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MOSHI MOSHI

Callum Easter

Green Door Session

    “No one really encouraged me to take up music,” says Callum Easter. “It's just been in my gut for a long time.” The original rumblings of music came from childhood growing up on the east coast of Scotland but it was the discovery of an accordion that led to the biggest shift in Easter’s musical life to date “It's not an instrument I considered playing until I picked one up in a charity shop,” he says.

    At the time Easter was playing in and around Edinburgh. He realised he wanted an instrument that would allow him to engage more with the audience. “I wanted to face the crowd and sing,” he says. “The spectacle appealed too, it's pretty physical singing and playing whilst on your feet. I think people enjoy seeing you struggle and take chances.”

    By the time 2019 arrived, Easter had transformed his live show and sound from his early days so after signing to Moshi Moshi, it made sense to go back into the studio and rerecord tracks from his first two EPs and debut album Here or Nowhere (released on Lost Maps). “The premise was to record the versions of the songs I'd been performing live using mainly accordion, drum machine and drone,” he says. “One take, no overdubs, straight to tape. All done in Glasgow’s Green Door Studios.”

    The result captures a stark and potent sense of musical evolution and growing craftsmanship. Music that wrestles equally with honesty, fragility and intensity. Lyrically, the album is introspective, covering the subjects of “Love, injustice, commonality, longing, acceptance, and having no regrets.” With Easter joking that, “I probably do melancholy a bit too well. But I'm working on that.” Balanced with the melancholy is beauty and tenderness however.

    With Easter reconnecting with music of his past, it also highlights how far he’s come on his idiosyncratic journey. A determined and impassioned artist who follows his musical gut rather than any defined career plan. “I don't feel comfortable with purpose,” he says. “It sounds a bit steady, like you're responsible for something. I don't really know what I'm looking for. For now, it’s just me in a room with plenty of scope.”

    Moscoman

    Time Slips Away

      Dancers can always be sure of one thing with Chen Moscovici–a.k.aMoscoman–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 will see the release of Moscoman’s long awaited second LP. Time Slips Away will be released on June 19th on Moshi Moshi.Moscoman gave us a taste of the album when he shared the track “Back And Again” earlier this month, and to celebrate the announcement the Berlin-based producer shares brand new single “What Do We Care” featuring Tom Sanders (Teleman).

      Moscoman says: “The track started as a cool pop house tune I produced on my laptop lying in bed in my Mum’s house in the Israeli suburbs. Teleman’s Tom is singing the anthem of our time, how people don’t realise or appreciate moments they experience in the prime of their lives.”

      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.


      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.

        Moscoman

        What We Do Care (Gerd Janson /Abel Ray Remixes) (Love Record Stores Edition)

          Love Record Stores Edition available from 9am on Saturday June 20th.
          Limited to one per person.



          Dancers can always be sure of one thing with 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.

          This limited edition vinyl comes with the Original Version plus Remixes from Gerd Janson and Abel Ray and is a special release for Love Record Stores event on 20th June


          FORMAT INFORMATION

          Ltd 12" Info: Limited Edition White label pressing of 300 copies.

          Soccer96 Featuring Alabaster DePlume

          Tactics EP

            Soccer96, is the revered synth and drums duo of Danalogue [Dan Leavers] and Betamax [Max Hallett], who are most known as being two thirds of Mercury nominated band The Comet Is Coming (Impulse! Universal), and also producing and mixing the group's records.

            As well as performing live in various groups, Danalogue is an in-demand record producer, having worked on both of the critically acclaimed Snapped Ankles albums, as well as records by Bo Ningen, Ibibio Soundmachine, Flamingods, Lunch Money and Vels trio. Similarly, Betamax is a highly regarded drummer and is an auxiliary member of Sons of Kemet. His other bands include Hot Head Show, Champagne Dub and Super Best Friends Club.

            ‘Tactics’ sees Soccer96 expand on their duo template as they are joined by the entirely original Alabaster DePlume on vocals and Total Refreshment Centre’s head engineer Kristian Craig Robinson AKA ‘Capitol K’ on bass, who also engineered the recordings.

            These new collaborations were born out of spontaneity. Having produced Alabaster’s LP ‘The Corner of a Sphere’ Danalogue and Alabaster found a lot of unexpected common ground, in composition, politics and heady late-night jams. They would often find themselves on similar festival bills, where Alabaster would be invited to jump on stage and recite one of his poems over a fiery improvisation. The lyrics were the same, but Alabaster’s delivery was supercharged, direct and pulsing with rhythm. It was clear that this had to be chronicled.

            Recorded at the duo’s spiritual home, the infamous Total Refreshment Centre, ‘Tactics’ sees Danalogue and Betamax transmit impassioned and motoric synth-scapes over infectious beats and celestial dance. Built out of the raw energy of their improvisations, the band instil adrenaline into every track combining intricate synth riffing with wall of sound atmospherics and a fiery rhythm section. A delicate balance of dark and light, heavy and danceable, the expansion from duo to quartet on this EP also sees Soccer96 resituate itself within the vast musical universe that exists across their previous recordings and other projects.

            Alabaster’s lyrics carry the voice of a disaffected generation. Responding in the moment, his vocal performances provide an acerbic and sardonic take on the hypocrisies of the leftist ideal against the backdrop of mass consumerism, manipulation of the media, the rise of fascism across Europe and the failings of humans in general. In an era of battling ideologies, Soccer96 are a propellant for Alabaster’s philosophical and topical poetry, amplifying these messages and providing a platform to extend their reach to new audiences.

            Speaking about the collaboration, Danalogue says, “In some ways it’s very similar to how we started things with The Comet Is Coming, plugging Shabaka [Hutchings] into a guitar amp in our studio and egging each other on to go further, dirtier, louder. This time we plugged Alabaster into the Soccer96 turbo charger, and the results are pretty spectacular.”

            Wesley Gonzalez

            Appalling Human

              Wesley Gonzalez, DIY indie punk's enfant terrible turned pop sophisticate, returns with his second album "Appalling Human". Ironically a more accomplished record than his 2017 debut “Excellent Musician", here Gonzalez makes full use of a lithe band armed with an orgy of high-end synthesizers, all mixed for the dancefloor by James Greenwood (Ghost Culture, Daniel Avery, Kelly Lee Owens). Both its sound and emotional clout are huge. "The point of this record," Gonzalez explains, "Was that it was 'post-therapy'. 'Excellent Musician' was the 'pre-therapy' album and I wanted to get started on the next one straight away, so we recorded it and then other personal stuff got in the way." It is the sound of a twenty-nine-year-old getting a handle on his life and learning to cope, even as a long-running love affair buckles, becoming psychic collateral in a family bust-up.

              An arch and confessional lyricist, Gonzalez continues, "This song [Changes] had the most transformation from beginning to end. It started life as an experiment after listening to a lot of Ghanaian house music, I wanted to write something upbeat. At the time I wrote it I found myself at pivotal moment of change and saw that in others around me, one of my best friends had gone through an intervention and it had made me question aspects of my life. I thought about how scared I would be if I gave all my crutches up. I wanted to be reassuring to someone when I also felt in need of reassurance, so this was my song for him."

              Along with therapy, taking better care of himself and a switch from guitars to learning and writing on piano, it was the choice of people to work with that helped him into this new creative phase.The new line up around Wesley was completed by the bassist Joe Chilton, singer Rose Dougal, drummer Bobby Voltaire and Callum Duffy on synths. They'd sit back and accommodate his demanding notion of how things should sound. As the new way of working unblocked Gonzalez' creativity on the first record, so too did new listening lead to stepping up his ambition for the scope and sound of its follow-up. He was going in for work each day at a Soho record shop, wanting to throw himself into traffic, then patching himself up with music.

              "I was listening to loads of house music, hip hop, soul and funk. The more dance music you listen to, the more you go like 'Oh, it's OK not to be dreary the entire time.'" Despite all the electronic prostheses that grace his solo project, at the heart of his music there is a depth to the song writing and a singular character to it. There's an eccentricity somewhat akin to Harry Nilsson, or Andy Partridge of XTC, and a kind of melancholy (lost)innocence. His sensitive feel for characters and situations is simply unparalleled in his peer group. It's a depth that becomes more and more apparent with each release.


              FORMAT INFORMATION

              Coloured LP Info: Pink vinyl.

              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 ConnanMockasin, 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.”


                FORMAT INFORMATION

                Coloured LP Info: Azure blue vinyl.

                Roxy Girls

                A Wealth Of Information

                  ‘A Wealth Of Information’ sees Roxy Girls expand on their unique and idiosyncratic take on the post-punk format. Whilst the band still conveys the same breathless intensity and intricacy in their instrumentation, the new material also finds them developing on their stripped-back sound and experimenting with warmer and more densely structured dynamics. Whereas ‘A Poverty Of Attention’ introduced Roxy Girls high-energy and mordacious lyrical humour to the world, ‘A Wealth Of Information’ exemplifies a more considered insight to the band. Whilst the musicianship is still largely rooted in hook-driven indie-rock territory, the new EP shows a very natural evolution of a sound that has become completely their own.

                  Speaking about the new EP, Tom Hawick (frontman) says, “A progression in musicianship and technicality, A Wealth Of Information takes A Poverty Of Attention and flips it on its head. Focusing on the tropes of 21st century living and the mundanity that comes with it, these songs focus on themes that have, in one way or another, affected each mortal modern human life.”

                  Doomshakalaka

                  Doomshakalaka

                    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”

                    FORMAT INFORMATION

                    Coloured LP Info: Clear vinyl.

                    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.

                      Summer Camp

                      Romantic Comedy

                        Beloved British indie-pop duo Summer Camp - AKA married couple Elizabeth Sankey and Jeremy Warmsley, release a new album called Romantic Comedy, their first new record since 2015. About their new single 'Women In Love' the duo say: “'Women In Love' is about falling for a woman who is packed full of idiosyncrasies and complexity. Obviously the manic pixie dream girl trope of rom coms has been discussed in great detail, but for us this song is less about those more modern heroines, and more about the classic rom com queens who completely befuddle and complicate the lives of the men who are attracted to them. It's Katharine Hepburn in 'Bringing Up Baby', Marilyn Monroe in 'Some Like It Hot', and Goldie Hawn in 'The Housesitter'. It's about how their love interests feel so lucky to be adored by such strange, complicated, and surprising women.”

                        Romantic Comedy features songs from and inspired by Sankey’s film, and the experiences and movies that compelled her to make it, intercut with snippets of Warmsley’s instrumental score and samples from the documentary. The band describe the album as “a painfully honest love letter that both celebrates and skewers the way romance has historically been portrayed in cinema, and how these depictions have affected the way the audience conducts and pursues their own relationships.”

                        The film is a sometimes sardonic, sometimes loving, but always personal exploration of this much-maligned genre, told through clips from over 160 films including When Harry Met Sally, God’s Own Country and His Girl Friday and interviews with actors, filmmakers and writers including Jessica Barden (star ofEnd Of The F*cking World). To coincide with the film’s premiere, Summer Camp last year shared lead double A-side singles ‘Love of My Life’ / ‘Danny and John’, a first taste of new music from Romantic Comedy. ‘Love of My Life’, the first cut from the album, is a 60s-inspired pop banger that longs for a lost love, the one that got away, while ‘Danny and John’, which doesn’t appear on the film’s soundtrack, was inspired by classic rom-coms like Sleepless In Seattleand In & Out.


                        STAFF COMMENTS

                        Barry says: A nostalgic and dreamy trip through 60's psychedelia and crooning easy listening combined with the soaring pop sensibilities of today's more dreamy indie bands. A warm, endearing and ultimately satisfying dream.

                        FORMAT INFORMATION

                        Coloured LP Info: Limited edition white/cream coloured vinyl.

                        Girl Ray

                        Girl - Signed Edition

                          Girl is the second album from the North London band Girl Ray. Recorded at Electric Beach Studios in Margate with Ash Workman (Christine and the Queens, Metronomy), the album is a delightful, sun-kissed tribute to their love of pop and R&B.

                          It was Ariana Grande’s explosion into pop culture that kickstarted a new era for Girl Ray, as well as the realisation that their most-listened-to Spotify playlists contained pure pop music. When Poppy began experimenting with writing songs on a computer using keyboards, a collection of shimmering, foot-tapping, sparkling pop bangers poured out. With this new set of songs, Girl Ray have been brave enough to completely change their sound rather than play it safe, yet still remain unmistakably themselves - it’s Girl Ray, but with added synths.

                          If their debut, Earl Grey, was a hot cup of tea and a cuddle on the sofa, Girl is being in a cab with the windows down on the way to a beach bar for sundowners. It’s the excitement of Rihanna’s If It’s Lovin’ That You Want, combined with the eye-rolling, impenetrable sardonic humour of a girl gang. Among the grin-inducing, trepidatious and intensely courageous R&B-style tracks on the album, are also beautifully composed piano ballads steeped in the sadness and unrequited love that made Earl Grey feel like a knowing look from an old friend.

                          Girl is expertly-crafted pop, created by dedicated artists on a mission to make music for people to really enjoy. Music that doesn’t look to confuse or patronise. Music to fall in love to, to dance to. Songs you’d want to send to your friends. They have used the universal, happy medium of pop music to put across joyous, accessible messages of love, friendship and life to the world, like some of the best songwriters before them.

                          STAFF COMMENTS

                          Andy says: We loved last year's debut album here at Piccadilly, as it reminded the oldies amongst us of those halcyon DIY mid-80s indie pop days, and the youngsters just felt like they could be in the band! For the follow up they've swapped guitars for synths and made a sweet pop record that's way more sophisticated, but still manages to display all the quirks and charm which made us fall in love with them in the first place.

                          FORMAT INFORMATION

                          Coloured LP Info: Red vinyl.
                          Initial quantities are signed.

                          CD Info: Initial quantities are signed.

                          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.

                            FORMAT INFORMATION

                            Dinked Edition LP Info: Exclusive Pale Blue vinyl.
                            Exclusive Die Cut cover.
                            Bonus 7” (2 additional tracks ONLY available on Dinked Vinyl).
                            Artworked inner bag.
                            Sticker Sheet insert.
                            Numbered Edition of 550.
                            Download card.

                            Anna Meredith

                            FIBS

                              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.

                              FORMAT INFORMATION

                              Coloured LP Info: White vinyl.

                              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!

                              FORMAT INFORMATION

                              Ltd LP Info: Limited to 300 white label units worldwide.

                              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.

                              Du Blonde may sound like a band, but in fact it is, and always has been, the work of just one person. Beth Jeans Houghton.

                              Her new album Lung Bread For Daddy delves even deeper into self sufficiency, seeing Beth take the reigns on production, instrumentation, album artwork and direction of music videos. This project is entirely her own. “I know exactly what I want my record to sound like and apart from drums, I have the ability to play all the instruments, so I did” Houghton states.

                              True to form, the first peak of the new album is the self directed video (Houghton has also made videos for Ezra Furman, Red Hot Chilli Peppers and LUMP) for lead single 'Buddy' which also stars a bathtub, 3 bottles of vegetable oil and 37 packets of spaghetti.

                              Lung Bread For Daddy sees a meeting in which Beth’s previous two albums, 2015’s ‘Welcome Back To Milk’ and her debut ‘Yours Truly, Cellophane Nose’, take a seat at the table and make amends. Veering wildly between proto-punk, psych rock and the wholesome song writing of the 1970’s, taking the listener on a journey through the landscape of her past. It is an honest and often uncomfortable look into the life of a person who’s experiences have been touched by a myriad of characters, homes across continents, periods of extreme loneliness, mental illness and a search for an understanding of personal identity. “My lyrics are always autobiographical. I have to be able identify with what I’m singing, and telling my story is therapeutic”.

                              Houghton's insatiable thirst for creation on her own terms has seen her take charge of every aspect of Lung Bread For Daddy including the brutal self portrait that adorns the cover of this record. Painted from a photograph taken during one of her lowest points, the image depicts Beth devoid not only of makeup, but self worth and confidence. “I look tired and pretty much destroyed, which is a feeling I’ve known many times over; in the aftermath of relationships and that of making a record. Lyrically the album is very naked so I’m carrying on the nudity of my previous album covers, only this time it’s emotional instead of physical.”

                              STAFF COMMENTS

                              Barry says: A wonderfully off-piste distorted wonder from Beth Jeans Houghton as 'Du Blonde' here : distorted riffage, snappy percussion and haunted echoing vox, think stoner rock, garage and rock and/or roll all wrapped into one cohesive whole. Fully brilliant.

                              The Wave Pictures return with the promised second album of the year, Look Inside Your Heart - a warm, joyous record celebrating friendship, happiness and drunken party times. Like the first album they released this year, the more contemplative Brushes With Happiness, this one was recorded late at night whilst inebriated back at the tiny Booze Cube Studio in Stoke Newington, live to reel-to-reel tape with no computers of any kind. The album is peppered with giggles and chatter, which adds a sense of spontaneity and place.

                              As singer and guitarist Dave Tattersall explains: ”Look Inside Your Heart is intended as a rallying cry in the war against the machines; while a computer may have beaten world-champion human being Lee Sedol at Go, a machine could never have made music as joyful, spontaneous, happy, poetic, broken and rambunctious as this. Look Inside Your Heart is a bullet in the face of all pop-poseurs and robot wannabes, a die-hard continuation of the vulnerable rebel tradition of rock and roll music, a vibrant work of outsider art and a masterpiece of electric folk.”

                              Twenty years after forming in Wymeswold, Leicestershire as teenagers, The Wave Pictures have gone on to be one of the UK’s most prolific and beloved bands. Fond of classic rock, jazz and blues, they are also one of the most accomplished, with Tattersall’s guitar solos becoming the stuff of legend. They have collaborated with varying bright stars of the musical firmament, such as last year’s rock’n’roll surf-garage-rock project with Charles Watson from Slow Club, as new band The Surfing Magazines, or their ongoing partnership with ex-Herman Dune member Stanley Brinks, or the very close partnership with Billy Childish for 2015’s Great Big Flamingo Burning Moon. 


                              STAFF COMMENTS

                              Barry says: I can't listen to the Wave Pictures nowadays without thinking of a friend of mine (he LOVED them), and they were similar in many ways. Understated but intelligent, filled with stories but hesitant to tell them for fear of coming off bolshy (they are both anything but). The Wave Pictures remain as relevant today as they ever did, writing superb songs and stooping slightly for fear of being noticed... i've not seen him for a while, but i'd imagine that Graf's trajectory is not far off that. Long live them both.

                              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."


                              Armed with a freer, more collaborative approach to both writing and recording, their new 11-track album Family of Aliens, is a fluid collection of glorious pop-songs fluent with new electronic textures and united by the sharp lyricism, buoyant guitars and instantaneous melodies that are synonymous with Teleman.

                              “We want to keep evolving and keep discovering. This band is one long journey for us, and we never want to stop developing and finding new ways of creating music. I'm always wanting to better what we've done before. To go deeper, to find something more beautiful, more catchy, more challenging, more interesting … just more.”

                              It’s evident the much-loved quartet have evolved, cultivating and honing their sound as a very-welcome and anticipated proposition for 2018. 

                              STAFF COMMENTS

                              Barry says: 'Family Of Aliens' is all-round A more varied, electronic affair than 2016's outing, but every bit as enthralling. Throbbing synths mix seamlessly with tenderly strummed guitar ambience and flickering piano, anchoring Sanders' otherworldly vocals. A perfectly balanced and thoroughly entertaining LP.

                              Anna Meredith

                              Anno

                                Anna Meredith announces the release of Anno, a boundary-pushing collaboration with the Scottish Ensemble, in which original pieces of work by the classical-electronic composer are intertwined with Vivaldi’s Four Seasons. Released via Moshi Moshi, the project began as an immersive 360 degree live experience but will be available on double vinyl, CD and digitally for the first time from 17th August. After a recording process using the unusual ‘binaural recording head’ the project will also be available in an exclusive binaural recording – allowing the listener to experience the unique spatial aspects of the piece through headphones.

                                Occupying a unique position of bridging both popular, experimental and classical worlds, Anna is a composer/producer and has made a name for her genre defying sound. In 2016 Anna Meredith released her acclaimed debut album Varmints via Moshi Moshi, which went on to win the Scottish Album of the Year award. Among countless achievements, she has been Composer in Residence with the BBC Scottish Symphony Orchestra, RPS/PRS Composer in the House with Sinfonia ViVA, the classical music representative for the 2009 South Bank Show Breakthrough Award and winner of the 2010 Paul Hamlyn Award for Composers. Anna has also scored forthcoming American comedy-drama Eighth Grade, written and directed by Bo Burnham, which took home the Audience Award at this years Sundance Film Festival: London. 


                                STAFF COMMENTS

                                Barry says: Anna meredith spreads her considerable talents into the realm of classical music with this stunning juxaposition of the old world of musical symphonies and the electronic influences of Meredith's previous work. A triumph, and further evidence that Meredith is at the forefront of today's musical landscape.

                                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.

                                FORMAT INFORMATION

                                LP Info: Violet sparkle coloured vinyl.

                                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'.

                                  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

                                  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!

                                  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.

                                  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.

                                  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'”


                                  FORMAT INFORMATION

                                  Indies Exclusive LP Info: Indies only comes with 6" one-sided single.

                                  The Wave Pictures

                                  Helen

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

                                    The Wave Pictures release a limited edition 10” EP called ‘Helen’ for Record Store Day.

                                    Limited to 250 copies for the UK and Ireland.

                                    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

                                    Paradise bears the touch of a songwriting unit who share and divide. Songs begin and end with Rebecca and Charles swapping verses, even when the song itself is deeply personal to one of them. On Never Look Back, which bubbles into existence with cooing two-part harmony, Charles delivers the startling lines: “Baby brother in the next room, trying to bring him back to life”. It sees the 23 year-old singer recalling a dream in which an imaginary brother lays dying in the next room. On forthcoming single Two Cousins, Rebecca imagines that life is simply a journey which ends in our return to childhood when we die. “Hold on to where you’re from, it’s where you heart goes when you’re done”. Gold Mountain drifts languidly, like the lonely walk home after a drunken night out. It is, in fact, yet another song in which the bittersweet melody belies the arresting theme at the heart of the lyrics- “They have found, when life is pouring out, you are the only one that counts-“ Earth and Ash is about Rebecca’s closeness to her granddad, and her underlying fear about what will happen when he dies. “I've not played him the song, he wouldn't get it,” says Rebecca, “He always says (adopting a gruff Sheffield accent): 'why can't you play one of them Eva Cassidy songs? Or something by Joni Mitchell?'”, so I can't imagine a song about him dying is the introduction to Slow Club he really needs.”



                                    Slow Club’s currency is songwriting which sees romance in the unlikeliest of corners, and Paradise applies a lighter, more honed lyrical touch to telling their story. More than anything, Paradise is a platform for Slow Club’s mordant Englishness at its best, displaying a restraint and self-deprecating wit even in the darkest of sentiments.



                                    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.

                                    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.


                                    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.

                                    FORMAT INFORMATION

                                    Ltd 10" Info: 1 copy found!

                                    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.

                                    Producing seductively shabby love songs, with unsurpassed dexterity and an authenticity born out of obscurity, The Wave Pictures deliver their debut album "Instant Coffee Baby". With lead singer David Tattersall and bass player Franic Rozycki growing up in Wymeswold near Loughborough, the roots of The Wave Pictures lie far from the scene centric commerciality of the prevailing mainstream. "Instant Coffee Baby" is an album so lyrically of its time it should be placed in the Blue Peter time capsule, and yet it's production is timeless, it's touchstones myriad (Jonathan Richman, The Smiths, The Go-betweens, Violent Femmes) and the performances little short of virtuoso.

                                    Jimmy Tamborello (aka Dntel, James Figurine, member of Figurine and Strictly Ballroom, and one half of The Postal Service) likes to take his time. Thirteen years after starting to work under the Dntel moniker and almost six years after releasing his last Dntel full-length ("Life Is Full of Possibilities"), he has painstakingly built and birthed "Dumb Luck". Thick with Tamborello's signature electronic washed and genius beat placement, "Dub Luck" is an album lyrically as much about human distance as connection. With vocal contributions from friends Jenny Lewis (Rilo Kiley), Edward Droste (Grizzly Bear), Valerie Trebeljahr and Markus Acher (Lali Puna), Mia Doi Todd, Grant Olsen and Sonya Westcott (Arthur & Yu), Andrew Broder (Fog), Conor Oberst (Bright Eyes) and Christopher and Jennifer Gunst (Mystic Chords of Memoir), and Paul Larson (guitarist, The Minor Cannon) manipulated, chopped and pasted amidst Tamborello's skittish beats, house clicks, organ washes and dreamily pixelated symphonies. The result is at once understatedly epic, ethereal and concrete.

                                    Hot Club De Paris

                                    Clockwork Toy

                                      Yay, finally the irrepressible Moshi Moshi release this gem of a single from Hot Club De Paris' stunning debut album "Drop it Til It Pops". A great guitar lick, a call to the indie dancefloor and away you go! On the flip side of this limited 7" you'll find a rather splendid if unexpected cover of the Paul Simon classic "You Can Call Me Al".

                                      Just found 1 copy! First come first served!


                                      Hot Club De Paris

                                      Shipwreck

                                      Another cracker from Hot Club De Paris. "Shipwreck" hits the ground running, with it's frantic drumming and noodling guitars, and lyrics delivered with 20-fags-the-night-before vocals weaving a melody over the top. Add to that loads of catchy na-na-na bits and you have one great pop song!


                                      Latest Pre-Sales

                                      129 NEW ITEMS

                                      Thank you for the virtual instore Polly. Sounded great. You can find the album here > https://t.co/g6mxEuOXDp) https://t.co/ed4jEO7eji
                                      Wed 8th - 11:13
                                      Open today 12 - 3 for click and collect, then back again on Friday and Saturday. Follow the link for more informati… https://t.co/Gv8qgaZFRT
                                      Wed 8th - 9:48
                                      It’s Wednesday and it’s time for a @dinkededition announcement. Check back here at 3pm and all will be revealed. Al… https://t.co/dDSqP26Vu1
                                      Wed 8th - 8:34
                                      Now that would be a great birthday present wouldn’t it?! 🥳 🎂 https://t.co/v8zV0JA84i) @sparksofficial https://t.co/G2pdeoNGc2
                                      Tue 7th - 3:44
                                      Thank you to everyone who came down yesterday and safely collected their records. More opportunity to click and col… https://t.co/UR2Pd5Zztl
                                      Tue 7th - 11:17
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