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NEW WEST

Steve Earle & The Del McCoury Band

The Mountain

    Originally released in 1999 and widely regarded as one of the best albums of that year, New West is proud to reissue one of Steve Earle's finest works. Released in 1999, The Mountain marks a radical departure from Steve Earle's previous works as it was his first wholly bluegrass album. He later revealed that he had made the album as a tribute to the founder of bluegrass music the legendary Bill Monroe, who had died in 1996. In order to help flesh out the songs he had written for the album, Steve Earle called upon the famous bluegrass band of Del McCoury; widely regarded as one of the finest bluegrass bands on the planet who at that point. The album was a critical success and yielded Earle's 7th Grammy nomination when it was nominated for 'Best Bluegrass Album' in 2000.

    FORMAT INFORMATION

    2xLP Info: Available for the first time ever on heavy duty 180g vinyl.

    JD McPherson

    Holly, Carol, Candy & Joy / Red Bows For A Blue Girl

      This new 7" features the original song from 2018’s ‘Socks’, called ‘Holly, Carol, Candy & Joy’, as well as an unreleased song, ‘Red Bow For A Blue Girl’ on the B-side. Both are Christmas tracks.

      FORMAT INFORMATION

      Ltd 7" Info: Snow globe coloured vinyl

      Pylon

      Cool / Dub

      Namechecked by REM (back when they were cool) as the best band in the world, championed by LCD Soundsystem throughout their career and feted by every cool band you can think of (including the B-52s), Pylon are certainly the best band you've ever heard of. Formed in Athens, GA in 1979 over a mutual love of Cabaret Voltaire, Suicide, The No New York compilation, the group of art students and amateur musicians found the magic, capturing the DIY energy around them instantly to become the focal point of their local scene. 

      Now enjoying its 40th anniversary, this single serves spikey guitars and unflinching vocals on the A-side - peak post punk but much better than the rest, while B-side "Dub" is a pounding and hypnotic no-wave dancer par excellence. It's time to fill the gap in your collection I reckon.

      STAFF COMMENTS

      Patrick says: Peerless post-punk / no-wave brilliance here from Athens legends Pylon. Hypnotic, hard hitting and entirely angular, these two jams would be classics if they'd come out of NYC...

      FORMAT INFORMATION

      Ltd 7" Info: Clear red vinyl.

      Kacy & Clayton

      Carrying On

        The music Kacy & Clayton make is inextricable from where they grew up. They sing about the kind of people you’d find in Wood Mountain, Saskatchewan (population very few.) The hills, barns and remoteness of the area are in these songs, with a bittersweet acknowledgement that this music has taken them far from home. ‘Carrying On’ follows the international acclaim for their previous records ‘Strange Country’ (which Q magazine called “A beautiful album that nudges a classic past into a brave future”) and 2017’s ‘The Siren’s Song’ (described by Uncut as “Ageless and beguiling. A classic record for this or any other time.”)

        Their sound is equal parts homespun, coming from a family and community where playing music is an ever present part of social gatherings and the rare country, blues and English folk rock these second cousins obsess over and collect. For ‘Carrying On’, Clayton cites as influences: Bobbie Gentry’s Delta Sweete, Hoyt Axton’s ‘My Griffin Is Gone’, Cajun fiddle music and the steel guitar of Ralph Mooney, who played on many of the records that defined the Bakersfield country music scene of the 1950s. Sixties psych has also woven its way into these new songs.

        Having toured almost nonstop for the last two years, ‘Carrying On’ was conceived and honed on the road and recorded immediately after a jaunt across Western Canada - the songs having been tried and tested before audiences each night. The album was produced once again by Jeff Tweedy of Wilco and Uncle Tupelo fame, at his Loft studio in Chicago.

        FORMAT INFORMATION

        Coloured LP Info: Indies exclusive pink marble vinyl.

        Hamell On Trial

        Choochtown - 20th Anniversary Edition

          Ed Hamell on ‘Choochtown’: “I was living in Brooklyn, constantly on the road, and been dropped from my major label deal on Mercury/Universal. I really had nothing to lose and I was very inspired, if I remember, by the movie Pulp Fiction and the Biggie Smalls record: Ready To Die. I recorded anywhere I could. My friend Billy Nicgorski had an analog one inch studio in his basement, his younger brother had a band and I would use them. I also did a bunch of it in my basement in Brooklyn which had a dirt floor and I set the recording gear up on plastic paint pails. Used them as drums sometimes too. I released it on my own label Such-A-Punch and it got licensed to Evangeline in the UK where it got rave reviews and established my career over there. After all the press I got for my first two albums on a major I couldn’t get shit over here in the States, only that CMJ magazine which took their silliness pretty seriously who basically said, ‘We don’t know what it is but it’s art.’ Duh. I’m pretty proud of all my records, I’ve been very lucky in that I’ve always been able to maintain complete creative control but this one I was particularly proud of because every inch of it, from the recording which one track as you’ll see was recorded on my boom box, to the artwork, was all mine.”

          ‘The Saint Of Lost Causes’ is the eighth album from American roots troubadour Justin Townes Earle. Earle’s latest album finds a songwriter and artist who is unflinching and unequivocal in his truth.

          When writing this album, Earle focused on a different America - the disenfranchised and the downtrodden, the oppressed and the oppressors, the hopeful and the hopeless. There’s the drugstore-cowboy-turnedcop- killer praying for forgiveness (‘Appalachian Nightmare’) and the common Michiganders persevering through economic and industrial devastation (‘Flint City Shake It’); the stuck mother dreaming of a better life on the right side of the California tracks (‘Over Alameda’) and the Cuban man in New York City weighed down by a world of regret (‘Ahi Esta Mi Nina’); the ‘used up’ soul desperate to get to New Orleans (‘Ain’t Got No Money’) and the ‘sons of bitches’ in West Virginia poisoning the land and sea (‘Don’t Drink The Water’). These are individuals and communities in every corner of the country, struggling through the ordinary - and sometimes extraordinary - circumstances of everyday life.

          Lily and Madeleine Jurkiewicz create candid music with deep emotional and personal resonance. The sisters, who record under the moniker Lily & Madeleine, boldly explore what it means to be women in the 21st Century and aren’t afraid to use their music to call out injustice or double standards. This fearless approach has permeated their three albums, which are full of insightful lyrics and thoughtful indie-pop.

          With their fourth studio album, ‘Canterbury Girls’, named after Canterbury Park, located in their hometown of Indianapolis, the sisters are coming into their own as women and musicians. Using an eclectic playlist of songs as sonic inspirations - soul tunes and waltzes, as well as cuts from Midlake, ABBA and Nancy Wilson - Lily & Madeleine worked quickly, recording ‘Canterbury Girls’ in just 10 days.

          Although the record contains plenty of Lily & Madeleine’s usual ornate music - including the languid ‘Analog Love’, on which twangy guitars curl around like a kite twisting in the wind - the album also finds the siblings exploring new sonic vistas. ‘Supernatural Sadness’ is an irresistible slice of bubbly, easy-going disco-pop; the urgent ‘Pachinko Song’ hews toward interstellar synth-pop with driving rhythms and ‘Can’t Help The Way I Feel’ is an effervescent, Motowninflected number.

          Vocally, the sisters also take giant leaps forward. The dreamy waltz ‘Self Care’ is a rich, piano-heavy track on which their voices intertwine for soulful harmonies, while the meticulous ‘Just Do It’ has a throwback 70s R&B vibe. “This is the first record Lily and I have ever done where we have full control over all of the songwriting,” says Madeleine. “We did co-write with some people that we really love. But everything on this record is completely ours. I feel like I have full ownership over it, and that makes me feel very strong and independent.” With this growing self-confidence and musical poise, it’s clear that Lily & Madeleine are positioned for even greater things going forward.

          STAFF COMMENTS

          Barry says: Lil & Mads' last outing, 'Keep It Together' was a big hit in the shop, and their latest, 'Canterbury Girls' will surely meet the same reception. Slightly more upbeat this time around, we get an infectious smattering of neo-soul, shimmering synth-pop and even the odd inkling of classic-rock melodies and the ever-present addictive two-part harmonies we've come to know and love. Beautiful stuff.

          “Hello. I’m Robert Ellis, The Texas Piano Man. I wanted to take a moment to say a few words about this record and what you might expect from it. ‘Texas Piano Man’ is a collection of songs specifically written for my piano driven Rock & Roll band from the great state of Texas. Myself and the guys bring these songs to you in the very spirit of Texas itself; loudly, confidently, over the top, larger than life, at times deadly serious and yet always with a wink and a smile. We invite you to come on in, stay a while, and when you leave take with you the spirit of these songs, the spirit of Texas, and the spirit of The Texas Piano Man himself. Adios!” - Robert

          STAFF COMMENTS

          Barry says: From the grand, cinematic soundtrackery of Elton John or off-kilter college-rock keyfoolery of Ben Folds, Robert Ellis skilfully weaves heartfelt piano minimalism into grand classic rock opuses (opii?) within the space of a couple minutes. Perfectly constructed and brilliantly conceived rock and/or roll.

          FORMAT INFORMATION

          Coloured LP Info: Indies exclusive sky blue vinyl.

          Daniel Romano

          Finally Free

            ‘Finally Free’ marks Daniel Romano’s eighth long playing album in the last eight years. He has had what understatedly would be considered a prolific output of incredibly entrancing, poignant and creative records in this span of time. Recording, producing, designing and landing his records into the minds and hearts of scores of fans the world over. He has been called a shapeshifter, contrived, a chameleon, a charlatan, the best living songwriter, an asshole and a genius. His last record, ‘Modern Pressure’, received outstandingly high acclaim and praise from every notable publication out there and was acknowledged by a plethora of voguish year-end lists. Despite being the bronze placeholder in most of these dogfights, he is most often noted as a person of astounding influence on all of his musically economic successors.

            “No matter what he does, everything he puts out is better than anything else being put out by anyone else.” - Unnamed Subjugate

            Romano’s new effort, ‘Finally Free’, could stand alone as being pivotal if it were only its profound and breath-taking prose on paper. Writing now like an agnostic Whitman in his prime, Romano explores and uncovers new language and meaning for old sentiments grown tired, stating, “these poems are most certainly my finest and most principled efforts to date.”

            ‘Finally Free’ sings like a radical revelation, exploring the concepts of music as a celestial being, flora as a consequential ancestor and singing, no matter its quality or sound, as the endmost important output of our species. This record contains a vivid religious articulation despite its clear condemnation of a god as a singular ruling white male. New words have replaced old words for new meaning and the definitions have been left up to interpretation.

            JD McPherson presents "A Christmas Album: Socks". Featuring 11 original tracks written by JD McPherson and his friends. "Socks" is an album of holiday songs sure to be standards while you are decorating the tree. Come get warm by the fire with songs such as , “All The Gifts I Need” and “Every Single Christmas.” Or, burn the cookies to “Socks” and “Ugly Christmas Sweater.” There is something for everyone on this record to enjoy whether you are in the Christmas spirit or if you just wanna say, 'Bah Humbug.'

            Caroline Rose

            Loner

              The songs and narrative’s on LONER reflect my life over the last couple years––I joined Tinder, I got my first apartment and painted it teal, I went to par¬ties, I discussed politics, I had a girlfriend, we traveled the country, we broke up. I learned, for better or worse, how to be a member of the modern world. Turns out the modern world is terrifying.

              Tired of the bottomless pit of sad songs, I decided to put a spin on my greatest songwriting inspirations––misogyny, unplanned pregnancy, Capitalism, anxiety, loneliness and death––and wrap such depressing subject matter in a sprightly, angsty pop burrito…Because it’s hard being serious all the time and sometimes sad songs just need a cocktail. Loner reflects the styles of music I love––pop, folk, punk, electronic, and surf music––all thrown into a blender with a ladle full of cheeky satire. I call it Schizodrift. It sounds like Blondie drunk on mai tais.

              Loner was co-produced by myself and the wonderful Paul Butler (Deven¬dra Banhart, Michael Kiwanuka, St. Paul & The Broken Bones) and recorded in freezing Northern California, in addition to my parent’s attic and my last apart¬ment. It was mixed by sound guru Andrew Sarlo (Big Thief, Nick Hakim, Show Me The Body) in Brooklyn, NY.

              All Them Witches

              ATW

                By most bands’ fifth album, the sound is pretty set. Parameters established. Refinement dissipated in favour of formulaic execution of what’s worked in the past. Fair enough. All Them Witches take a harder route. In 2017, the Nashville four-piece offered what might’ve otherwise become their own template in their fourth album, ‘Sleeping Through The War’. Their second for New West Records following 2015’s mellow-vibing ‘Dying Surfer Meets His Maker’, ‘Sleeping Through The War’ brought larger production values to dug-in heavy psych blues jamming with oversight from producer Dave Cobb (Jason Isbell, Sturgill Simpson). After exploring new ground on 2013’s ‘Lightning At The Door’ and 2012’s ‘Our Mother Electricity’ as well as ‘Dying Surfer Meets His Maker’, with ‘Sleeping Through The War’ the band had arrived at something new, something sprawling, and grander-feeling than anything before it.

                So naturally, in a year’s time they’ve thrown that all to the Appalachian wind, turned the process completely on its head and reversed paths - recording in a cabin in Kingston Springs, about 20 miles outside of Nashville on I-40, with guitarist Ben McLeod at the helm. The result, mixed by Rob Schnapf (Beck, Elliott Smith, Kurt Vile), is the most intimate, human- sounding album All Them Witches have ever recorded and another redefinition of the band. Introducing keyboardist / percussionist Jonathan Draper to the fold with McLeod, bassist / vocalist Charles Michael Parks, Jr., and drummer / graphic artist Robby Staebler, the new eponymous record isn’t self-titled by mistake. It’s the band confirming and continuing to develop their approach, in the shuffle of ‘Fishbelly 86 Onions’, the organlaced groove of ‘Half-Tongue’, the tense build of ‘HJTC’ and the fluid jam in closer ‘Rob’s Dream’.

                From the sustained consonants in Parks’ vocals to McLeod’s commanding slide in ‘Workhorse’ and drifting melancholy at the outset of ‘Harvest Feast’, All Them Witches are laying claim to the essential facets of their identity.

                STAFF COMMENTS

                Barry says: From the driven, psychedelic opening half of the album to the more tender later moments, all them witches have crafted a bracing and brilliant outing full of unexpected twists and exponential crescentic growths. Head-nodding psychedelia, soaring Hammond organs and fuzzed-out solos.

                Aaron Lee Tasjan

                Karma For Cheap

                  Most people know Aaron Lee Tasjan as one of the wittiest, most offbeat, brilliant, weed-smokin’ and LSD microdosin’ Americana troubadours writing and singing songs today. The New York Times, NPR and Rolling Stone will all gladly corroborate. Steel yourselves, folk fans, because he’s about to follow his restless muse straight out from under the weight of everyone’s expectations into the kind of glammy, jingle-jangle, power-pop and psych-tinged sounds he hasn’t dabbled in since his younger days playing lead guitar for a late-period incarnation of The New York Dolls.

                  ‘Karma For Cheap’ is Tasjan’s third album and second for New West Records. The record was coproduced by Aaron and his friends Jeff Trott (Stevie Nicks, Liz Phair, Meiko, Joshua Radin) and Gregory Lattimer (Albert Hammond Jr.) and features Aaron Lee’s road band - guitarist Brian Wright, bassist Tommy Scifres and drummer Seth Earnest - with whom he’s been touring heavily for the last two years.

                  While the stylistic shift from Tasjan’s palpably stoned 70s-country-channeling 2015 debut, ‘In The Blazes’, to his more sophisticated, introspective and lushly produced 2016 follow-up, ‘Silver Tears’, was relatively incremental, Karma’s rocked-up Brit-pop-influenced Beatles-Bowie-Badfinger vibes underscore a significant departure. The album boldly reimagines these vintage sounds, pushing the boundary of what can be considered Americana.

                  The roots of Tasjan’s ‘Karma For Cheap’ stretch deep, drinking up the sounds of a Southern California childhood spent listening to The Beatles while riding around with his mom at the wheel of their navy blue Volvo station wagon - back to the very first pre-teen year he picked up a six-string and started figuring out all the pretty little chords in those Lennon-McCartney tunes. Back to the pure, blissful unfiltered innocence of falling in love with music for the first time. A huge sonic touchstone for Aaron’s new record is ‘The Beatles Anthology’, one of his childhood favourites. In songs like ‘If Not Now When’, ‘Songbird’ and ‘The Rest Is Yet To Come’ you can hear echoes of George Harrison’s vibrant guitar riffs and Jeff Lynne’s lavish production on those lo-fi John Lennon demos the surviving Beatles dug up and polished off in the mid 90s.

                  Perhaps the most poignant moment on ‘Karma For Cheap’ is the anthemic, hypnotic ‘Heart Slows Down’, a tune rife with musical and lyrical references to The Beatles and Tom Petty, anchored by an unforgettable chorus with a Traveling Wilburys vibe that finds the sweet spot between Tasjan’s two earliest musical heroes. “When I was a kid, my favorite CD to fall asleep to was Tom Petty & The Heartbreakers’ ‘Greatest Hits’, and the last song is a cover of that Thunderclap Newman song ‘Something In The Air’. From the time I was a little kid to when I was teenager, I used to listen to that song on headphones almost every night - I heard it in that space between wake and sleep so many times. And Tom’s passing - he was a really big hero of mine, so it hit me pretty hard. We were in Seattle playing a show when I heard, and it was a heavy thing to process. But all of those elements are there in ‘Heart Slows Down’. The chorus, ‘I will always be around,’ is a reminder that all the good you ever got out of listening to this music is still around you. You’ll always have that.”

                  Aaron Lee Tasjan says he aims to use his music for good but he’s no protest singer. And ‘Karma For Cheap’ isn’t some heavy-handed, didactic political record cramming a set of talking points down anyone’s throat. It’s a finely tuned rock & roll seismograph measuring the dark and uncertain vibrations of the time in which it was created. A cracked mirror reflecting back the American zeitgeist. With ‘Karma For Cheap’ Tasjan establishes himself as an artist who not only evolves over time but isn’t afraid to risk reinventing himself completely from one record to the next.

                  For fans of Tom Petty, Harry Nilsson, The Beatles, David Bowie.

                  STAFF COMMENTS

                  Barry says: Off-kilter blues-tinged ballads, whimsical but direct and comprised of huge slide guitars, White Stripes-y thumping drums and swinging, swaggering rock and/or roll.

                  FORMAT INFORMATION

                  Coloured LP Info: Split orange / red coloured vinyl.

                  Arthur Buck

                  Arthur Buck

                    Sometimes the catalyst for creating great art is simply being in the right place at the right time. For Arthur Buck, the new collaboration between singer-songwriter Joseph Arthur and guitarist Peter Buck, that place was Mexico and that time was the fall of 2017. Specifically, a little town off the Baja coast named Todos Santos, with the Sierra de la Laguna mountains to the east and the bright blue Pacific stretching out infinitely to the west. It is here that Buck has held the Todos Santos Music Festival for the last several years, which he created in 2012 with his wife, Chloe Johnson, shortly after R.E.M. called it a day.

                    Among the many artists who have played the festival is Joseph Arthur, who also happened to leave behind a guitar - a Dobro, specifically - after his last appearance there. And so last year he made the trek down to Todos Santos to pick up the instrument. Which is where he ran into Peter Buck. That was the beginning of Arthur Buck.

                    The creative result of this relationship is a vibrant 11-song collection that captures the spontaneity at the heart of the project - right down to the 1-2-3-4 count off from Buck that opens the record - with sounds and styles meshed together in an easy, almost playful manner.

                    Tchad Blake was brought in to mix the proceedings and the product is the new Arthur Buck - the outcome of a shockingly productive burst of inspiration.

                    All Them Witches

                    Sleeping Through The War

                    Produced by Dave Cobb (Chris Stapleton, Sturgill Simpson, Rival Sons) and mixed / engineered by UK-bred young-gun Eddie Spear, All Them Witches’ ‘Sleeping Through The War’ is the quartet’s most bold and well-crafted record to date.

                    The album’s creation marks the first time in the band’s history that a record was written before entering the studio. This process allowed for an alignment of the band’s art, desire and time. Convening in Nashville for only six days after a year of relentlessly touring their New West Records debut ‘Dying Surfer Meets Their Maker’, the band’s spirit coalesced in a rhythm of statement and melody that simply needs to be heard... repeatedly.

                    With the guidance of Cobb and Spear, ‘Sleeping Through The War’ captures the truest energy of the group, full blast, fun and contemplative. The record was made with volume in mind. ‘Sleeping Through The War’ is meant to be played loud, cranked up and without reservation. Feel it live through your stereo system or listen to it speak in tongues through your headphones.

                    The sounds are nothing without the songs and the songs are nothing without the lyrics. This record is a result of constant touring, world travel, overstimulated / divided humanity and a learning of awareness and compassion.

                    “They are the real deal - psychedelic blues-rock warriors who pray at the altar of Black Sabbath, space out like Pink Floyd and shred away their bummers like Blue Cheer.” - Spin

                    FORMAT INFORMATION

                    2xDeluxe CD Info: This deluxe edition features 7 demo songs recorded in the bands garage on a reel to reel Tascam 388 recorder. This is an audio only deluxe. No video footage.

                    Lily & Madeleine

                    Keep It Together

                    ‘Keep It Together’, the third album in just over three years by Indianapolis-based sisters Lily & Madeleine, is set for release via esteemed New West Records.

                    The spellbinding ten-song statement is the dynamic product of two distinct musical personalities, bound by kinship, melding seamlessly into one ephemeral and dreamy collection.

                    The sisters have come a long way since they began making YouTube videos in 2012, releasing two critically acclaimed albums on Sufjan Stevens’ Asthmatic Kitty Records and selling out myriad shows both in the US and overseas.


                    STAFF COMMENTS

                    Barry says: Cheery jangly Summer-pop on the newest album from singer-songwriting sisters Lily & Madeleine. Upbeat but slightly introspective, minimal pop-pieces for hazy days and sunsets. Beautiful stuff.

                    Daniel Romano

                    If I've Only One Time Askin

                    Not quite country, Americana, folk, songwriter or pop, Daniel Romano’s exquisite and expansive new album - ‘If I’ve Only One Time Askin’’, released on New West Records - is pieces of each but ultimately the work of asingular mind.

                    As hailed by Rolling Stone, the 11 self-produced and largely self-performed new songs “lead their baritone-voiced creator down a path filled with countrypolitan crooning, honky-tonk heartache and midcentury melodrama.”

                    In the two years since his critically acclaimed third full length ‘Come Cry With Me’, Romano has toured North America and Europe extensively, collaborating with and supporting a wide spectrum of artists, including Old Crow Medicine Show, Wanda Jackson, Hurray For The Riff Raff and Caitlin Rose.


                    The latest album, 'Heartbreak Pass', by seminal alt-country / rock band Giant Sand marks their 30th anniversary. Individually, each track on the record looms large on its own but, when heard as one complete offering, you know that you are listening to something very, very special.

                    The Arizona desert has been a predominate theme and source of inspiration for Howe Gelb, the indie rock pioneer and frontman for Giant Sand. The group can also be looked at as Howe’s one-man-band with many guests and collaborators. The album features Steve Shelly (Sonic Youth), Grant-Lee Phillips and Ilse DeLange (Common Linnets). 

                    FORMAT INFORMATION

                    Ltd LP Info: First pressing of the 180g LP is limited edition, pearl-colour vinyl.

                    Ltd LP includes MP3 Download Code.

                    From just south of the Appalachian mountains, in the rolling hills of Athens, GA., comes the roaring young four-piece, New Madrid. Following the critical acclaim of their 2012 independently released album Yardboat, the band signed with Normaltown records and promptly began work on their sophomore album Sunswimmer.

                    Recorded during a cool, rainy july, under the direction of David Barbe (Deerhunter, Drive-by Truckers), the aural landscapes forged in sunswimmer become almost palpable. Combining reverb-drenched vocal harmonies, soaring underwater noise and floating, meandering melodies, the sounds don't exit the speakers as much as they condense and hang in the air like the humid athens summer that birthed them.

                    For their fifth album, the Athens-bred/Nashville-based power trio the Whigs wanted to find the exact midpoint between raw and rehearsed. After more than a decade together - during which they’ve released four critically lauded studio albums and toured constantly as either headliners or openers for the likes of the Drive-By Truckers, Kings of Leon, and MGMT - the three members all agreed that they wanted to flex their muscles a bit: write some good songs, get them down as tight as possible, hit , and tear shit up.

                    FORMAT INFORMATION

                    LP Info: 180 gram vinyl.

                    LP includes MP3 Download Code.


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                    Thanks for stopping by Jayne and thank you for the kind words. https://t.co/59aJeGxNlL https://t.co/X5I278utak
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