was recorded and produced in Nashville by Roger Moutenot, the man responsible for producing all of the classic Yo La Tengo albums. Moutenot, who also worked on Lou Reed’s “Magic and Loss” album, and Sleater Kinney’s “Hot Rock” album was definitely the right man to capture these twelve new Lewis songs in the studio. As Lewis explains, “As an experience of working with a producer, it was a dream come true. I obviously worship a number of the records Roger had produced in the past, so I specifically sought him out. The fact that he’s in Nashville was just accidental, we would have traveled to record with him anywhere. Now when people hear we made our album in Nashville, everybody’s like, oh, I guess this is your country album…”

                                                      With the endlessly creative musical variety on display from Jeffrey Lewis & The Voltage, and Lewis’s writing as sharp as ever, “Bad Wiring” could be the greatest album of Jeffrey’s 18-year career. Having one solid band line up for a few years in a row has certainly helped. Keep an eye out for a couple other interesting Jeffrey Lewis projects to be released in 2019: Jeffrey’s new giant-size comic book issue (Fuff #12) and Jeffrey’s first book Revelations in the Wink of an Eye: My Insane Musings on Watchmen from Conspiracies to Stupidities. But mostly look for Jeffrey Lewis & The Voltage to be playing at a venue near you, on their UK pre album-release tour in September!

                                                      STAFF COMMENTS

                                                      Barry says: With one eye on a mind-bogglingly huge range of genre influences, Lewis manages to craft a sound entirely unlike anything you've hard before. Old school jangly indie sits comfortably alongside punky riffs and Lewis' trademark American twang, giving more than a hint of the attitude and drive of 90's college rock without the pomp and cheese that comes along with it. A singular talent, and possibly his best LP yet.

                                                      TRACK LISTING

                                                      1. Exactly What Nobody Wanted
                                                      2. Except For The Fact That It Isn’t
                                                      3. My Girlfriend Doesn’t Worry
                                                      4. Depression! Despair!
                                                      5. Till Question Marks Are Told
                                                      6. LPs
                                                      7. Knucklehead/Happy Rain
                                                      8. Take It For Granted
                                                      9. In Certain Orders
                                                      10. Where Is The Machine
                                                      11. Dogs Of My Neighborhood
                                                      12. Not Supposed To Be Wise

                                                      Dinked Edition Exclusive 7”

                                                      A. In Certain Orders (acoustic)
                                                      B. Not Supposed To Be Wise (acoustic)

                                                      Anna Meredith


                                                        Fibs is heralded by the release of ‘Paramour’, its first single and spectacular accompanying single-take video, and a song that forbids you from turning away - its sweeps, jerks and wrong turns pinning your ears to the speakers whilst heading for warp speed at a blistering 176 BPM before rounding the journey out with an (utterly unexpected) tuba-led half-time rock-out. Arriving three and a half years on from the release of her Scottish Album of the Year Award-winning debut studio album Varmints, Fibs is 45 minutes of technicolour maximalism, almost perpetual rhythmic reinvention, and boasts a visceral richness and unparalleled accessibility.

                                                        Fibs is no “Varmints Part 2” — the retreading of old ground, or even a smooth progression from one project to another, just isn’t Meredith’s style. Instead, if anything, it’s “Varmints 2.0”, an overhauled and updated version of the composer’s soundworld, involving, in places, a literal retooling that has seen Meredith chuck out her old MIDI patches and combine her unique compositional voice with brand-new instruments, both acoustic and electronic, and a writing process that’s more intense than she’s ever known. Despite Meredith’s background and skills these tracks are no academic exercise, the world of Fibs is at both overwhelming and intimate, a journey of intense energy and joyful irreverence.

                                                        Fibs, says Meredith, are “lies — but nice friendly lies, little stories and constructions and daydreams and narratives that you make for yourself or you tell yourself”. Entirely internally generated and perfectly balanced, they can be a source of comfort and excitement, intrigue and endless entertainment. The eleven fibs contained on Anna Meredith’s second record will do all that, and more besides.

                                                        STAFF COMMENTS

                                                        Barry says: As some of you may well know, i'm a fan of a nice cheery arp, and 'Fibs' is RAM-PACKED with them. Half way between the 16-bit rave aesthetic of Anamanaguci or the brooding, soundtracky synths of Konami Kukeiha Club and high energy synthpop (Kristin Kontrol, Tegan & Sara etc), Meredith has crafted a completely unexpected and thoroughly exciting fusion. Stunning.

                                                        TRACK LISTING

                                                        01. Sawbones
                                                        02. Inhale Exhale
                                                        03. Calion
                                                        04. Killjoy
                                                        05. Bump
                                                        06. Moonmoons
                                                        07. Divining
                                                        08. Limpet
                                                        09. Ribbons
                                                        10. Paramour
                                                        11. Unfurl

                                                        The Rhythm Method

                                                        How Would You Know I Was Lonely?

                                                        The Rhythm Method were recently described by The Guardian as 'a Balearic vision of romance as imagined from a parochial nightclub dancefloor'. Formed half a decade ago in a Thameside squat protection scheme intended for professionals but inhabited by the barely-employed, the duo of lyricist/vocalist Joey Bradbury and top-liner/singer-songwriter Rowan Martin turned a summer of FIFA tournaments, cosmic breakdowns and 4pm beers into a series of bizarre, outsider-music iPhone demos that became a Soundcloud, then a band, then a live show and now an album.

                                                        "How Would You Know I Was Lonely?" is a journey through the present - a descent into late 20's, late-capitalist mind-funk; 12 stories of near-romances, yellow label dinners, chemical catatonia and lack-of-identity politics. Its influences are strange and diverse, not always entirely credible or tangible; Scritti Politti, Aswad, Irish Pub karaoke, ITV4, YouTube freestyles, Celtic standards, Golborne Road radios and more than a dose of Rod Stewart.

                                                        Pocket symphonies such as "Sex and The Suburbs", "Local, Girl" and "Cruel" sound like the Saturday night playlist from a Quantum Leap FM Radio station – ostensibly pop songs, but ones in possession of a rare intelligence, frankness and deep weirdness. The references may be initially esoteric, but the themes are palpably universal. Opener "Salad Cream", referring to a mid 90’s Heinz campaign, is about creating social demand for yourself via scarcity. "Cruel" is pub-karaoke paean to the spectre of addiction. "Single Life" explores the dark, bleak desperation of romantic dejection, set to sleazy noir funk and muted trumpets. Joey Bradbury's verses could be a man on the verge of a nervous breakdown recording the voice notes of his crack-up, whilst Rowan Martin's choruses ask questions you never thought you'd hear in such hummable form.

                                                        Fans and supporters have ranged from spiritual forbearers such Mike Skinner (who produced "Cruel", which also features London electronic pop artist Zoee), Squeeze frontman Chris Difford (who lends a knowing baritone to the chorus of Zone 2 opus "Wandsworth Plain"), Elton John and Suggs; contemporaries including The 1975’s Matty Healy (who is responsible for half of the band’s YouTube views), Wolf Alice and Shame; actress and poet Michaela Coel and Denise Welch; highlighting the varied magnetism of the lyrical insight, classic songcraft and inquisitive spirit at the heart of these off-kilter pop tunes.

                                                        STAFF COMMENTS

                                                        Matt says: Not my usual cup of tea, quirky indie, but the lol'ing genius of some of these lyrics combined with the tongue-in-cheek approach throughout has won me over. Comedy genius + catchy tunes = massive hit for boring afternoons!

                                                        TRACK LISTING

                                                        A1. Salad Cream
                                                        A2. Ode 2 Joey
                                                        A3. Tomato
                                                        A4. Something For The Weekend
                                                        A4. Single Life
                                                        A5. Magic Hour
                                                        B1. Local, Girl
                                                        B2. Continental Breakfast
                                                        B3. Anonymous
                                                        B4. Cruel Ft. Zoee
                                                        B5. Sex And The Suburbs
                                                        B6. Wandsworth Plain Ft. Chris Difford

                                                        International psych explorers Flamingods are back with brand new album ‘Levitation’ coming out on via Moshi Moshi Records.

                                                        Inspired largely by the disco, funk and psychedelic sounds coming out of the Middle East and South Asia in the 70s, the album channels these influences through a vision soaked in mysticism, positivity and sun-drenched imagery.

                                                        During the process of writing and recording ‘Levitation’, Flamingods for the first time in four years found themselves living in the same continent, it’s this new unified feel that defines the confident and eclectic sound of the album.

                                                        ‘Levitation’ is the follow-up to Flamingods’ breakthrough 2016 album ‘Majesty’ and follows their ‘Kewali’ EP release for Moshi Moshi in 2017 and a one-off release with Dan Carey for his Speedy Wunderground singles club. During this time they’ve performed live sessions at 6Music (with Gilles Peterson & Lauren Laverne), KEXP, Boiler Room and have been travelling the globe spreading their exotic psychedelia to the masses and getting people dancing from Austin to Amsterdam. 

                                                        STAFF COMMENTS

                                                        Barry says: Flamingods return, bringing with them a brilliantly psychedelic mix of eastern-influenced groove, dreamy anthemic pop and acid-tinged folk. With pummeling percusion and rolling distorted bass holding down the backline, the guitars and echoing vox are allowed free-reign over the sonic spectrum. Killer stuff.

                                                        TRACK LISTING

                                                        1. Paradise Drive
                                                        2. Koray
                                                        3. Marigold
                                                        4. Astral Plane
                                                        5. Peaches
                                                        6. Moonshine On Water
                                                        7. Olympia
                                                        8. Club Coco
                                                        9. Mantra East
                                                        10. Nizwa
                                                        11. Levitation 

                                                        Kiran Leonard is a 22 year old musician from Saddleworth, Greater Manchester. Debut album proper Bowler Hat Soup (2014) and follow-up Grapefruit (2016) were both recorded at home, with Kiran playing virtually every instrument himself. Dervaun Seraun (2017), a concept album in five movements inspired by five pieces of literature and arranged for piano, strings and voice, was an ambitious departure from his usual sound.

                                                        Western Culture now sees him return to the signature sound of his first two records, yet marks a huge sonic progression thanks to the involvement of his venerable live band on record for the first time, as well as being the first to have been made in a professional studio (Old Granada Studios in central Manchester). Please read on for Kiran's statement on the record, discussing the themes within.

                                                        I like the phrase “WESTERN CULTURE” very much because it is a resounding clang from a hollow vessel, connoting so much (grandeur; authority; hostility) without possessing a concrete meaning in of itself. What does ‘western culture’ consist of? This question changes shape depending on who is speaking: e.g., ’culture’ is constantly evolving and autonomous, rapidly reacting to and altering the present in which it unfolds, but is simultaneously regarded as something static and possessed, corresponding roughly to ‘tradition’ or ‘heritage’, something people can call on when the world seems precarious and alien and antagonistic. And so very often when we talk about culture, we reveal our personal conceptions of world events and of what is to be done.

                                                        "“WESTERN CULTURE” — these heavy phrases without substance are of great importance because they are easily manipulatable agents with the potential to sustain great impact on the real world. Not every issue stems from language, and sometimes we allow our discourses to replace real things, which belittles violence and misunderstands the very real violence that phrases inflict. But I wanted to write about the relationship between the two, and show how a lot of very real brutality is distorted and justified by how we choose to depict it.

                                                        "In part, then, it is a response to brutality. We seem inundated by a brutality beyond our comprehension: the kind of nationalisms and capital, and the brutality of not knowing. The latter is particularly damaging because it is so difficult to oppose what you can’t understand/articulate. I wrote this record about all this not because I wanted the real world to be eclipsed (that is; I didn’t want to self-absorbedly change a problem of violence into one of self-expression) but because I don’t understand any of this, and the struggle to depict the world and lived experience in a more truthful way is waged discursively.

                                                        "Process of understanding; process of recognising perspectives beyond your own, and the historical, political forces of imbalance that engender them. I am interested in where songs might fit into all this; I think that it might be a valid means of approaching an articulation of violence, but I also suspect there is something totally absurd about the whole venture."

                                                        TRACK LISTING

                                                        1. The Universe Out There Knows No Smile
                                                        2. Paralysed Force
                                                        3. Working People
                                                        4. An Easel
                                                        5. Legacy Of Neglect
                                                        6. Now Then
                                                        7. Unreflective Life
                                                        8. Shuddering Instance
                                                        9. Exactitude And Science
                                                        10. Suspension 

                                                        As one of the UK’s most prolific and beloved bands, it has become expected – nay, the fans have demanded - that The Wave Pictures release several albums a year. This year, they are releasing two albums and they’re kindly letting us know well in advance, so that we can set our calendars and save our pennies in anticipation. Starting with the spontaneous, recorded in one-day, minor-key, epic masterpiece that is Brushes with Happiness in June, the trio of Jonny Helm (drums), Dave Tattersall (guitar & vocals) and Franic Rozycki (bass), will be following up with a more up-beat party album, Look Inside Your Heart in October.

                                                        Brushes with Happiness sees The Wave Pictures in contemplative and expansive mood. Mellower and more reflective than last year’s rock’n’roll surf-garage-rock collaboration with Charles Watson from Slow Club, as new band The Surfing Magazines, or 2016’s blues driven Bamboo Diner in the Rain or 2015’s Billy Childish produced Great Big Flamingo Burning Moon. This album is more akin to 2016’s acoustic release A Season in Hull, which, like Brushes With Happiness, was recorded live in one room in a single January day.

                                                        Guitarist and songwriter Dave Tattersall explains the process of recording Brushes With Happiness; “We recorded this album live in a small room to tape on one night in January, playing music into the wee hours. Listening to the album feels like being in a ceremony. It takes you to that place. This is music that emanates from one group of people in one place in space and time. Listening to it is like being let in on a secret.”

                                                        They wanted to make an album that was as spontaneous as possible, emulating the jazz, folk, blues and live albums that they love so much. As Dave explains; “As music fans we treasure spontaneous recordings. When we put an album on we want to hear a little of the human spirit.”

                                                        The Wave Pictures undertook several steps in order to ensure that this was a magical album:

                                                        - Tattersall didn’t write any music prior to the recording sessions, just lyrics. “The lyrics were written in advance, but the music was an improvisation, completed in one night. You can thus hear how in tune we are with one another after ten years playing together in bars.”

                                                        - Everything on record is a first take and mostly material that Jonny and Franic had never heard before and Dave had never played. None of it existed in any shape or form before they put it to tape.

                                                        - They recorded it late at night so as to be as relaxed as possible. As Dave explains; “Lots of bands pretend that they have made their Tonight’s The Night or Astral Weeks, that special album which is recorded in those rare, late-night, pressure-free circumstances; that loose collection of inspired jams. They haven’t done it really. They’ve spent bloody ages working on the thing. They’ve lost their nerve. This is the real thing. A genuine shitfaced improvisation.”

                                                        - They got extremely high and inebriated, “We wanted to get rid of any self-consciousness together,” says Dave.

                                                        - The songs are predominantly in minor key. Dave explains; “I cannot help how I feel - for me this is the happiest kind of key to play in.”

                                                        For an album recorded in this way, Brushes with Happiness really does surpass all expectations. From the languid guitar licks to Dave’s faltering vocals, every note oozes emotional truth. The synchronicity of the band is evident in tracks like “Laces”, where you can hear the very process of composition or the Django Reinhardt inspired “Red Suitcase.” “The Burnt Match” is the kind of song they would have tried to do many times in the past but wouldn’t have been able to pull-off as they would have over-thought it. Yet in this live environment it turned out perfectly. As Dave explains; “We just improvised these songs on the fly, on the spur of the moment. So you can hear them come together with a lot more vitality than they would have done in the past.”

                                                        The album title double meaning is a nod to Jonny Helm’s completely original approach to drumming with brushes. As Dave enthuses; “The way he does it seems to me to come out of the natural world, like waves crashing on rocks, rather than to come out of some school of drumming textbook.” Dave also praises Franic Rozycki’s bass playing, saying, “He uses the bass guitar as a vehicle for personal expression, which is virtually unheard of outside of the jazz world.” Not to be outdone, Dave Tattersall himself has been hailed for his musicianship, with BBC 6 Music DJ Marc Riley calling him; “the greatest guitar player of his generation”.

                                                        Brushes With Happiness sees a band at the top of their game. No other band could just improvise an album out of thin air, no trouble at all, and have it sound THIS good.

                                                        STAFF COMMENTS

                                                        Laura says: This album was recorded in one night, in one room, in one take. They arrived to record with just some lyrics and everything else was improvised on the night. It's a lovely laid back affair, and the nature of the recording gives it a raw, intimate feel. It captures the trio on fine form, completely in synch, and as ever the songwriting is top notch.

                                                        TRACK LISTING

                                                        1. The Red Suitcase
                                                        2. Rise Up
                                                        3. Jim
                                                        4. Laces
                                                        5. The Little Window
                                                        6. Crow Jane
                                                        7. The Burnt Match
                                                        8. Brushes With Happiness
                                                        9. Volcano

                                                        Charles Watson

                                                        Now That I'm A River

                                                          Charles Watson – the London based songwriter/producer and member of indie duo Slow Club and garage-rock super group The Surfing Magazines – announces the release of his debut solo record.

                                                          Not only is this Watson’s solo debut but it also marks his first foray into production. Exploring his relationship with traditional harmony singing, Watson worked with sampled versions of his own voice to create unusual vocal textures.

                                                          A former writing student of Central St Martins and The Faber Academy, Watson uses his own fiction writing as a spring board for his lyrics, a method he has also used for his previous records. The new album takes inspiration from the reoccurring themes and language of the JG Ballard novel 'Hello America'. Now That I’m A River was co-produced by Watson with longtime collaborator David Glover at Tesla Studios in Sheffield and features a hand-picked band, including Guillemot's Fyfe Dangerfield and Hot Club De Paris' Paul Rafferty. Rozi Plain and members of The Deep Throat Choir and Trashkit also make an appearance on the album title track 'Now That I'm A River'.

                                                          TRACK LISTING

                                                          1. Voices Carry Through The Mist
                                                          2. Now That I'm A River
                                                          3. You've Got Your Way Of Leaving
                                                          4. Love Is Blue
                                                          5. Wildflower
                                                          6. No Fanfare
                                                          7. Abandoned Buick
                                                          8. Run And Hide
                                                          9. Tapestry
                                                          10. Everything Goes Right

                                                          In 2014 I was invited to perform at a residency commemorating the re-opening of Manchester Central Library. I wrote a piece in five movements for voice, piano and string trio and called it “DEREVAUN SERAUN”. Each movement is written about a different piece of literature, exploring the value I see in each work and the impression it has made on me, and there is nothing more to it than that. The pleasure of books – of good verse and stories and ideas – is a very simple thing, and I felt that some lofty unifying theme for the entire piece would be a betrayal of that belief.

                                                          I think that when a work resonates with you it is an instinctive response to something. You can be taught to understand a challenging book, but not to feel affection for it; I think a lot of conversation around art, especially around literature, sometimes forgets this. In my experience, the art I like the most, irrespective of its 'difficulty', is the art I can advocate most directly and plainly, and about which I can say: “I read this piece and now I do not read or think in the same way that I did before”, or: “This is a story that I could not explain to someone; I do not understand it word-for-word, yet I feel like innately I understand the whole, and that the whole spoke to me”. This is a piece about five books that I like and why I like them

                                                          TRACK LISTING

                                                          1. Could She Still Draw Back
                                                          2. Living With Your Ailments
                                                          3. A Particle Of Flesh Refuse The Consummation Of Death
                                                          4. The Mute Wide-Open Eye Of All Things
                                                          5. The Cure For Pneumothorax 

                                                          Girl Ray, the North London three-piece comprising 19 year-olds Poppy Hankin (guitar/vocals), Iris McConnell (drums) and Sophie Moss (bass), was formed two years ago when the band were still just 16 years old and in a twist of fate as symbolic as it was bittersweet, ‘Trouble’, their first single for Moshi Moshi was recorded on what would have been their final day of school.

                                                          A band whose songs document the dramas of adolescence with a wit and wistfulness far beyond their years, Girl Ray are the sound of that uncertain period in everybody’s life when the rest of it starts to loom large, when feels are felt more intensely than ever before, and when every decision seems like a fork in the road on your way to adulthood. Being a teenager is a crucible of heightened emotions and transformative confusion from which the ‘real’ you will ultimately emerge, having fallen in love (and out again), outgrown friendships you thought would last forever, and changed in ways you never thought possible. What you typically won’t emerge with, however, is a debut album as richly evocative of the experience as ‘Earl Grey’.

                                                          Recorded with their friend (and now touring guitarist) Mike O'Malley over two "intense and insane" weeks at Ramsgate's Big Jelly studios, Earl Grey is a record of invention and ambition, whose delicate, sun-dappled melodies dance around the inside of your skull like a flickering zoetrope of memories - some fond, others less so.

                                                          STAFF COMMENTS

                                                          Andy says: It's crazy that the 3 women in Girl Ray are only 19 years old! The themes may be gloriously youthful but the playing is anything but! You could call it C86 era retro indie but that's doing them a bit of a disservice, as the unusual arrangements and lovely melodies make this a unique, fresh and totally now record. This is buoyant, charming, charismatic pop music!

                                                          TRACK LISTING

                                                          1. Just Like That
                                                          2. Monday Tuesday
                                                          3. Stupid Things
                                                          4. Don't Go Back At Ten
                                                          5. Cutting Shapes
                                                          6. Preacher
                                                          7. A Few Months
                                                          8. Earl Grey (Stuck In A Groove)
                                                          9. Where Am I Now
                                                          10. Stupid Things (reprise)
                                                          11. Ghosty
                                                          12. Waiting Ages

                                                          When Happyness first burst into the public conscience with 2013’s debut single ‘It’s On You’, their spirited take on US college rock was as big a surprise as it was an instant hit. The resulting full length, ‘Weird Little Birthday’, went on to feature in many of 2014’s End Of Year album lists. Worldwide tours, an NME Award, a re-issue on much-loved label Moshi Moshi Recordings (Bar/None in US) and millions of plays later, it is with some anticipation now that the band finally reveal the full details of the follow up.

                                                          Titled ‘Write In’, released through Moshi Moshi Recordings and featuring artwork from the band’s own Jon EE Allan, the record was made in the band’s own studio above a now-abandoned bookshop, then finished and mixed with Adam Lasus at his LA home studio.

                                                          ‘Write In’ sets its stall out as an outward looking, inventive and thoughtful progression from their debut. Drawing on an array of influences including Roxy Music, The Beach Boys, Randy Newman, Sonic Youth, Big Star and Pierre Cavalli, the direction is best summed up by Jon EE Allan; “I’d like to think this record looks outside the little American alt-rock sphere we were looking in on. I think we used to be very afraid of being earnest. And now we’re able to be tender or heartfelt without feeling too guilty about it.”

                                                          STAFF COMMENTS

                                                          Andy says: A massive, chugging, classic chord-changing blend of a more hazy, sometimes dream-poppy Teenage Fanclub with the rock'n'roll insouciance and charm of, say, Foxygen in their pomp.

                                                          TRACK LISTING

                                                          Falling Down
                                                          The Reel Starts Again (Man As Ostrich)
                                                          Through Windows
                                                          Uptrend/Style Raids
                                                          Bigger Glass Less Full
                                                          Victor Lazarro’s Heart
                                                          Anna, Lisa Calls
                                                          The C Is A B A G
                                                          Tunnel Vision On Your Part

                                                          Featuring new versions by Papa M (David Pajo), Green Gartside (Scritti Politti), Spring Heel Jack, Beatrice Dillon, Brian DeGraw (Gang Gang Dance) + more

                                                          Listen With(out) Piano can be experienced on its own or simultaneously with acclaimed recent album Piano

                                                          Alexis Taylor announces Listen With(out) Piano, a companion album to his 2016 record Piano. Released March 3rd 2017 via Moshi Moshi, Listen With(out) Piano features new versions by artists including Papa M (David Pajo), Green Gartside (Scritti Politti), Spring Heel Jack, Beatrice Dillon, Brian DeGraw (Gang Gang Dance), which can be played on their own, or at the same time as the songs on Piano, to create a brand new listening experience.

                                                          The album features the work of eleven of Alexis’s favourite musicians, handpicked to create new tracks designed to work in response to the songs on Piano, the third solo album by the Hot Chip frontman. Though the record can be synched with the original Piano recordings by playing both albums on two devices simultaneously, the tracks on Listen With(out) Piano can be also be enjoyed as original songs on their own merits.

                                                          “My brief was both very wide open and very specific, and part of the pleasure for me, and now hopefully for the listeners, is to see how everyone responded so differently to the task,” Alexis explains. “The results are truly amazing, and here you have a new album that works both as a kind of electro-acoustic ambient companion piece to Piano, and as a series of musical clothes to be put onto the deliberately bare record I released.” Piano, recorded at Hackney Road Studios by Shuta Shinoda, was released in June 2016 by Moshi Moshi. An intimate collection of songs comprised entirely of Alexis’s vocal and piano, the record was captured live to preserve each intricacy.

                                                          Since 2000, Hot Chip have released six studio albums, as well as a wealth EPs, stand-alone singles, compilation exclusives, remixes and covers. Including Piano, Alexis has released three albums and an EP under his own name, as well as three further albums of material performed with the semi-improvisational About Group. Additionally, Alexis has crafted side projects such as Booji Boy High and collaborated with the likes of Wiley, Peter Gabriel, Will Oldham, Fimber Bravo, Bernard Sumner, Robert Wyatt, Justus Köhncke, The Memory Band, James Yorkston and David Byrne among many others.

                                                          TRACK LISTING

                                                          1. I’m Ready (Lung Dart Version)
                                                          2. So Much Further To Go (Mammalien Version)
                                                          3. Crying In The Chapel (Beatrice Dillon Version)
                                                          4. Without Your Name (Susumu Mukai Version)
                                                          5. In The Light Of The Room (Betsy Taylor Version)
                                                          6. Lonely Vagabond (Rupert Clervaux Version)
                                                          7. Repair Man (Green Gartside Version)
                                                          8. Don’t It Make My Brown Eyes Blue (Spring Heel Jack Hackney Rd Dub)
                                                          9. I Never Lock That Door (Jennifer Herrema Version - The Key)
                                                          10. Just For A Little While (Papa M Version)
                                                          11. Don’t Worry (Brian DeGraw Version)

                                                          Slow Club

                                                          One Day All Of This Won't Matter Any More

                                                            How do you keep a band interesting after ten years? It’s a question Slow Club’s Charles Watson and Rebecca Taylor must have asked themselves as they started work on their fourth album.The answer seems to be producer Matthew E. White, the master of Southern-gothic folk, whose in-house band at Richmond’s Spacebomb Studios provided the consistency and tone the album required. Almost every track was played live in the studio, allowing the long-established session band’s natural chemistry to augment Charles and Rebecca’s, with the double advantage of recording being very effective, and also comparatively quick.

                                                            One Day…. contains some of the best melodies they’ve yet created. The duo’s knack for writing hooks and melody has, if anything, become stronger. There are choruses here you instantly feel you’ve known your whole life, like ‘Ancient Rolling Seas’ timeless, reassuring refrain of “I’ll always be by your side”, or ‘Champion’’s Dolly Parton via-Linda Ronstadt anthem of self-celebration through the darkest times. Perhaps best of all are a pair of songs to be found at the top of what traditionalists would call “side 2”- ‘Rebecca Casanova’, a slice of widescreen, four-to-the-floor pop that recalls soft-rock giants Fleetwood Mac in the way it channels heartbreak onto the dancefloor, and ‘Tattoo Of The King’, a tale that takes Neil Young and the Doobie Brothers to the disco.

                                                            STAFF COMMENTS

                                                            Barry says: Chemistry like this doesn't come along every day. It is clear from the offset that Slow Club work on another level of understanding : there is a warmth and subdued energy to all of these pieces that demonstrate how important that understanding is. 'In Waves' is assured Southern country of the highest order while 'Sweetest Grape On The Vine' could easily have some of the best close vocal harmonies i've heard for a long time. 'Rebecca Casanova' is perfectly stripped-back yet sounds surprisingly complete. Intoxicating and mesmerising songs with strikingly effective production. A triumphant return for Slow Club.

                                                            Hot Chip front man Alexis Taylor pares everything back to just piano and voice for an intimate record of new songs, reinterpretations of his own writing, and a selection of favourites both well-known and unheard before by other artists. Recorded at Hackney Road Studios by Shuta Shinoda, Piano invites the listener to be privy to a very private recital, with Alexis’ vocal and piano captured live and up-close, preserving each beautiful moment.

                                                            “The idea with this record was to choose songs of my own and others' that were personal to me and to document live performances which were intimate and unadorned. I wanted to reduce everything to the barest elements, record a great piano well and do as little as possible to the recordings eq or effects-wise. The mood created on the record is pretty different from that on other records I have been involved with. It feels like a special place to be able to go to."

                                                            “After it was completed 'Piano' struck me as a sort of gospel record in places - albeit an atheist's gospel album, if that's possible. 'In The Light of the Room', Elvis's 'Crying In The Chapel', the hymnal 'I Never Lock That Door', and the miracle-referencing 'So Much Further To Go' - they have that feel to them for me lyrically and musically. But the Miracles in 'So Much Further' are Smokey's as much as anything Biblical, and the reference to both silence and music filling the air reflects the album’s observations about absence, loss, repair and surrender to love and sound. The song is one I was really happy with when I first wrote it partly because it offered some mystery to me - I didn't fully understand it. After a close friend and collaborator passed away during the making of this record - actually someone who I had asked to contribute small string parts to it - I felt I understood it all too well:

                                                            'Life a miracle - a miracle that's hard to bear'”

                                                            TRACK LISTING

                                                            01. I’m Ready
                                                            02. So Much Further To Go
                                                            03. Crying In The Chapel
                                                            04. Without Your Name
                                                            05. In The Light Of The Room
                                                            06. Lonely Vagabond
                                                            07. Repair Man
                                                            08. Don’t Make My Brown Eyes Blue
                                                            09. I Never Lock That Door
                                                            10. Just For A Little While
                                                            11. Don’t Worry


                                                            Brilliant Sanity

                                                              The art of songwriting has been the driving force behind Brilliant Sanity, the process of crafting of the immaculate pop song, the dogged pursuit of the perfect hook. The result is an album that appears fastidiously and impeccably made, but also charged with joy.

                                                              Now a four-piece made up of singer and guitarist Tommy Sanders, his brother Jonny on synths, Pete Cattermoul on bass and Hiro Amamiya on drums, the process of touring has honed Teleman into a spectacular live act and brought about the decision to record the new record in a very live and spontaneous way.

                                                              Six months were spent in a rehearsal space in Homerton, working on the songs written by each band member, with Sanders’ own songwriting forming the core of the album. “I don’t know if other bands do this,” says Tommy Sanders, “but in our rehearsal room we had a white board, and for each song we’d write the chords up on the white board, write the structure out. We’ve got different colour pens and stuff. It’s very professional.”

                                                              With lyrics written on the road ‘when you’re sitting on a tour bus for eight hours just looking out the window’, Brilliant Sanity shows Sanders as an accomplished and distinctive lyricist, with a passion for the music of words themselves and an eye for the singular image.

                                                              In Dan Carey’s Streatham studio, the songs’ structure changed little, but it was Carey’s suggestion that they choose core synthesiser sounds — the Mellotron, the Roland Jupiter, the Korg Trident — to help define the aesthetic of the album. Sanders talks of their time in the studio, of their collective obsession with the Vietnamese restaurant across the street, of how they would set the mood for recording each song using a series of coloured lights, and of how, in breaks from recording the band would go out on the roof and gaze at the moon through Carey’s telescope, “It had,” he says, “a very calming and settling influence.”

                                                              “Sometimes,” he says, “a record can take itself a bit too seriously. So it’s good to have a bit of a lighthearted side. It’s good just to enjoy making it, for your own sake — because if you’re enjoying making the songs then other people are going to enjoy listening to them.”

                                                              TRACK LISTING

                                                              1 Dusseldorf
                                                              2 Fall In Time
                                                              3 Glory Hallelujah
                                                              4 Brilliant Sanity
                                                              5 Superglue
                                                              6 Canvas Shoe
                                                              7 Tangerine
                                                              8 English Architecture
                                                              9 Melrose
                                                              10 Drop Out
                                                              11 Devil In My Shoe

                                                              Anna Meredith


                                                                For all its atmospheric diversity, Anna Meredith’s ‘Varmints’, released on Moshi Moshi, is held together by her expert understanding of dynamics. “Pacing is a physical thing,” she explains. “I can feel when stuff has to happen in a track. I knew I wanted ‘Varmints’ to end privately but start confidently, have moments of privacy and moments of power and build. I love writing a build - my friends talk about ‘the Meredith Build’! I love the feeling of ‘get on board, we’re building up now!’ Even if you’re dancing at a club, there’s an amazing transparency to a build.”

                                                                Aside from sharing bills with Anna Calvi, James Blake and These New Puritans, Meredith’s dizzying CV includes being Composer In Residence for the BBC Scottish Symphony Orchestra, writing a piece for MRI scanner, soundtracking Prada’s Spring / Summer 2015 campaign, symphonies created for nursery children, music for park benches in Hong Kong and sleep-pods in Singapore.

                                                                Meilyr Jones

                                                                How To Recognise A Work Of Art

                                                                  After announcing his forthcoming first solo album, ‘2013’, on Moshi Moshi records, Cate Le Bon collaborator and Royal Academy Of Music drop-out Meilyr Jones releases ‘How To Recognise A Work Of Art’ on 7”.

                                                                  Recorded completely live with a full band this is a song about authenticity and forgery, of which Meilyr says: “I wrote the song about the preposterous world of art collectors, the panic of what is popular, what will succeed, telling people what to like, what to eat, and the recycling of pop culture. I also wanted to make something light and fun, and full of humour.”

                                                                  ‘How To Recognise A Work Of Art’ is about the obsession in our time with authenticity and the cult of the artist.

                                                                  Hercules & Love Affair

                                                                  The Feast Of The Broken Heart

                                                                    Hercules & Love Affair’s new album ‘The Feast Of The Broken Heart’ sees another musical reinvention from ringmaster Andy Butler, delivered by an impeccable new line up.

                                                                    Brits nominee John Grant’s ability for translating hardship into elegance is writ large on ‘I Try To Talk To You’ and ‘Liberty’; Rouge Mary, whose deep, spiritual voice is hewn from a gospel education; Belgian singer Gustaph, whose counter tenor takes lead on the single ‘Do You Feel The Same?’; smoky voiced virtuoso Krystle Warren, who was introduced to Butler by Grant, and sings the provocative ‘My Offence’.

                                                                    The old school house production sounding almost techno aesthetic, coupled with tales of emotional triumph, makes for something tough yet soulful; meaningful house music that’s pop music, speaking to the most musically adroit of tastes.

                                                                    ‘The Feast Of The Broken Heart’ is co-produced by Ha-Ze Factory and industrial stalwart Mark Pistel.

                                                                    Martin Creed

                                                                    Love To You

                                                                      Turner Prize winner Martin Creed writes direct, compelling songs with the ability to both perturb and amuse. Think... the rhythmic punk of Ian Dury and the wit and pop nous of Glasgow's Postcard Records.

                                                                      'Love To You' - His debut album, is a collection of 18 love and hate songs.

                                                                      Martin Creed and his band were picked this week by The Cribs as the Hottest Band In The World Right Now on and they invited him to support them on their recent UK tour. Martin Creed is also much loved by Franz Ferdinand - regular attendees at his gigs and co-producers on his album - as well as label-mates Slow Club.

                                                                      Not only is Martin Creed a Turner Prize-winning artist of some renown but with 'Love To You' has recorded one of this year's most irresistible albums. It has a total running time of less than 40 minutes and not a second is wasted. From the spitting vitriol of 'Fuck Off' to the heartfelt title track 'Love To You', this is an album of short, sharp, funny yet touching songs delivered by Martin Creed and his band.

                                                                      For Martin Creed there is no difference between making music and making art. He is perhaps best known for his Work No.227 “The lights going on and off” and Work No. 850 in which runners ran through the Tate Gallery, and like his art, his music may be disarmingly simple but it makes an immediate impact. Work No. 1197 “All the bells in the country rung as quickly and as loudly as possible for three minutes” has been commissioned to herald the start of the London Olympics on 27 July 2012.

                                                                      Hand crafted by The Vinyl Factory, this edition has been mastered for vinyl and includes a super glossy cover, full colour inner sleeve, heavyweight 180-gram vinyl and exclusive oversized poster.

                                                                      Product Details:
                                                                      * Mastered for vinyl
                                                                      * Pressed on 180-gram heavyweight vinyl on the EMI 1400
                                                                      * Super glossy outer sleeve
                                                                      * Full colour inner sleeve
                                                                      * Exclusive glossy oversized poster of the album cover image

                                                                      The London based electronic punk trio, rose to infamy at breakneck speed since forming in 2008. Consisting of composer Ximon Tayki, vocalist Veronica So, and drummer Simon Whybray, TEETH enraptured a global audience with jubilant, no-rave jams and hacker dance anthems.

                                                                      The ten-track debut album is a veritable slice of lo-fi electro noise-pop with riot-grrrl vocals emulating the hi-NRG of their raucous stage tearing live shows, featuring current single Care Bear and soon to be released Flowers.

                                                                      Bent on demolishing stages at night clubs, festivals, and warehouse parties with as much distorted noise as smooth synth melodies, TEETH deliver with an unapologetic edge. Their lo-fi, noise-pop assault is coupled with So’s equally dynamic vocal performance that suggests a cross between a euro-pop princess and a riot-grrrl. The stroboscopic live shows and relentless online persona make TEETH incomparable amongst their contemporaries, although media outlets like Dazed and Confused state TEETH are “…more epic than Battles, [and] cheerier than Throbbing Gristle.”

                                                                      Hailed as “a nastier Yeah Yeah Yeahs and a subtler Melt Banana” by the 405 and boggling the minds of critics who attempt to pin down their multitude of styles as “...acid rave, dance-hall, pop, punk, grunge, acid house, tropical and all out weird shyt,” (MTV UK).

                                                                      ‘Raucous joyous skronky dancey whatever-wave with more ideas than time and more pep in its step than a five year old on a Pixie Stick high’ - Pitchfork

                                                                      ‘Outright Strange’ - NME

                                                                      TRACK LISTING

                                                                      1. Confusion
                                                                      2. U R 1
                                                                      3. Care Bear
                                                                      4. Dead Boys
                                                                      5. Time Changes
                                                                      6. This Time
                                                                      7. Pill Program
                                                                      8. See Spaces
                                                                      9. Flowers
                                                                      10. Street Jams

                                                                      Trophy Wife

                                                                      The Quiet Earth

                                                                      With propulsive beats, delicate vocals and whispering melodies, "The Quiet Earth" is another melancholic slice of Trophy Wife’s “ambitionless office disco”. The band’s meticulous yet restrained production highlights the fragility of Jody Prewett’s vocals against Kit Monteith’s defiant drums and Ben Rimmer’s echoing keys.

                                                                      Backed by the majestic "White Horses", where glimmering vocals offset the stunning violin and sparse rhythms before pulsating bass lines melt into the track, the song documents the misplaced sense of clarity you feel just before a comedown, the simultaneous feelings of invincibility and vulnerability. Trophy Wife’s new single delivers on the initial promise "Microlite" showed and hints at what the future holds for them.

                                                                      The band’s sound and aesthetic is informed by influences as diverse as Studio, Polmo Polpo, The Notwist, Hank Marvin and Tortoise. These influences can not only be heard in the band’s music and production, but also echoed in their artwork, photography and videos – all facets of which the three band members contribute to equally.

                                                                      TRACK LISTING

                                                                      A: The Quiet Earth
                                                                      AA: White Horses

                                                                      Signals are a band from LA comprised of 3 beautiful boys: Jon Gray, Bill Gray, and Jacob Cooper. The three have played together since 2005, but are most well known for all being former members of the spazz-punk band The Mae Shi.

                                                                      The Mae Shi’s debut album, "HLLYH", was released in February 08 to critical acclaim – ‘They’ve mastered the emergent micro-genes of the 21st century, from jerk-pop to bitpop, and twisted them further into out and out sound ventures. Eureka indeed.” (9/10 NME). Two years on, the energy and excitement that was abundant as TMS is now, rather brilliantly, being channelled into the noise of Signals.

                                                                      TRACK LISTING

                                                                      Silver Fish
                                                                      What Dreams

                                                                      Hot Club De Paris

                                                                      With Days Like This As Cheap As Chewing Gum, Why Would Anyone Want To Work?

                                                                        Hot Club de Paris mark their eagerly-awaited return in 2010 with a brand-new 6 song EP entitled “With Days Like This As Cheap As Chewing Gum, Why Would Anyone Want To Work?” (A phrase generously loaned by acclaimed British poet Matthew Welton). Still operating with their usual punk-rock ethic and still proudly flying the flag for British DIY, Hot Club are now self producing and recording themselves in their Liverpool rehearsal space.

                                                                        STAFF COMMENTS

                                                                        Laura says: Scouse three piece Hot Club De Paris return with this superb collection of acrobatic, articulate pop songs, neatly packaged into a limited edition 10" in a hand numbered sleeve.

                                                                        Samuel & The Dragon

                                                                        Diamonds On A Boat

                                                                        An arresting vocal, held in heartbreaking solitude by a brittle framework of sounds, "Diamonds On A Boat" is the astonishing debut single from "Samuel & The Dragon". Samuel's voice is an effortless confession, calling down the line amid James Cameron's ambient mix of the organic and electronic; a warm but isolated sound of the city.

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