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Embr

1823

    Within the genre of heavy metal there can be an abundance of variation, color, texture and tone. There are many different shades and many different categories within that catch-all phrase. It’s not all about throat ripping vocals or Neanderthal riffage. As many who are not drawn metal’s immediate charms may perceive. Heavy music can encompass a whole panoply of sounds, moods and ambition. It can surround you with emotional elegance and distressing chaos. There can be subtleness, thoughtfulness and deep introspection even when things get exceptionally heavy. This is why NHS is thrilled to unveil our latest signing. We have partnered with 4 musically kindred spirits from Birmingham, Alabama, collectively known as EMBR.

    EMBR tick all the boxes & beyond. EMBR already have 3 mighty EP’s under their belt. All 3 got them on the heavy underground radar. “punishingly heavy with sedated slowness on a level different that most doom out there.” Metal Temple // “a heavy mixture of grunge, doom and stoner rock with a twinge of gothic style delivery” Outlaws Of The Sun // EMBR spent most of 2019 writing 7 new songs for ‘1823’. The album was recorded by Matt Washburn at Ledbelly Sound Studio (Mastodon, Royal Thunder) in Dawsonville Ga. The title ‘1823’ has special significance. It’s not just a numerical title, it has substance. Eric Bigelow (drummer) has been on the list for a kidney for around 4 years. Eric received a kidney transplant in May of 2019. This happened right in the middle of writing the album. The kidney was from a deceased donor and all Eric and Crystal Bigelow (singer and Eric’s wife) know about the donor is that it was a young woman between the ages of 18-23. The album is dedicated to the donor and the surgeons at Vanderbilt hospital in Nashville TN. And what a fine tribute it is. Musically ‘1823’ could be categorized as ‘Doom’. However, on this debut it’s obvious that EMBR have range, drive and a desire to add to the genre, to broaden it whilst staying true to its core fundamentals. Rest assured, the band have all the nuts and bolts in place. Mark Buchanan (guitar), Alan Light (bass) and Eric Bigelow (drums) keep everything tight and weighty. Massive drop-tuned guitars, chest rattling low end, pounding drums, fuzzy distortion, it’s all there. But they also add in synths, a bit of grunge and alt rock flavors. The vocal talents of Crystal absolutely soar and strengthen the music. Her range, patterns and harmonies transport the band’s music skyward. Crystal adds soul and an air of melancholia to the musical creations. If a pointer were needed, think Mastodon meets Witch Mountain with epic sweeps and a shade of gothic drama. Tracks like ‘Prurient’ and ‘Where I’ve Been’ combine thick heavy riffs with Crystal weaving through, powerful and epic, yet soulful and intimate. Musically, the bands core vibe is keep it slow and low’ but EMBR aren’t afraid to mix it up a bit. ‘Stranger’ takes it down, allowing Crystal’s voice to float over the softer elements and riffs in an almost folk-like manner. ‘Powder’ channels throat ripping growls and soaring clean vocals in one loping relentless journey. ‘Eyes Like Knives’ , ‘Your Burden’ and ‘Vines’ are epic doom fests, drenched in gothic veils and dripping with thick distortion. The lyrics are deep and are usually written collectively by Crystal and Eric with one of them sometimes taking the reins on certain songs that they identify with. For instance, Powder is a song Eric wrote about past struggles and trying to power through them with relentless determination and positivity. Prurient was written by Crystal and initially was based on the 2016 movie THE BOY but also was inspired by her past experiences with a haunting figure in her life. 

    FORMAT INFORMATION

    Coloured LP Info: First vinyl pressing is ltd to 500 copies in 2 colour blue & black cosmic swirl vinyl.

    Coloured LP includes MP3 Download Code.

    BlackLab

    Abyss

      BlackLab ‘the dark witch doom duo from Osaka, Japan’ are poised to return with their new long playing record ‘ABYSS’. BlackLab’s first lp emerged to reviews a plenty. “BlackLab’s relentlessly bleak, feedbackdrenched and fuzz-laden take on doom/noise is as dark and mysterious as a black hole, and every bit as absorbing” CLASSIC ROCK.

      “Blacklab are awesome. Fall under their hex immediately” KERRANG

      “Raw, noisy and groove laden, an extreme, arcane force” METAL HAMMER

      The first album was a remixed collection of the band’s early tracks, a melting pot of influences as they set out to inhabit their own space. Now with ‘ABYSS’ the band are very much defining what that space is.

      Once again, the album was produced by Jun Morino in Osaka, and mixed in London by Wayne Adams (Pet Brick, Green Lung, Cold In Berlin) and is an uncompromising beast of a record. Recorded under a full moon over 3 intense days, the album has the ‘off the leash’ abandon of ‘Fun House’ era ‘Stooges’ and is marked by a fat dose of doom meets slowed down hardcore punk; filled with loud, ultra distorted guitar, and yet, a surprising amount of melody as well. In fact, Yuko has said that the band’s name is a combination of Black Sabbath and Stereolab, well here on ‘Abyss’ is where that strange mix begins to make musical sense. The band haven’t lost their love of lo-fi or ‘Riot Grrrl’ attitude. The guitars are loud and heavily gnarled to the point of chaos.

      Vocals go from shoegaze melodic to hardcore screams (in fact rarely has a vocalist in this genre screamed so musically as Yuko does) and underneath all this, Chia batters the skins, all rolling and tumbling thunder amidst the riffs. Yes there is a smattering of ‘Sabbathy Wizarding’ of course, but submerged within dark, deep fuzz and punk rock crank and grind. In truth the vibe is closer to both the arty heaviness of early Boris, and the sweet savagery of My Bloody Valentine, than any kind of ‘doom’ tropes. It’s a sound that is undoubtedly BlackLab’s own. So over 8 tracks, clocking in at around 42 mins, you get the current Blacklab world view. ‘Insanity’ creeps in with a sound familiar to doom lovers. Then over the course of eight minutes manages to motor into its own riff time continuum, fuelled by heavy fuzz, pounding drums, and vocals that run the gamut from surly, to sweet, to full on throat- shred.

      ‘Fade and Melt’ is quirky, odd even, but heavy too, marrying a sweet Japanese melody to a dense, rolling barrage of distortion. ‘Weed Dream’ is driven by chugging, barely under control guitar and grunge punk swagger, and it’s here that Yuko most obviously channels her inner Stereolab. ‘Amusement Park Of Terror’. The title sounds like some cheapo 60’s bug movie, or a grade B slasher flick from the 80’s. Well to be honest this short instrumental interlude would be the perfect soundtrack to either. Both ‘Forked Road’ and ‘Chained’ are cut from the same cloth, a mash up of ‘Stooges’ meets ‘Comets On Fire’ mayhem and loping Sleep - esque riffs. ‘Sleepless Night’ is all throbbing distortion and understated threat, albeit with a curiously catchy chorus and coda. Then you have ‘Sun’ an underscore to any number of nihilistic apocalypses. It crashes in with a guitar tone so huge it’ll threaten to demolish your speakers. Abyss is an album that is as raw and alive as it gets. It’s refreshingly free of artifice, and it doesn’t arse around. Say hello to the Osaka underground.

      FORMAT INFORMATION

      Coloured LP Info: 3 colour Green, yellow & black cosmic swirl vinyl.

      Sky Valley Mistress

      Faithless Rituals

        Included is a free 'Faithless Rituals' board game, 16 unique tarot cards, 4 Sky Valley tokens a game spinner and full instructions all housed in its own separate inner sleeve. Full download included as well.

        Main CD package is a 4 panel digipack, with a 4 page booklet.

        Sky Valley Mistress are 4 young upstarts from Blackburn, Lancashire, full of spit and vinegar who have delivered a ferocious, two fingered hello to rest of the world with their debut album 'Faithless Rituals'. Eight tracks of fierce passion and spirit, blistering stoner rock 'n' roll with huge riffs, buckets of fuzz and hooks guaranteed to nail you to the wall from the get go. Couple that with inciendiary playing one of the best female vocalists around ... you have one helluva debut album. In fact, SVM could easily hold their own against the likes of Jim Jones, Rival Sons, Royal Blood, BRMC or any other rockers greasy or otherwise.

        Still only in their mid 20’s, you can only assume, on listening to their debut, that these young turks made that journey to those legendary crossroads and did the dirty deed with the dark one himself, such is the level of musicianship and vocal prowess on show here. The album was recorded at the legendary Rancho De La Luna, Joshua Tree, California, and co produced by, and featuring Dave Catching (Queens Of The Stone Age, Eagles Of Death Metal and Mojave Lords amongst others) and like all great rock 'n' roll it has vibe and attitude in spades. “I just wanna tell you guys a little somethin’ about this record. Somethin’ that you really need to know. I want this to perforate your eardrums, have a fight inside your head and leave a slow burnin’ fire in the darkest part of your mind. That will never let you forget what will be embedded inside you forever”

        These are the words of Dave Catching (Mojave Lord, Eagles Of Death Metal, QOTSA), co-producer along with the band of the album. Dave’s intro opens ‘Faithless Rituals’, the debut album from Sky Valley Mistress. 8 tracks of full on hard, and heavy stoner rock, that is guaranteed to nail your ass to the wall from the get - go. 8 tracks of fierce passion and spirit. As Dave says … “Let it puncture your heart, bleed through your body and electrify your soul. Because this … THIS IS ROCK ‘N’ ROLL” Sky Valley Mistress are: Kayley “Hell Kitten” Davies (vocals), Sean “Starsky’ Berry (Guitar), Russell “Russell” Russell (Bass), Maxwell Harvey William Newsome III (Drums/Percussion) 

        Cold In Berlin

        Rituals Of Surrender

          London rockers, Cold In Berlin return with their new album 'Rituals Of Surrender'. Nine slabs of fuzz laden, goth infused doom rock crossed with post punk attitude and vibe. There are rituals surrounding all acts of surrender; the strange dance we perform before the many endings scattered throughout our lives, before the next beginning rises from the dust. Cold in Berlin’s new album Rituals of Surrender offers up thunderous modern fables, crawling from the wreckage of an ordinary life - dark and hopeful - standing tall in the debris. Over nine songs you are submerged into the dense, heavy sounds of their fourth album:

          A witch crawls from the ocean as the world is born looking for a new life, a woman recalls the painful love she needed to feel alive, a man cracks wide open looking for secrets, and love burns two desperate lovers - the songs are filled with heroic and overwhelming loss wrapped in the hope of what comes next. Produced with gritty clarity and volume by Wayne Adams (Green Lung – Woodland Rites) Rituals of Surrender opens with the grinding, hypnotic pulse of The Power and the apocalyptic rise of Dark Days, the record twists and turns as guitars crash, tempos warp and vocalist Maya stalks your thoughts with her mesmeric vocals. The rituals continue to build through Avalanche and Monsters, an edgy industrial throb and a sweeping prayer. Side A closes with Frantic a frenetic shard of fractured shellac. When the cut-and-thrust dies down, the album reveals the band at their most fragile.

          The haunting schadenfreude of Your Body//My Church is a beautiful, desperate love song nestled between the ceremonial Temples and the stoner trip of Shadowman. The album-closer Sacred Ground soars from a place of Lovecraftian foreboding towards an explosion of cinematic-doom. Their grandest and most poignant piece to date. After a collaboration with punk icon Lydia Lunch for Transmaniacon - The Strange World of Suzie Pellet concept album, vocalist Maya delivers a breath taking range of shattering vocals, casting spells of apocalyptic witchcraft, breathing life into the characters that inhabit the rituals. Rituals of Surrender is not a crack of lightning or the drumming of rain on a window, it is an unnatural, ground shaking thunder raging through your veins. It is a suffocating howl crashing through your heart. But with the moments before any ending, surrender brings release, the serenity of escape, even from the darkest of days. 

          FORMAT INFORMATION

          Coloured LP Info: First vinyl pressing is limited to 500 copies in Transparent Red and Black smoke vinyl.
          Included is a free CD and download.

          ‘Yn Ol I Annwyn’, Welsh for Return To The Underworld’, it is the third part of the trilogy of albums that began with ‘Noeth Ac Anoeth’ in 2015 and 2017’s ‘Y Proffwyd Dwyll’ (which got them nominated for the Welsh Music Prize in 2017). Whilst MWWB as a band, have never been overly visible, they don’t tend to be idle. 2018 saw them release a split 12” with kindred spirits, Slomatics, and being personally asked by Robert Smith of The Cure to play his Meltdown in London. Not to mention playing an international array of dates and other festivals, prior recording this epic third album. So last Summer, along with new bassist Stuart Sinclair, MWWB returned to Skyhammer Studios and Chris Fielding, to create ‘Yn Ol I Annwyn’. The 8 songs that comprise thes album, sees the band delve deeper into their collective influences, embracing full on space rock, atmospheric film soundtracks, melancholic acoustic interludes, psychedelia, cosmic moogs and percussion, moments of introspection and light … and of course, large helpings of doom.


          The fat riffs, big hooks and endless space grooves are all present. Jessica Ball’s voice glides over it all, both sweet and melancholy, yet this time more assured. A myriad of stacked harmonies and layered vocals weave in and out of the tracks, adding an ‘other-worldly’ melodicism to the songs. Here’s what guitarist Paul Michael Davies had to say …“For the 3rd album I wanted to take the band's sound even further but still stay true to what made us start the band in the first place. Personally, I think the doom scene is (thankfully) thriving, but some of the ‘genre’ tropes can be a bit limiting, and we are all about pushing that. So some elements of this album will be something different for the usual doom fan. It’s kind of a nice mix of our usual heavy riffs but with some fresh elements.


          Vocalist Jessica Ball adds … “Album number 3 definitely fits in with the theme of our music evolving, as we’ve been hinting at with the design on our album covers. I feel that we’ve really pushed the boat out on this one, I can’t wait for it to be released!” In fact the album as a whole, is very much a sonic journey into some cosmos on the edge of forever. The short moog piece ‘Tralfamadore’ is your starting point for a voyage that takes in the cosmic space doom of ‘The Spaceships Of Ezekiel’ which manages to mix prog time shifts, heavy riffing, moog licks and catchiness within its 8 odd minutes. Fata Morgana has its rolling almost folk-ish guitar melody on which Jess Ball’s vocals float and shimmer, until it crashes into full on sludge and shoegaze for the second part of the song. ‘Du Bist Jetzt Nicht In Der Zukunft’ is an atmospheric cello and synth soundscape with Ball’s vocal textures weaving and dancing throughout.

          Title track ‘Yn Ol I Annwyn’ is down tuned, fuzz drenched, ethereal. It could almost be pop, if it wasn’t for the strangeness and heaviness that lurks within. Katyusha is a 13 minute plus instrumental. With its many parts and riffs interlocking and changing, it’s a journey in itself. ‘The Majestic Clockwork’ is a chugging leviathan punctuated with cello stabs, staccato vocals, fuzz drones and floating choirs, before riffing out on a moog trip. The album closes with ‘Five Days In The Abyss’ a mix of atmospherics and fat crushing riffs, an ideal way to end our journey … destination … somewhere new. Previous comparisons to Windhand, Yob, Sleep. or whatever, are rendered completely redundant with ‘Yn Ol I Annwyn’. Mammoth Weed Wizard Bastard sound like Mammoth Weed Wizard Bastard, full stop.

          STAFF COMMENTS

          Barry says: From the thrashing, world-crushing drive of tunes like 'Fata Morgana' to the more meditative synth-led cosmic doom (think Wolves In The Throne Room - Celestite vs Mastodon), MWWB have been a whirlwind of riffage and conceptual brilliance since their 2016 introduction, 'Y Proffwyd Dwyll'. things have only gotten heavier and more intricate and this is without a doubt their most earth-shattering outing yet. Essential.

          FORMAT INFORMATION

          2xColoured LP Info: Amber / Red vinyl.

          2xColoured LP includes MP3 Download Code.

          Transmaniacon Feat Lydia Lunch And Maya Berlin

          The Strange World Of Suzie Pellet

            The Strange World of Suzie Pellet' is a hard rocking concept album featuring a dark, unsettling and mysterious tale of future street dweller Suzie Pellet. A feisty survivor in a ruined world, Suzie is the brainchild of Ian Miller, fantasy/horror artist and novelist. His surreal. nightmarish creations have graced book covers, graphic novels and films, and have given form to the works of HP Lovecraft, Tolkien and many more. Now, one of his own dark gothic characters comes to life. Not unlike Michael Moorcock guiding Hawkwind or Sandy Pearlman, The Blue Oyster Cult, or even a cranked up Moody Blues or Who, Transmaniacon bring Miller'svision to sonic life, aided and abetted by the outstanding vocal deliveries of punk poetess and avant rocker Lydia Lunch (a hind-sighted Suzie) and Maya Berlin (a future 'present-day' Suzie).

            Sci-fi and space rock has always been present in Transmaniacon, a previous incarnation was XM3a who released the first New Heavy Sounds single, 'Bad Robot Man', an epic 9 min acid rock riff-fest. This was followed up (as Transmaniacon) by 'The Darkening Plain' their first concept piece containing the 25 min classic 'Quintessence of Dust' - bleak, dense, forboding, and heavy. - a sort of Killing Joke/Hawkwind/Pentagram hybrid which featured the first collaboration with Lydia Lunch. But with 'Suzie Pellet' Transmaniacon becomes more a musical collective. The core of the band remains, hard and heavy riffing guitars, overdriven Hammond Organ (and this time synth) but with the addition of Tom (Uncle Acid/Limb) Mowforth on drums they are a groovier, more athletic 70's rock beast. The twin heavyweights of Blue Oyster Cult and Mountain loom large, but this time with the added groove of an an organ-driven Black Mountain. Suzie Pellet is Transmaniacon's first true collaboration with Ian Miller. Miller resurrected his post apocalyptic tale of street survivor Suzie Pellet in a rotten and derelict London-esque urban-scape called Duht. Transmaniacon have taken and expanded Miller's vision into a story in which Pellet herself, describes the dark, underworld, its characters and situations, friends and foes, all in grisly-spoken and sung diary-like, excerpts.

            Lydia Lunch was an obvious choice for the mature Pellet. A survivor of numerous underground scenes herself from punk and no-wave through noise, avant-rock and, appropriately enough here, spoken word. In 1975 Patti Smith perhaps could have been a young Susie Pellet, in 93 Polly Harvey, but now the role falls to Maya Berlin. With her band, Cold in Berlin delivering equal parts Punk, Doom and Goth over their three highly acclaimed albums (including 'The Comfort of Loss and Dust on Candlelight Records), she was perfect. And Suzie gives her the opportunity to expand her vocal (and theatrical) talents in Grace Slick or Julie Driscoll or even Chelsea Wolfe directions. Step into the nightmare world of Suzie Pellet. 

            STAFF COMMENTS

            Barry says: It's a pretty out-there idea, and more than fitting for the King Crimson / Blue Oyster it so readily references, but this particular concept is flawlessly accomplished and brilliantly overblown. Brilliantly heavy but nuanced psych rock with a host of talented musicians behind it makes it a must have for you LL fans out there.

            Blacklab

            Under The Strawberry Moon

              Fuzz, fuzz, fuzz, doom, stoner, more fuzz. Welcome to the world of Blacklab. Blacklab describe themselves as ‘the Dark Witch Doom Duo from Osaka Japan’. However, when it comes to witches, they are more the spectral Sadako from ‘The Ring’ than campy ‘Countess Dracula’. Chilling cool with built in overdrive. Yuko and Chia are undoubtedly immersed in the Japanese stoner doom scene, and it’s no surprise that with this first offering, they’ve pulled out a calling card that is as ‘in yer face’ and arresting as anything out there. A full frontal assault of distorted riffs, howls and ghostly vocals, as well as bags of riot girrl attitude and lo-fi bravado. In fact, listening to them brings back that frisson of excitement you got (those who may be old enough to remember) when you heard Mudhoney’s ‘Superfuzz Bigmuff’ for the first time. But grunge they are not, and neither are they ‘occult rock’ as such.

              Being nominally a ‘Doom’ band, expect a bucket load of Sabbath worship for sure, but Blacklab have a vibe and experimental undertow akin more to their countrymen ‘Boris’ and the souped up lo-fi fuzz of Ty Segall or Comets On Fire. Tracks like ‘Black Moon’ ‘Hidden Garden’ ‘Spoon’ ‘Symptom Of The Blacklab’ (which starts like Sabbath … then thrashes somewhere else), twist, burn and boil into the red. ‘His Name Is …’ is a churning chunky throb. ‘Spoon’ and ‘Warm Death’ offer moments of relief and crushing noise. And ‘Big Muff’ is … well … 9 minutes of drum-less fuzz, that will probably do serious damage to your speakers.

              What’s not to love. This first Blacklab release on NHS, is a version of their ‘Under The Strawberry Moon’ album which was released in tiny numbers on CD only in Japan, a pull together of previous tracks and new songs recorded over 2017. But the NHS variant is different. Wayne Adams (Death Pedals, Shitwife, Vodun, Casual Nun) noise guru at Bear Bites Horse Studio, has remixed the tracks to maximum effect, upping the fuzz and weight of the originals, to create Under The Strawberry Moon 2.0. exclusively for NHS. You will not be disappointed. It’s an album full of promise, and we at New Heavy Sounds are super stoked to be working with ‘the Dark Witch Doom Duo from Osaka Japan’. 

              New Heavy Sounds is pleased to announce our latest signings, stoner sludge four-piece Ex People. Emerging from the London DIY scene, vocalist Laura and drummer Vicki first met playing in series of riot grrrl and noise bands, before forming Ex People in 2015 with guitarist Calum and bassist Ed. Since then, the quartet have gone on to share stages with the likes of Palehorse, Lower Slaughter, Torpor, and Church of the Cosmic Skull. The band self-released a digital single “Without/Surekill” in late 2016, which was championed by Terrorizer, Echoes and Dust and The Sludgelord as well as picking up airplay on stations including WFMU and Resonance FM. Ex People also also wrote and released a video for Without, directed by DIY filmmaker Jojo Khor, about a teenage runaway joining an all-female cult led by the band’s singer, Laura.

              Now for NHS, the band have delivered a bruisingly assured debut album. 'Bird' was recorded with Wayne Adams (Vodun, USA Nails, Death Pedals, Casual Nun) at Bear Bites Horse Studios, and he's managed to perfectly capture the visceral weight of their sound, a startling amalgam of super filthy fuzz thick riffs, grunge, noise rock and stoner, combined with a punk attitude. Taking their cue from bands as diverse as Electric Wizard, Bardo Pond, Harvey Milk and Kylesa, along with 90s sludge such as the Melvins (yet still managing to sound cohesive) the ten tracks that make up 'Bird', combine stoner hooks and soaring vocals with a crushing heaviness. 

              FORMAT INFORMATION

              Coloured LP Info: LP on limited edition red and black vinyl

              Re-issue of the debut album.

              Black Moth are four super talented individuals, Harriet Bevan - vocals, Jim Swainston - guitar, Dave Vachon - bass, and Dom McCready, battering the crap out of his drums. Formed 2 years ago out of the ashes of Leeds garage rockers The Bacchae, the band were seduced by the brutal and hypnotic lure of the riff, to emerge translucent skinned and bleary eyed from their cocoon as the ferocious kick-ass heavy rock outfit that is Black Moth (see attached scan). Taking a powerful chunk of influence from proto-punk acts such as Iggy and the Stooges, Motorhead and early Alice Cooper as well as a sliver of 90s grunge and stoner rock and a big dose of doom, Black Moth draw out the darker elements and combine them with the heaving riffs of heavy metal giants, Pentagram and Black Sabbath, with "hooks so sharp you could hang a corpse on them".

              They also look to more current acts such as the Melvins, Sleep and Electric Wizard for inspiration, though singer, Harriet Bevan, still maintains a vocal style that evokes the haunting psychedelia of Grace Slick and psych-Satanist, Jinx Dawson from Coven: the woman responsible for the "sign of the horns" in rock'n'roll. They're also a big part of the burgeoning Leeds heavy rock scene alongside Pulled Apart By Horses, Kong, Hawk Eyes and Gentlemen's Pistorls, it looks like it's about to break. Songs that the band have honed and crafted in the mighty maelstrom that is the Leeds heavy rock scene, have been rippin’ ‘em up live not only in Yorkshire but everywhere they’ve played. Now all they needed was to be brought to vivid screaming life on record. Enter Mr Jim Sclavunos, the multi talented Grinderman and Bad Seed, not to mention the superbaaad connoisseur of the mixing console, fresh from producing the storming second Jim Jones Revue album. One of their shows was all it took. ”Black Moth reminds me of my misspent youth” he said. And judging by the all out assault that he’s crafted with the Moth, he must have been a very bad boy indeed. The Killing Jar is their debut from New Heavy Sounds and it rocks like a bastard.


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