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MOSHI MOSHI

The Surfing Magazines

Badgers Of Wymeswold

    Garage rock supergroup The Surfing Magazines have announced Badgers of Wymeswold, out 29th March via Moshi Moshi Records.

    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’.


    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

    Hot Chip

    Coming On Strong

      London 5-piece Hot Chip's debut album, There's a quite lovable oddball quality to this album, hints of Prince, the Beastie Boys, Beck.... a souled-up folk vision of chilled out pop music with a twist. 2005. A loungey, electropop sheen covers much of the music, but more than anything, Hot Chip displays an omnivorous approach to the entirety of alt, ‘60s pop and electronic music history. Their songs are infectious, silly and often weirdly beautiful. With singer-songwriters Alexis Taylor and Joe Goddard at the core, Hot Chip's mixture of textured, smart, lo-fi groove with actual humour is incredibly rare, and great

      TRACK LISTING

      A1. Take Care  
      A2. The Beach Party 
      A3. Keep Fallin'  
      A4. Playboy  
      A5. Crap Kraft Dinner  
      B1. Down With Prince  
      B2. Bad Luck  
      B3. You Ride, We Ride, In My Ride  
      B4.Shining Escalade  
      B5. Baby Said One One One 

      Teleman

      Family Of Aliens

        London’s Teleman have already set a precedent for 2018 with the release of Submarine Life via label-home Moshi Moshi. Today, the foursome excitedly unveils details of their third studio album; the alluringly named Family of Aliens, set for release in early September. 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. Teleman will also be playing a slew of festival dates this summer including Greenman, The Great Escape and Tramlines amongst others, before embarking on a headline tour across the UK, this Autumn.

        To mark the occasion, Teleman offer another insight into their flourishing electronic-inspired sound, with new single Cactus. Flaunting the harmonious marriage of their beguiling pop sensibility accompanied by pulsating electronic undertones, Cactus is anchored by an unrelenting riff that crescendos to a cacophony of thrashing guitars and unbridled synth-sounds, bound by a palpitating, monotonous drum-loop.

        Depicting the familiar esoteric ideas nestled amongst lead vocalist-guitarist Tom Sanders’ abstract lyrics; the accompanying video manifests the themes of loneliness, youthful ideals and how materialism can be a pretense to mask solitude.

        “[This song is] for people who spend a lot of time, money and thought on looking good but can’t actually let anyone get close to them. In youth, most preoccupations are base and wasteful - what to wear, what party to go to, who said what to whom. If you carry these on into later life you might be deeply unfulfilled” explains Sanders.

        TRACK LISTING

        1. Family Of Aliens
        2. Cactus
        3. Song For A Seagull
        4. Between The Rain
        5. Always Dreaming
        6. Submarine Life
        7. Twisted Heart
        8. Somebody’s Island
        9. Sea Of Wine
        10. Fun Destruction
        11. Starlight 

        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

          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

          Moderate Rebels

          If You See Something That Doesn’t Look Right

            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

            Blood Wizard

            Western Spaghetti

              Frontman of Nottingham punk band Kagoule, Cai Burns, returns as Blood Wizard. Arriving with no fixed direction, Blood Wizard is a project that sees Burns explore himself as a brand new entity, an artist beyond boundaries and preconceptions. First single ‘Breaking Even’, showcases Burns’ impeccable songwriting skills and acts as the perfect introduction to this exciting project. With jangled, stop-and-go instrumentation, it is sheer artistic satire with an added charm. Burns says about ‘Breaking Even’: “Breaking Even is a song about doing a lot for someone, changing yourself to fit their ideas of you but not getting the same in return. It's a satirical commentary on the effect that can have on a friendship or relationship”

              Filled with crisp hooks, it is an album that has a predominant folk undertone that also expertedly navigates through various textures and dark melodies. There was not an album in mind when Burns first started recording with Tom Towle at Random Recording Studio - just fragments of songs that all came together when the world paused in the spring and Burns realised that what he had been working on over the last few months could become a full record. The structure of the album follows suit, chopping and changing between harder-edged sounds and acoustic meanderings.

              There is a forward honesty and a witty wryness to Blood Wizard. “Hooray to the big news, got my mouth around the spoiled fruit” he sighs on Fruit, a song about keeping happy for your friends’ achievements while your life feels static. Meanwhile, Total Depravity’s stand-out, bittersweet lyric “I’m never going to get that jacket back” pinpoints a singular moment amongst an anxious blur and a time he cannot return to. The infectious and fuzzy Carcrash draws on the weird ways love can be displayed, whilst in stark contrast, the subdued Somehow I Knew tells of the people you’ve never got to know.

              Burns says about the album: “One day I would want to sound like Dean Blunt, another day I would want to sound like Bert Jansch. The record is a kind of mash-up of all the influences that I have had for a long time, but never had the opportunity to channel into something”

              Western Spaghetti might draw inspiration from the likes of Arthur Russell, Alex G and Adrianne Lenker, but it is an album that marches to its own beat and builds Burns’ own sonic world to run around, be creative and be completely free within.

              TRACK LISTING

              1. Breaking Even
              2. Halo
              3. Fruit
              4. Mother's Illusion
              5. Total Depravity
              6. One Smile Too Many
              7. Carcrash
              8. Bob's Big Arms
              9. Somehow I Knew
              10. The Gloom

              Flamingods

              Levitation - 2021 Reissue

                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.

                TRACK LISTING

                Paradise Drive
                Koray
                Marigold
                Astral Plane
                Peaches
                Moonshine On Water
                Olympia
                Club Coco
                Mantra East
                Nizwa
                Levitation

                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

                  Soccer96

                  Tactics

                    Soccer96 return with new single ‘I Was Gonna Fight Fascism’. Having recently signed to Moshi Moshi Records, the track is accompanied by the announcement of the band’s forthcoming EP ‘Tactics’, 

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.”


                    TRACK LISTING

                    1. I Was Gonna Fight Fascism €

                    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 

                        Anna Meredith

                        Varmints - Coloured Vinyl Edition

                          Special edition coloured vinyl version of Mercury Music Prize nominated Anna Meredith’s ‘Varmints’ album. 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

                          TRACK LISTING

                          1. Nautilus
                          2. Taken
                          3. Scrimshaw
                          4. Something Helpful
                          5. R-Type
                          6. Dowager
                          7. The Vapours
                          8. Honeyed Words
                          9. Last Rose
                          10. Shill
                          11. Blackfriars

                          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) 

                            The Nix

                            Sausage Studio Sessions

                              The Nix is a new project from Nick McCarthy (ex Franz Ferdinand) and Seb Kellig.

                              Nick McCarthy says of the album, which features Laetitia Sadier, KT Tunstall and Basement Jaxx vocalist Vula Malinga:

                              "This is an album I always had in mind to record after leaving Franz Ferdinand. I wanted to make something that felt at the same time like a farewell and a new start party incorporating all the amazing musicians and people I’ve met around the world.

                              I wanted the record to have the same ethos as the parties I used to organise growing up in Munich and Glasgow, so with this in mind myself and Seb Kellig, one of my best friends and a great musician and producer, set up Sausage Studios in Hackney Lane

                              Our studio is open 24 hours, musicians and singers would show up and each song was written collectively and very spontaneously with the artists and the whole record was recorded with a backing band, Motown style on party nights. Seb worked his dub production magic and ‘boom’ the record was finished.

                              Like so many things in my life, it all started out as a protest record. There are definitely still some arseholes out there who need to be stopped but now the virus has hit. Like any other real party, we’re all in this together. And we’ll get over this together."

                              TRACK LISTING

                              1. Shoemonk (feat. Vula Malinga)
                              2. The Highest (feat. Kwamie Liv)
                              3. The Drop (feat. Khloe Anna)
                              4. Colours (feat. Vito Skye, Valentina Skye & Andy Knowles)
                              5. Valentina (feat. Khloe Anna)
                              6. Don’t Roll Your Eyes At Me (feat. David Aird)
                              7. Until Now, All Is Well (feat. Laetitia Sadier)
                              8. Nix (feat. Nix Sana'a Sylvester Gonputh-Kellig)
                              9. The Strangest Thing (feat. KT Tunstall)
                              10. Full Fathom Five (feat. Philipp Plessmann)
                              11. Loose Noose (feat. Andy Knowles & Vula Malinga)
                              12. Hyena (feat. Manuela Gernedel)

                              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

                                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

                                Callum Easter

                                Green Door Sessions

                                  “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.”

                                  TRACK LISTING

                                  1. Lonely World
                                  2. Want It Sometime
                                  3. Promises
                                  4. Fall Down
                                  5. One Thought
                                  6. Back Beat
                                  7. Pop Goes The Weasel
                                  8. Tell Em Boy
                                  9. Only Sun
                                  10. Feelings Gone

                                  Moscoman

                                  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 

                                      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.


                                        TRACK LISTING

                                        1. Tell Me Something
                                        2. Wind Your Neck In
                                        3. Friend At First
                                        4. A Fault In Your Design
                                        5. Change
                                        6. Come Through & See Me
                                        7. Girl, You're My Family Now
                                        8. Used To Love You
                                        9. Fault Of The Family
                                        10. The Mice
                                        11. If I'm Sad
                                        12. Did You Get What You Paid For?

                                        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

                                          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”

                                            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

                                            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.”

                                              TRACK LISTING

                                              1. Dirtier
                                              2. Commands
                                              3. You Have To Waste Your Time
                                              4. Poor Cow
                                              5. The Droid
                                              6. All Talk
                                              7. Get Up (Seize The Day) 

                                              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)

                                                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

                                                  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.

                                                  TRACK LISTING

                                                  1. Girl
                                                  2. Show Me More
                                                  3. Just Down The Hall
                                                  4. Because
                                                  5. Let It Go
                                                  6. Takes Time (feat. PSwuave)
                                                  7. Friend Like That
                                                  8. Keep It Tight
                                                  9. Go To The Top
                                                  10. Beautiful
                                                  11. Like The Stars

                                                  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

                                                    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)

                                                    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

                                                    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

                                                    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

                                                    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

                                                      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

                                                      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)
                                                      Anytime
                                                      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)

                                                      The Wave Pictures

                                                      Bamboo Diner In The Rain

                                                        London based trio The Wave Pictures - Jonny Helm (drums), Dave Tattersall (guitar & vocals) and Franic Rozycki (bass) - return with their brand new album ‘Bamboo Diner In The Rain’ on Moshi Moshi.

                                                        Following on from last year’s Billy Childish collaboration ‘Great Big Flamingo Burning Moon’ and their recent acoustic record ‘A Season In Hull’, ‘Bamboo Diner In The Rain’ sees The Wave Pictures battling against the robot music apocalypse.

                                                        The new album is a bluesy, boozy love letter to the guitar, filled with American Primitive instrumentals, John Lee Hooker chugs and Link Wray style minor-key surf music. As songwriter and guitarist Dave Tattersall explains, “This album is set in the Bamboo Diner of my dreams, with rain beating on the windows and a jukebox stocked with blues. This is the most personal album I’ve made so far. In fact, that’s the whole idea of the band, to become more and more authentically ourselves on record. To grow inwards. Like everything on this dark and strange little album. It’s not robot music.”

                                                        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

                                                          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

                                                          Teleman

                                                          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.”

                                                            STAFF COMMENTS

                                                            says: Brilliant Sanity is at once comforting and enchanting. Beautifully crafted melody (or the appreciation of it) is something that people sometimes loathe to admit they enjoy, but this collection can't help but make you admit it. Twee plucked melodies, 'friendly' distortion and brilliant hooks. Not as much a guilty pleasure as a confirmation that you need feel no guilt. Great stuff.

                                                            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

                                                            Kiran Leonard

                                                            Grapefruit

                                                              Following several self-released digital only EPs and homemade CD-R releases, mercurially talented 20- year-old musician from near Oldham, Greater Manchester Kiran Leonard has signed to Moshi Moshi to release ‘Grapefruit’, the follow-up proper to 2013’s acclaimed debut ‘Bowler Hat’.

                                                              “A singular new talent is being forged” - Sam Richards, The Guardian

                                                              STAFF COMMENTS

                                                              says: Inventive and original art-rock from Manchester native Kiran Leonard. This album twists and turns like a startled beast, at once from a melancholic fingerpicked guitar refrain to mournful orchestral stabs. Not as much challenging, but exciting and fluid. Rousing melodies float above lively guitars and galloping drums, only to break into dissonant snaps and starts, all painted with a liberal coat of Leonard's emphatic lyrical bursts. If this is even a hint of the creativity and ingenuity that is to come, we're onto a good thing. Recommended.

                                                              TRACK LISTING

                                                              Secret Police
                                                              Pink Fruit
                                                              Öndör Gongor
                                                              Caiaphas In Fetters
                                                              Don’t Make Friends With
                                                              Good People
                                                              Exeter Services
                                                              Half-Ruined Already
                                                              Fireplace

                                                              Meilyr Jones

                                                              2013

                                                                Moshi Moshi records are thrilled to announce the release of ‘2013’, the debut album from Meilyr Jones.

                                                                ‘2013’ is 13 songs in which joy and rapture are tempered by wit and keen-eyed humour, by jubilant pop melody and rock & roll muscularity. Five of the songs were conceived as orchestral pieces and so Meilyr Jones assembled a 30-strong orchestra “out of friends, and friends of friends of friends,”: there was a saxophonist, a bassoonist, a clarinettist, some classical players, jazz, brass, a French harpist and Lucy Mercer from Stealing Sheep on drums. The result is the sound of a young man discovering just who he is.

                                                                STAFF COMMENTS

                                                                says: 2013 is a burst of energetic quirkiness; its lyrical wit makes the album feel diverse and experimental. Not only that, the sentimental story behind the process of making the album is touching, named after the eventful year for Meilyr Jones the songs are absorbed in emotion, all enigmatic and yet full of spirit.

                                                                Anna Meredith

                                                                Varmints

                                                                  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.

                                                                    Happyness

                                                                    Weird Little Birthday

                                                                      Drawing comparisons with the great college slacker rock bands, 'Weird Little Birthday' puts Happyness at the forefront of, wait for it, 'jangle-gaze' while displaying a more complex melancholic and introspective nature. The youthful exuberance is still there, but the album expands on that to deal with the morning after as well as the night before. 

                                                                      Mixed by Adam Lasus (Yo La Tengo, Daniel Johnston) and featuring Ed Harcourt's vocals on 'Pumpkin Noir', "Weird Little Birthday' could be this year's underground success.

                                                                      Originally released as a small run CD on the band’s own Weird Smiling label in 2014, ‘Weird Little Birthday’ is now expanded to include four new bonus tracks.

                                                                      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.

                                                                        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.

                                                                          TRACK LISTING

                                                                          Helen
                                                                          Red Cloud Road (Part 1)
                                                                          One By One (Electric)
                                                                          The Easter Parade
                                                                          Coconut Tree
                                                                          The Lea Bridge Roundabout

                                                                          Mariam The Believer

                                                                          Blood Donation

                                                                            Best known as one half of the critically acclaimed Scandinavian pop duo Wildbirds And Peacedrums, Mariam Wallentin has been re-born as Mariam The Believer, an introspective and melancholic creation of forceful pop that characterises Mariam’s vision of hope, of light at the end of a tunnel. Amongst the foreboding instrumentation of her debut solo album ‘Blood Donation’, released on Moshi Moshi, Mariam’s powerful vocals are that light.

                                                                            As she questions on ‘The String Of Everything’ - “Don’t we want to learn something more, reach somewhere new and die someone else?” - her music is the soundtrack to the eternal struggle, but ultimately joyous and rewarding education of life.

                                                                            ‘Invisible Giving’ - an epic 7 minutes - is both the first track to be taken from this debut solo album and the first to be written for ‘Blood Donation’.

                                                                            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

                                                                            Slow Club

                                                                            Paradise

                                                                              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.



                                                                              TRACK LISTING

                                                                              1. Two Cousins
                                                                              2. If We’re Still Alive
                                                                              3. Never Look Back
                                                                              4. Where I’m Waking
                                                                              5. Hackney Marsh
                                                                              6. Beginners
                                                                              7. You, Earth Or Ash
                                                                              8. Gold Mountain
                                                                              9. The Dog
                                                                              10. Horses Jumping

                                                                              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

                                                                                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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