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ONE LITTLE INDIAN

Here we have a celebration of Northern European electronics as Iceland's most famous export (except Findus Crispy Pancakes of course) Björk cooks up a cultural exchange with fellow vikings Karin & Olof Dreijer for a three tracker of ear wrecking energy. On the A-side Karin appears as Fever Ray, handing Björk the stems to xer icy electro winner "This Country Makes It Hard To Fuck". Making excellent use of an abandoned power plant, nearby Tesla coil and clanking assembly line, the former pop pixie hammers out a tough as fuck industrial cut then adds her inimitable vocals as the icing on the toxic cake. Next up, Karin gets to flex xer remix muscles with an epic, ascendent take on "Features Creatures", adding additional vocals, wild synth yelps ('member "We Share Our Mother's Health") and a whole heap of cinematic heft to the cut. Flip it and Karin teams up with xer bro Olof for a reprise of The Knife bringing a suitably techy, tribal and icy electro vibe to the same track. Brought to life with a super cool sleeve design, printed clear outer and retro-metal inner, this 12" nails both sound and vision.


Gabriel Olafs

Absent Minded

    “I love old movies and stories. I enjoy the fact that film scores demand a piece of music to have emotional depth. It has to convey multiple emotions and therefore has its part in telling a story.” Gabriel Olafs possesses an exceptional talent for telling a stirring symphonic story through instrumental music. At just 19, the composer and pianist wowed viewers and a live audience on Icelandic TV during his first ever live performance, where he was discovered by Björk’s manager Derek Birkett, announcing a record deal with One Little Indian Records shortly after.

    “My favourite thing is to compose a ‘theme’ for somebody – a character or even a place. A memorable melody that instantly takes you somewhere else” the young musician elucidates. At just 14 years old he wrote ‘Absent Minded’ – an imagined theme tune and subsequent lead single from his forthcoming debut album of the same name. “I am very visually-minded, and I often compose to an imaginary story or character. You could say my album is a score to a non-existent film.”

    Penny Rimbaud

    War & Peace

      Over the past four years, 2014 to 2018, Penny Rimbaud has been performing the War Poems of Wilfred Owen, these being an unrelenting and powerful condemnation of the carnage of WW1. Prior to Wilfred’s death in battle in the last weeks of the conflict, Owen had written of his poetry saying, ‘My subject is war, and the pity of war. The poetry is in the pity’, thereby suggesting that it was the pity which was foremost in his thoughts over and above the poetry which, in these circumstances (and not surprisingly), played a subsidiary role. Focussing on similar themes, in 2012, Penny decided to record an album of covers focussed on his favourite songs, songs which had been seminal to the making of the person he had become. Working with Tony Barber (ex Buzzcocks and Lack of Knowledge) as engineer and co-producer, they launched the project with Bob Dylan’s ‘Masters of War’ and George Harrison’s ‘Isn’t it a Pity’, both key songs within the framework of his lifelong interest in peace and love; different angles, same story. From the start they decided to limit the instrumentation to cello (Kate Shortt) and fretless bass (Jennifer Maidman) which, they hoped, would give the lyrics the space that they so deserved. The two tracks were recorded and mixed and then, as John Lennon once remarked, ‘life is what happens while you’re busy making other plans’, Tony closed shop and left to set up studio in New York, leaving the tracks gather digital dust. Then, suffering a bout of ‘seven-year itch’, they decided to resurrect the tracks and put them together as a 7” single which in itself seemed a tragically relevant statement to make in a period of time which appears so fractured by conflict and doubt.

      Crass

      Yes Sir, I Will

        Album has been remastered by Alex Gordon at Abbey Road Studios, as close as possible to the sound of the original release.

        “As it was in the beginning”. Yes Sir, I Will was the fifth and penultimate album released in March 1983 by the anarcho-punk band, Crass.

        The album was essentially a bitter and virulent attack on then prime minister, Margaret Thatcher, and her government in the aftermath of the Falklands War and was set nearly wholly over a raging and an almost free-form improvised backing provided by the group's musicians. Many of the lyrics from this album are extracted from Penny Rimbaud's extended poem ‘Rocky Eyed’. The original vinyl release contained no banding between songs, thus presenting the contents as one long piece split over both sides, making it the longest punk song ever recorded (the CD release was tracked by individual song). Rimbaud summarised the album in an interview to Radio Free France:

        “The boundaries increasingly ceased to have any relevance - prior to the Falklands War, one naively believed that there were separations between 'this' and 'that' and that if you dealt with 'this' then you could do 'that'... like songs - each song had its own little separate thing to deal with and Yes Sir, I Will is a statement about the fact that there isn't any separation - that it's all one and the same thing, that there is no single cause or single idea - there's no-one else to blame but yourself. That you can't say, "Well let's now concentrate on the Northern Ireland problem", "let's now concentrate on the problem of sexual relationships"... you can't do that - everything now is one major problem and that problem stems from yourself.”

        FORMAT INFORMATION

        Ltd LP Info: Single black vinyl in fold out poster sleeve – replicates first original pressing.

        CD Info: Fold-out poster sleeve – replicates first original pressing.

        Crass

        Christ - The Album

          Album has been remastered by Alex Gordon at Abbey Road Studios, as close as possible to the sound of the original release. “As it was in the beginning”.

          Christ – The Album is the fourth album by Crass, released in 1982. It was released as a boxed set double vinyl LP package, including one disk of new studio material and another, entitled Well Forked… But Not Dead, of a live recording of their June 1981 gig at the 100 Club in London along with other studio tracks, demos and tape fragments.

          The box also included a book, A Series Of Shock Slogans and Mindless Token Tantrums (which featured Penny Rimbaud's essay "The Last of the Hippies", telling the story of the suspicious death of his friend Wally Hope) and a largesize poster painted by Gee Vaucher.

          Unlike previous Crass albums, Christ took almost a year to record, produce and mix, during which time the Falklands War had taken place. This caused Crass to fundamentally question their approach to making records. As a group whose very reason for existing was to comment on political issues, they felt they had been overtaken and made to appear redundant by real-world events.

          For subsequent releases, including the singles "How Does it Feel to Be the Mother of a Thousand Dead", "Sheep Farming In The Falklands" and the album ‘Yes Sir, I Will’, the band stripped their sound "back to basics" and they were issued as "tactical responses" to political situations.

          Christ - The Album is considered to be one of Crass' best recordings. In a retrospective article written for the album, Harry Sword of The Quietus.

          FORMAT INFORMATION

          2xLP Box Set Info: Double vinyl boxset with book – replica of original first pressing.

          2xCD Box Set Info: Double CD boxset with book – replica of original first pressing.

          Crass

          Ten Notes On A Summer's Day

            Ten Notes on a Summer's Day was Crass's final album under the Crass name. It was released in 1986 and consists of a vocal and instrumental version of the same tracks in an avant-garde musical style.

            Recorded at Southern Studios in the Winter of 1984 / Summer 1985. Penny Rimbaud says in the liner notes: “Just as throughout our seven years’ existence as a punk band we had made concerted efforts to avoid specific political pigeonholing (‘left-wing, right-wing, you can stuff the lot’), so, musically, we attempted to push the barriers, always avoiding the obvious.”

            In one respect alone we were absolutely consistent; our inconsistency. If the essentially rowdy Feeding of the Five Thousand and Stations Of The Crass had established us as the thinking man’s bovver band, so Penis Envy broke the mould as an almost lyrical, yet still very angry piece of rock’n’roll feminism. And just as at the very time that the BBC thought us safe enough to be given airplay, so we ploughed in with Christ, The Album, an uncompromisingly avantgarde noise album which in its own way went a long way in redefining rock’n’roll’s limited parameters.

            Then, in much the same way as our fifth album, Yes Sir, I Will, owed more to free jazz than to rock, so Ten Notes On A Summer’s Day nudged itself towards modern European atonality, and us completely out of the rock’n’roll arena (as testified to by dramatically reduced record sales). In this sense, Ten Notes On A Summer’s Day truly was a swansong.”

            The vinyl edition comes in a single sleeve with printed inner – bag/insert. The CD comes in cardboard digipack type packaging.

            Crass

            Penis Envy

              Album has been remastered by Alex Gordon at Abbey Road Studios, as close as possible to the sound of the original release. “As it was in the beginning”.

              Penis Envy, released in 1981, was the third LP by the anarchist punk band Crass. The album is included as #36 on Rolling Stones' "40 Greatest Punk Albums of All Time" list in 2016.

              Named as a reference to some of Freud's ideas concerning sexuality, this release marked something of a departure from the somewhat 'macho', 'hardcore punk' image that The Feeding of the 5000 and its follow up, Stations of the Crass, had to some extent given the group, for it featured more obviously complex musical arrangements, as well as exclusively female vocals by Eve Libertine and Joy De Vivre (although Steve Ignorant remained a group member and is credited on the record sleeve as "not on this recording").

              The album addressed feminist issues and once again attacked the institutions of 'the system' such as marriage and sexual repression.

              The album was banned by the retailer HMV. During the mid-1980s, Greater Manchester Police under the direction of James Anderton seized copies along with other records by Crass and the Dead Kennedys, from Eastern Bloc record shop. Frank Schofield was charged with displaying "obscene articles for publication for gain". The band Flux of Pink Indians, its two record labels and its publishing company were also charged under the Obscene Publications Act. The judge ruled against Crass in the ensuing court case, although this decision was overturned by the Court of Appeal, apart from the lyrics to one song, "Bata Motel". The heavy costs incurred by this episode were a contributing factor in Crass deciding to disband.

              Both the vinyl and CD feature fold-out poster sleeves and are exact replicas of the original pressing.

              FORMAT INFORMATION

              CD Info: Fold-out poster sleeve – replicates first original pressing.

              Crass

              Best Before 1984

                One Little Indian are proud to announce that they will be distributing entire Crass Catalogue on behalf of Crass Records.

                Album remastered by Alex Gordon at Abbey Road Studios, as close as possible to the sound of the original release. “As it was in the beginning”.

                Best Before 1984 is a compilation of Crass' singles and other tracks, released in 1986, including lyrics and a booklet ("...In Which Crass Voluntarily 'Blow Their Own'") which details the history of the band in their own words.

                Crass

                Stations Of The Crass

                  One Little Indian are proud to announce that they will be distributing entire Crass Catalogue on behalf of Crass Records.

                  Album has been remastered by Alex Gordon at Abbey Road Studios, as close as possible to the sound of the original release. “As it was in the beginning”.
                  Stations of the Crass is the second album by Crass, released in 1979. The record, originally released as a double 12", includes live tracks from a gig recorded at the Pied Bull pub in Islington, London, on August 7, 1979.

                  Bad Breeding

                  Exiled

                    Bad Breeding announce new album, Exiled. A group with a keen eye for social injustice and establishment venality, expressed in hollered tones over a full-throttle, enervating soundclash of anarcho punk, hardcore and noiserock, their third album ‘Exiled’ was fuelled by the last 12 months in (primarily) British politics: a nation circling the drain while forever eyeing the plughole.

                    Topics on this 12-song, 32-minute album also include some hardy perennials of left-wing hardcore punk: war, imperialism, the police, the press. Topics which, at a time where the political landscape could change tectonically between this being written and you reading it, maintain a grim relevance. 

                    Marry Waterson & Emily Barker

                    A Window To Other Ways

                      English folk royalty meets Australian soul in this new collaboration between Marry Waterson and Emily Barker; an album of fly-on-the-wall observations of the contradictions and disconnections of modern life.

                      No strangers to collaboration, Waterson and Barker discovered an immediate kinship when they started writing together. The intriguing combination of Waterson’s poetic lyrics and Barker’s eclectic musicality has been shaped in the studio by musical polymath Adem Ilhan.

                      Their first meeting was at a songwriting retreat run by Waterson’s One Little Indian labelmate, Kathryn Williams. Three songs from that retreat formed the kernel of what was to become a full album. "It came very easily. I think we were meant to meet.” says Waterson of that first encounter.

                      Waterson's wordplay takes centre-stage on the album. A much-admired lyricist herself, Barker was enamoured with Waterson's writing: "Marry is such a wonderful poet. I adore the quirkiness of her lyrics and the rhyme-schemes and wordplay she adopts – there’s always hidden fun you can find, even in the darker songs.” Barker opened her toolbox of musical ideas, and the two songwriters began to weave the multi-layered musical tapestry that has brought the songs to life.

                      Perhaps inevitably, it was Waterson's technological faux-pas that led to Adem becoming the album’s producer. Waterson had meant to send Barker a voicemail recording of ’Twister’ but inadvertently sent a group message to the whole songwriting retreat; "Adem added some wonderful, weird cello parts and sent it back and this confirmed what Emily and I had already decided: that we’d love Adem to produce the album."

                      With no self-imposed restrictions on musical direction, the studio sessions allowed the songs to take their own path, roaming from the sub 3-minute indie-pop of 'Perfect Needs' via the sparse jazz-blues of 'Trick of the Light’ to the epic alt-folk of ‘All Is Well’. ‘Little Hits of Dopamine’ took shape when Lukas introduced the trippy double bass groove that underpins the whole track, and the album is liberally smattered with Adem's lavish string arrangements and ingenious electronica.

                      The resulting collection of songs pushes the boundaries of Barker and Waterson’s renowned roots styles, venturing into a diverse union of genres – contemporary folk, country and soul nestles comfortably alongside lilting indie and playful blues. ‘A Window To Other Ways’ is the product of two revered musicians embarking upon an exciting, explorative journey, and a charmed collaboration.

                      Test Dept.

                      Disturbance

                        In an ideal world, Disturbance, the new album from industrial pioneers Test Dept, would not exist. It wouldn’t need to. Britain would not stand divided by xenophobia. Working class communities would not be under siege. Capitalism would not have created a climate change crisis pushing the planet towards a dangerous brink. And the Thatcherite ideals that Graham Cunnington and Paul Jamrozy spent Test Dept’s early years raging against would not be so terrifyingly back in political vogue.

                        ‘Utopia’ is the ninth studio album from the iconic artist Björk, out November 24th via One Little Indian Records. The album's artwork was created in collaboration of M/M, Jesse Kanda and James Merry and reflects the records sonic direction; optimism, lightness, utopia.

                        Of the album she explained to Dazed this Summer that, ““Maybe that’s why it became a utopian theme – if we’re gonna survive not only my personal drama but also the sort of situation the world is in today, we’ve got to come up with a new plan, If we don’t have the dream, we’re just not gonna change. Especially now, this kind of dream is an emergency.”


                        FORMAT INFORMATION

                        Deluxe CD Info: 6 panel soft pack with 12 page booklet & poster.

                        CD Info: Standard jewelcase with booklet.

                        Kathryn Williams

                        Songs From The Novel Greatest Hits

                          Mercury-nominated singer-songwriter Kathryn Williams releases a ‘soundtrack album’ to a brand new novel by best-selling author Laura Barnett, that follows the life of a fictional singer. Greatest Hits, the hotly-anticipated follow-up to Barnett’s novel The Versions of Us, was published in June 2017 and now the brand new album by Kathryn Williams – Songs from the Novel Greatest Hits, is released.

                          Cody ChesnuTT

                          My Love Devine Degree

                          Cody ChesnuTT returns after a 15 year hiatus (bar a couple of singles) with a brand new album, "My Love Devine Degree". Achieving universal acclaim, not to mention Piccadilly Records' much coveted, 'Album Of The Year' award, "The Headphone Masterpiece" cemented this neo soul / R&B star's status way back in 2002. Fans of that honest, pure, bedroom produced style have got a lot to get excited about here as it's another heartfelt delivery straight from the bed sheets of this smooth talking street bard. Languid and sprawling, second track, "Africa The Future" must clock in at over 8 minutes while the full album effortlessly takes in sixteen full length tracks! Taking in rock, soul and Isley Brother-style songwriting, all somehow injected with raw R&B flavour, what becomes quickly apparent is how deft and effective ChesnuTT is at delivering emotion rich vocals in whatever style or genre he's choosing to work in. Track's like "So Sad To See" take on complicated arrangements in tune with new jazz stars like Jacob Collier. While wry commentaries on love and relationships come into focus on "I Stay Ready". Definitely a more mature album, with slightly more polished production, don't worry though, it still feels like your sat there, right next to Cody in his bedroom as he sings his thoughts and feelings directly into your ear. Another contender for album of the year..? Very possibly.

                          Don DiLego

                          Magnificent Ram A

                            ‘Magnificent Ram A’ is the follow up to DiLego’s 2012 album, ‘Western & Atlantic’, which won an Independent Music Award for ‘Best Roots/Alt Country Album’.

                            “New York City’s emerging folk-twang songsmith, Don DiLego, is alt-country’s next poster boy” - Rolling Stone.

                            “’Drive Like Pirates’ could well be your new favourite song of the week” - Chris Hawkins, BBC 6Music.

                            “A record that hangs together like a star spangled cosmic nudie suit. This is country ‘cool’” - Americana UK.

                            Over a decade since The Magic Numbers landed in the Top Ten with their double platinum-selling debut album, Michele Stodart takes temporary leave of the band she formed with her brother Romeo in order to release her second solo album, ‘Pieces’, on One Little Indian.

                            STAFF COMMENTS

                            Barry says: Former magic number pulls out a wistful collection of Americana-tinged soulful anthems. Understated tales of longing and pain, grand instrumentation springing from a solo acoustic guitar, and Stodart's trademark pitch-perfect vocals. Recommended.

                            Wild Palms

                            Live Together, Eat Each Other

                            Recorded by Wild Palms in the same self-built Manor House studio where they made their 2011 debut ‘Until Spring’, new album ‘Live Together, Eat Each Other’ is a lusciously layered offering of hazy experimentalism and off-kilter alt pop, that follows in the auspicious lineage of Beach House, Cocteau Twins and TV On The Radio.

                            Half a decade in the works, ‘Live Together, Eat Each Other’ packs a lifetime’s worth of experience into 13 tracks, alongside a painstaking approach to recording that beams out of its shimmering glitches and collaged soundscapes. “Because we redid the songs so many times, and sat with them so long and went through so many transformations in terms of layering, it was kind of like the songs had eaten themselves and been regurgitated as something else,” explains Lou of the album’s title. “It seemed like the whole thing was this weird process of consumption and reconstitution. The time it took seemed to allow for a kind of gestation, or fermentation, period. It gave time for influences to bond and stick to each other. Things were made, smashed up into fragments and reformed repeatedly until we couldn’t really remember what it’d been before and it was just what it was. Darrell [the band’s guitarist and Saatchi approved artist]’s artwork followed the same trail as well, collage, re-working, painting, and blotting.”

                            ‘Live Together, Eat Each Other’ is released through One Little Indian Records. The album was produced by the band’s bassist Gareth Jones and Liam Howe (Lana Del Rey, FKA Twigs) who was drafted in to coproduce and fine tune the record.

                            Following on from the success of her critically acclaimed ‘Incitation’ EP, Olga Bell is back with new album ‘Tempo’, released via One Little Indian Records.

                            “Grand compositional ambitions and a dynamic voice... the arty, adventurous edge of pop” - The New York Times

                            “For those uninitiated, Bell’s work lies somewhere between an industrial night at Berghain and a cyborg performing at Carnegie Hall.” - Dummy

                            STAFF COMMENTS

                            Barry says: Encompassing aspects of outsider-pop, synthwave and electronic soul, 'Tempo' confounds expectations of the singer songwriter. Quirky off-kilter rhythms and textures permeate the whole endeavour , rapidly switching from acid pulse-wave stabs to glitched out snares and clave hits. Like a medley of all the electronic tropes of the last 20 years, but distilled into a cohesive and concise representation of modern electronic music culture. This is a capable and sparkling outing, and at no point feels too far from comfort. Like hopping between ten different parties of ten different varieties, each playing different music, and loving each and every minute.

                            FORMAT INFORMATION

                            Deluxe LP Info: Deluxe edition includes art prints.

                            Olga Bell

                            Incitation

                              One Little Indian release composer, producer and performer Olga Bell’s ‘Incitation’. The mini album follows Bell’s acclaimed 2014 song cycle and album, ‘Krai’, which was described by The New York Times as, “at once a folkloric study of her homeland and a contemporary exercise in electronic production” and was included in The Quietus’ Albums Of The Year.

                              Bell’s newest offering is a collection of deeply personal, urgent songs with her voice once more at the helm of her singular production. This time, “a kind of personal violence is the main force at work,” she says of the mini album, “but it’s more of a brawl with fear than something shell-shocked or confessional. The emotional language of Incitation recognizes that while fear can be brutal, even crippling, it is also a necessary force for change and, perhaps most importantly, not a permanent state. Its remedy is simple: action.”

                              Born in Moscow and raised in Alaska, Bell is now based in Brooklyn where she makes original music, remixes and videos under her own name. She also makes dance music with British musician Tom Vek as half of Nothankyou. From 2011 to 2013 she toured as a vocalist and keyboardist with Dirty Projectors and Chairlift and is currently at work on her third full-length album, set for release in early 2016 on One Little Indian.

                              A prodigious classical pianist as a child and teenager, Bell graduated from the New England Conservatory before moving to New York City to pursue electronic composition and songwriting. In 2009 composer Osvaldo Golijov and soprano Dawn Upshaw selected Bell for a workshop and concert of new works by contemporary composers at Carnegie Hall. In 2011 she received a Jerome Fund Grant from the American Composers Forum to aid in the completion of her first large-scale composition, ‘Krai’, which was released as an album in 2014 after a sold out premiere at the Walker Art Center in Minneapolis.

                              FORMAT INFORMATION

                              Indies Exclusive LP Info: Limited edition vinyl format (150 copies for the UK & Eire) available exclusively to independent retailers. LP packaged in deluxe reflective embossed sleeve.

                              Kathryn Williams

                              Hypoxia

                                Kathryn Williams’ brand new album of songs inspired by Sylvia Plath’s ‘The Bell Jar’.

                                Ed Harcourt plays a key role in Kathryn’s new album, ‘Hypoxia’, co-producing and engineering as well as co-writing the song ‘Cuckoo’.

                                Sonically the album utilises textures first explored by Kathryn on her Adrian Utley produced project, ‘The Pond’ (2011).

                                There are surprises to be found here too, like the dramatic glam rock guitars that suddenly erupt in lead single ‘Mirrors’ and in Kathryn’s deliciously idiosyncratic lyrics and delivery - her gentle voice loaded with an underlying edge that was always there but has never seemed more apposite.

                                FORMAT INFORMATION

                                LP includes MP3 Download Code.

                                Björk

                                Biophilia Live

                                  “A dazzling audiovisual spectacle that benefits from the full cinematic treatment... an imaginative stand-alone artwork.” - The Hollywood Reporter

                                  The critically acclaimed documentary film which captures the multidimensional concert centred on Björk’s eighth studio album, titled ‘Biophilia Live’, will be released on audio-visual formats via One Little Indian Records.

                                  The film documents the intimate ‘Biophilia’ performance at London’s Alexandra Palace where Björk was accompanied by unique musical instruments, collaborators and visuals. Shot by directors Nick Fenton and Peter Strickland and produced by Jacqueline Edenbrow / Gloria Films, the film also features science and nature archive and found footage inspired by the themes of the album, as well as animation which has been augmented with the music of ‘Biophilia’.

                                  The infinitely creative journey presents a culmination of work that represents one of the most original musical endeavors of a generation.

                                  The DVD and Blu-ray formats also feature extra content filmed during Biophilia’s residency at Japan’s Miraikan Museum and the options of stereo and 5:1 surround sound.

                                  The Computers

                                  Live And Inconsolable

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

                                    At the end of 2013 The Computers returned home to Exeter for a triumphant sold out show. Throwing in some horns to embellish their already huge big band sound they recorded the whole event for prosperity. ‘Live and Inconsolable’ is the result.

                                    Recognised by many as one of the UK's best live bands, The Computers are rock'n'roll with a swing in its step, Brit-beat that knows all the northern soul moves. This is sartorially snappy rhythm and blues, all front and bombast, energy and soul with riffs as sharp as their quiffs.

                                    Having spent the last year living on the road, The Computers have played everywhere from 45,000 capacity enormodomes with Die Toten Hosen, Madness and The Kaiser Chiefs to sweat-drenched clubs with Rocket From The Crypt and Dinosaur Jr and it shows on this live document.

                                    ‘Live And Inconsolable’ is packed to the rafters with super sharp shooting songs pulled from the band's This Is The Computers and last year's Love Triangles Hate Squares albums.

                                    FORMAT INFORMATION

                                    Ltd LP Info: Coloured vinyl 2LP limited to 300 copies for the UK and Ireland.

                                    Do You Love the Sun is the first new Scud Mountain Boys album since Sub Pop released the critically acclaimed Massachusetts in 1996.

                                    After being out of contact for many years, original Scud Mountain Boys band members Joe Pernice (vocals, acoustic and electric guitars), Stephen Desaulniers (vocals, acoustic guitar, bass) and Bruce Tull (electric guitar, lap steel, pedal steel) returned to the scene in late 2011, playing an almost-impromptu reunion in Cambridge, Mass. Soon after, the band announced more shows and reissued The Early Year, a compilation of their first two albums Pine Box and Dance the Night Away. Do You Love the Sun fulfills the promise of a full-fledged recorded comeback. Their latest offering features Pernice’s inimitable marriage of graceful vocals and a resigned tone that the NME (in a 9-outof- 10 Massachusetts review) once described as “the golden voice of the damaged, regret oozing from every word like wounded honey… rendering glorious the utter inevitability of failure.” Though the band was initially lumped in with the alt-country scene helmed by Son Volt, Wilco and the hordes of other disciples of Hank Williams, the Scud Mountain Boys have always taken their inspiration as much from hooky ’70s AM-radio pop as from the dirty country road of Johnny Cash.

                                    For the legions of Scud Mountain Boys fans that have been holding out hope for a followup to the brilliant Massachusetts, Do You Love the Sun is a welcome ten-track return from a band that has been away for too long.

                                    Stubborn Heart

                                    Better Than This - Inc. Graham Massey Remix

                                      Stubborn Heart release a new single, ‘Better Than This’ from their acclaimed eponymous debut. The follow up to their 6Music A-listed ‘Starting Block’ single, it features a brilliant Graham Massey reworking of the original that opens the track up over 6 minutes 53 seconds. Says Massey: “Stubborn Heart have been to Vinyl University and wrought out a timeless heartbreak classic at the forward facing end of the UK soul boy time thread. Whilst remixing I was reverent of the parts and song delivery and did not want to just deconstruct the song, so I split the remix into two halves, a redressed version of the song as Part 1 flowing into a wider landscape in Part 2.”

                                      On the flip is the alternate ‘Soft Version’ and the sumptuous melancholy of brand new song, ‘Do Tomorrow’, its tune woven around a simple motif that builds into a beatific Fripp-like crescendo

                                      Björk

                                      Biophilia Remixes Part Eight: Mutual Core / Moon - These New Puritans / The Slips Remixes

                                      The eighth part of the series of remixes from Björk’s ‘Biophilia’. Available on CD single and 12” vinyl, this entry in the series features remixes by These New Puritans and The Slips.

                                      These New Puritans (Infectious): “A span of ideas and singularity of vision that simply shouldn't happen to 20 year olds. They've created their own imperfect world” - NME. The band have collaborated with Hedi Slimane and released two albums on Domino / Angular Records, 2008’s ‘Beat Pyramid’ and 2010’s ‘Hidden’.

                                      The Slips are David Treahearn and Rob Haggett. Mixing eclectic dance sets with live drums and 8-bit retro visuals, their live appearances soon gathered a buzz, and the band was invited to support the likes of Kasabian, Friendly Fires, Alex Metric and Pnau, as well as playing at Glastonbury Festival and more.


                                      'Biophilia' is an interdisciplinary exploration of the universe and its physical forces - particularly those where music, nature, and technology meet - inspired by these relationships between musical structures and natural phenomena, from the atomic to the cosmic.

                                      As Bjork plays neither piano or guitar, new musical instruments were specially developed for the album; The Tesla coil was used as a musical instrument on the song "Thunderbolt". A gameleste, a mixture between a gamelan and a celesta which was programmed in order to be played remotely by an iPad, was also used in several songs.

                                      For the music, Björk related the phenomenon the song describes to a musical structure or resource. For example; the song "Moon" has different musical cycles that repeat throughout the song; the song "Thunderbolt" contains arpeggios, inspired by the time between when lightning is seen and thunder is heard; and in "Solstice", the counterpoint makes reference to the movement of planets and the Earth rotation, and the pendulums used on the song make tribute to the Foucault pendulum.

                                      A combination of the otherworldy and electronic, on "Biophilla" Bjork has come up with another immersive and experimental album that will ensnare you with wonderment.

                                      Parisian émigrés Underground Railroad return with a brand new album ‘White Night Stand’, a record that finally strikes the keynote of what the band are all about.

                                      Across its 11 songs, produced by the band in London's Stamford Hill, guitars explore and meander, circling the biggest melodies of the band's career so far. It's intense and amped, touching and subtle at points and hugely tuneful, taking in early Radiohead and Liars as well as the beloved American alt rock bands that made the three fall in love with music in the first place.

                                      There are moments of fitting intensity. Most notably 'Seagull Attack', the album's crescendo centrepiece, that clocks in at over nine minutes with its hypnotic repetitive guitar cascade. Then there's the distinctly Radioheadesque 'Ginkgo Biloba', another album highlight.

                                      Further inspiration across the album came from ‘Twin Peaks’ and David Lynch, with Marion naming 'The Black Widow', 'The Orchid's Curse', and 'Traces To Nowhere' after episodes of the show, and 'Yellow Suit' in reference to his 'Blue Velvet' film.

                                      Wild Palms release new single ‘Delight In Temptation’, hot on the heels of their long awaited debut album ‘Until Spring’.

                                      Both single and album are produced by Gareth Jones (Grizzly Bear / Depeche Mode / These New Puritans), and ‘Delight In Temptation’ is Wild Palm’s most anthemic, euphoric glo-fi moment yet.

                                      According to singer Lou Hill, the song works from the hypothesis that “carnality is an inescapable part of our nature and (we should) embrace it as a pleasurable facet of our lives - celebrate it rather than view it as something of a sin”.

                                      Nic Armstrong

                                      The Greatest White Liar

                                      Brought up on a musical diet of Chuck Berry, Eddie Cochran, Gene Vincent And Johnny Kidd, Nic Armstrong wears his influences on his sleeve on this, his debut album. Recorded with Liam Watson at Toe Rag Studios, it's an album of classic, timeless songs with a distinctive 60s analogue sound.


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