The recording debut for the new duo of Finnish composer Lau Nau, aka Laura Naukkarinen, and American baritone saxophonist Jonah Parzen-Johnson, it cycles between moments of knotty ambience, whispered melody, and innocent tinkering, as the duo improvises over 8 narrative scores composed by Parzen-Johnson. Jonah Parzen-Johnson says: “For me, telling a story is about more than sharing a set of facts. A well told story is the protective coating around our most intimate and universal feelings. Things too delicate to name. When I want to understand how someone makes me feel, I tell myself our story. There are familiar stories of family and friends, but the story of a quick moment with a stranger can sometimes be the most illuminating. A brief interaction whose fractional reflection helps us understand ourselves in a new way. ” “A lot of my musical practice is about trying to find that same storytelling sensation in the experience of performing. That’s how I got going on these narrative scores. Each one is a story you can read, but it's more than that, it's a trigger for a sensation. If all goes well, that’s what makes it into our improvisation. It might be tempting to ask to read the scores, but try to resist. This music isn’t about the stories, it's about how it feels to tell them."

Jonah Parzen-Johnson & Lau Nau are each prolific and celebrated creators on their own, with 22 albums released between the two of them, but in this fresh conversation, something completely new comes to life. In Laura’s words: “I enjoy recording live takes without overdubs, and this album is exactly that - pure first takes, bubbling creative energy happening in the moment. Jonah’s written stories gave a powerful spark and direction for our improvisations, but the album reminds me of a chemical reaction: a result that is impossible without both of our inputs, and a surprise to each of us. ” On the debut single, 'First Time Viewer', it is almost impossible to tell where Jonah’s fragile baritone saxophone melody begins and where Lau’s live-sampled, processed, and re-synthesized accompaniment ends. As the improvisation develops, a cloud of ethereal fragments forms into a lattice of melody and texture strong enough to support the entire track.

TRACK LISTING

1. Longtime Resident
2. Flight Attendant
3. Apologetic Inquirer
4. Co-Op Association
5. First Time Viewer
6. Calming Influencer
7. Bus Driver
8. Suspicious Commuter

Adam Wise, you may know, is Fabulous Lover and this new record marks his first for Pete Herbert's Music for Swimming Pools. It's a mature mix of 80s-inspired Balearic electro-funk with a tropical twist straight from his Bali studio. This sun-soaked collection bridges sunset vibes and dancefloor energy with 'It's Lonely At The Top' a funky opener with a squelchy bassline and playful riffs. 'Elevate' douses you in 80s synth sounds that glow warm, and label head remixes into a more buoyant Balearic house beat. Elsewhere is the gentle swagger of 'Low Bounce' and lush synth disco buzz of 'Automatic.' Feel-good grooves, for sure.

TRACK LISTING

Side 1
1. "It's Lonely At The Top"
2. "Elevate"
3. "Crush On U"
4. "Elevate" (Pete Herbert Remix)

Side 2
1. "Automatic"
2. "Low Bounce"
3. "Low Bounce" (Rayko Space Clubber Remix)
4. "Automatic" (Instrumental)

Between poignant introspection and bold sonic exploration, Yasmine Hamdan returns with ‘I remember I forget بنسى وبتذكر ’, a free-spirited and vibrant new album where memory, identity and personal commitment intertwine with grace.

A trailblazer of Arabic indie electronic pop and a key figure in the underground music scene, Hamdan blurs the lines between traditional sounds, electronic textures and hypnotic melodies.

‘I remember I forget بنسى وبتذكر ’ delves into the turmoil of her native Lebanon through poetic, universal writing, enriched by prestigious collaborations and a constant dialogue between past and present.

Co-produced with Marc Collin (Nouvelle Vague), the album captures the very essence of Yasmine Hamdan: a singular voice at the crossroads of cultures, capable of making the personal and the political dance in the same breath.

From her early days with the duo Soapkills to her solo releases on Crammed Discs, and collaborations with the likes of Mirwais and Jim Jarmusch, Yasmine Hamdan has forged a unique path, acclaimed worldwide. With ‘I remember I forget بنسى وبتذكر ’, she delivers a powerful, timely work, crafted to stir both hearts and minds.

TRACK LISTING

Hon هون
Shmaali شمالي
Shadia شادية
The Beautiful Losers الحلوين
الخسرانين
I Remember I Forget بنسى
وبتذكر
Vows سبع صنايع
Abyss حويك وزويك
Mor مر التجني
DAYA ضياع 3
Reminiscence غروب

Originally released in 2012, the debut release from Fatdog quickly became a cult classic amongst fans of low-slung deep house. Outside of the studio his Werk parties were hosting the likes Marcellus Pittman, Theo Parrish, Move D, MCDE, Levon Vincent, Moodymann & Patrice Scott in the North East of England. This EP was a testament to the wild basement energy that culminated from those nights, marrying UK and Detroit influences with consummate ease.

‘Remember Me’ sets the tone with Chris Raine’s soulful croon laid over warm organ chords and a restrained electro synth hook, creating a swinging, late-night vibe. ‘U&Me’ drifts into dubbed-out, codeine-laced slo-house territory, deep and narcotic.
On the B-side, ‘Cookie’ channels Theo Parrish with its syrupy, hypnotic strut, while ‘Contact’ closes out with an electroid edge—perfect for the 3AM dancefloor stalkers.

Some 13 years later, WOLF have reached back into the archives and with permission from the man himself, have reissued this timeless EP for a new generation of record buyers. 

TRACK LISTING

A1. Remember Feat. CJ Raine
A2. U & Me
B1. Cookie
B2. Contact

With 'But Remember What You Have Had', Stephen O’Malley continues and expands his musical approach by transposing it to multiphonic electroacoustic writing and acousmatic listening. Drawing not only on his extensive experience as a composer and live instrumentalist, but also on the countless studio production and mixing sessions he has taken part in the course of his many projects (in solo, with SUNN O))) or KTL, to name but a few), Stephen O’Malley’s work on this new piece is ambitious, engaging in an inspired research that delves into the deep intricacies between polyphony, intonation and timbrality, enhanced by melodic motifs. To do this, O’Malley summons up his own very personal sound universe, constellated with amplified textures, instrumental sustained tones and raw energy, in order to diffract them into wavefronts, waves and blows that weave a complex, rich and fascinating matter. But remember what you have had stands out as an important work in Stephen O’Malley’s repertoire: it brings together the multiplicity of his musical approach in an exemplary way, while laying the foundations and promises for the future of an already extraordinary journey.

STAFF COMMENTS

Barry says: As one half of Sunn0))), you'd expect that O'Malley is well versed in drone, be it catatonic earth-shattering distortion and belly-wobbling bass or brittle, textured modern-classical wrought from woodwind and strings. This (much like the brilliant 'Gruides', 2015) is of the latter ilk, and is absolutely stunning. Slow-mo classical drone.

TRACK LISTING

1. But Remember What You Have Had

With ‘Remembering Now’, Van Morrison returns to the transcendent, uncategorisable rhapsodies that make him unique. Soul, jazz, blues, folk, country - this is music in conversation with all of them but limited by none. Its rich with hallmarks of classic Van Morrison, from dominant themes of love in spirit with the great ‘Someone Like You’ (the escapist romance of ‘Once In A Lifetime Feelings’, the self-deprecating candour of ‘The Only Love I Ever Need Is Yours’) to specific references to locations from his youth in the title track and ‘Stomping Ground’. The title of another song, ‘When the Rains Came’, echoes a lyric from his classic ‘Brown Eyed Girl’.

From the radiant opener, ‘Down to Joy’, to the joyously resilient ‘Haven’t Lost My Sense of Wonder’, Van Morrison’s voice, guitar and saxophone continue to mesmerise and he is surrounded, as always, by a fabulous band - Richard Dunn (Hammond organ), Stuart McIlroy (piano), Pete Hurley (bass) and Colin Griffin (drums and percussion) - who have worked with him since ‘Three Chords and the Truth’ in 2019.

The single ‘Down To Joy’ feels like he has gone back to his soul and gospel roots, its strong emphasis on an uplifting big band arrangement with evocative strings providing fans with a taste of timeless sounds which represents the rest of the album.

Beyond his key band members, ‘Remembering Now’ features an array of accomplished collaborators. Its strings were arranged and directed by Fiachra Trench (Paul McCartney, Elvis Costello), whose association with Van Morrison goes back to ‘Avalon Sunset’ in 1989. Those strings were performed by the Fews Ensemble led by Joanne Quigley.

Other contributions come from Michael Beckwith, the founder of the Agape International Spiritual Center, the renowned lyricist Don Black (Ennio Morricone, John Barry, Quincy Jones); and the acclaimed folk artist Seth Lakeman.

STAFF COMMENTS

Barry says: A new one from one of the most legendary voices in music, 'Remembering Now' sees Morrison tone down the political and ideological campaigning of the past few albums to great effect, sounding like a beautifully relaxed version of his smoothly delivered best and accompanied by a host of impactful orchestrations.

TRACK LISTING

1. Down To Joy
2. If It Wasn’t For Ray
3. Haven’t Lost My Sense Of Wonder
4. Love, Lover And Beloved
5. Cutting Corners
6. Back To Writing Love Songs
7. The Only Love I Ever Need Is Yours
8. Once In A Lifetime Feelings
9. Stomping Ground
10. Memories And Visions
11. When The Rains Came
12. Colourblind
13. Remembering Now
14. Stretching Out

For the superfan and the curious alike, this is the band-curated entry point and career-spanning collection of songs from the one and only Rilo Kiley, who defined a generation and continues to influence indie rock to this day.

After a long absence, Rilo Kiley—Jenny Lewis, Blake Sennett, Jason Boesel, and Pierre “Duke” de Reeder— are back, with arms outstretched.

Over the years, a reunion “felt like a possibility, but it was never the right time,” explains Boesel. “Planning this reunion over these past months has been like reconnecting with family. We haven’t missed a beat,” says De Reeder. “The stakes are only to have a good time, to revel in this nostalgia. Getting to revisit and celebrate the music from that special time of our lives while experiencing it alongside a lot of people that lived it with us back when, and new folks alike.”

The new Rilo Kiley album, 'That’s How We Choose to Remember It', is a collection of career-spanning songs that hit its audience with a breath of honest, fresh air. “For some people, Rilo Kiley evokes a formative, emotional time in life, when you were maybe grasping for your place in the universe. We were too,” says Sennett.

We’ve all got a memory or two with the songs of Rilo Kiley. Maybe belting 'I Never' or requesting 'The Frug' at a show in the early 2000s. This latest collection celebrates the music so deeply held by many of us. Here’s to Rilo Kiley, their reunion, and the next generation of listeners to love this band as much as we do. Long live Rilo Kiley. 

TRACK LISTING

1. Silver Lining
2. Portions For Foxes
3. With Arms Outstretched
4. Dreamworld
5. A Better Son/Daughter
6. The Execution Of All Things
7. The Moneymaker
8. I Never
9. Wires And Waves
10. The Frug
11. Does He Love You? 

Màiri Morrison and Alasdair Roberts collaborate with Canadian bassist/musical arranger Pete Johnston on a set of traditional songs with Scottish roots collected in Maritime Canada by folklorist Helen Creighton (1899-1989). Recording in Nova Scotia with Pete and a group of Canadian players, Màiri and Alasdair sing these far-travelled Scots ballads and Gaelic lyrical songs with poignancy yet playfulness, the gravity of exile ever alive in their hearts.

TRACK LISTING

1. Màiri Nighean Dòmhnaill
2. The Bonny House Of Airlie
3. Sir Neil And Glengyle
4. Hind Horn
5. Druimfhionn Donn
6. Katharine Jaffray
7. Peggy Gordon
8. Uilleam Glen
9. Hi Horo 's Na Horo H-eile
10. The Soldier’s Adieu

THIS IS A RECORD STORE DAY 2025 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 12TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 14th.

A trio of Kansas City soul sweepers, from the sprawling midwest burg’s storied Cavern, Damon, and Forte concerns. Bump and the Soul Stompers’ 1970 sweet soul double sider 'I Can Remember' was a tail pipe-dragging, low rider classic in the making, had it ever been released. A few years later Jerald “Bump” Scott took his new group to Cavern’s subterranean confines to cut the group harmony masterpiece 'Living In The Past', but remained unissued prior to Numero’s discovery of the Cavern tapes. As disco was cresting at the top of the next decade, Sharon Revoal tracked her James Brown meets James Bond stepper 'Reaching For Our Star' - the last 45 released on Marva Whitney’s peerless Forte label.

TRACK LISTING

1. I Can Remember
2. Standing On The Outside

Labi Siffre's Remember My Song (1975) is a soulful fusion of funk, jazz, and R&B, with the track "I Got The..." gaining iconic status through its bassline, famously sampled in several hip-hop classics. Notably, Eminem's "My Name Is," Jay-Z's "Streets Is Watching," and Wu-Tang Clan's "Killa Beez" all drew from this song. The album’s rich instrumentation and introspective lyrics highlight Siffre's unique style, leaving a lasting legacy across genres.

TRACK LISTING

Side A:
I Got The...
Another Year
Down
Old Time Song
The Vulture

Side B:
Dreamer
Sadie And The Devil
Turn On Your Love
Remember My Song

Rick Holmes’ breath-taking track, ‘Remember To Remember’ gets its first ever officially licensed, remastered reissue on blue vinyl on Gold Mink Records. With prices of the original topping £60 this limited colour edition will be a welcome sight for many.

Title track, ‘Remember To Remember’ is a celestial, emboldening downtempo cut. Beginning with the timeless line, ‘Pass the information, extend the knowledge…’ Rick dives into a spoken word stream of inspirational black artists and key figures whose most memorable words and song titles are framed into snippets of wisdom that get ever more significant the greater in number they become. A powerful monologue, in Rick’s warm reassuring tones, shining a light on those men and women who have made ‘strong contributions to mankind because of their compassion and humanitarianism’, laid over instrumentation you lose yourself in just as easily.

‘Remember to remember, to never forget.
How Long… how long… how long will it take man?
For us to come together.
It will take us as long as you make it…’

Words that ring just as true today, as they did 40 years ago, yet with a new sense hope in the air and prospect of progress approaching.

The B side houses another of Rick’s mesmerising monologues – ‘To The Unknowledgeable One’ motivational, moving and smooth as you like.

TRACK LISTING

A1. Remember To Remember
B1. To The Unknowledgeable One

Since founding Swedish synthpop duo KITE in 2008, singer Nicklas Stenemo and keyboardist Christian Hutchinson Berg’s brooding fusion of cinematic electronics and anthemic pop has steadily elevated into a spectacle of passion, atmosphere, and communion. Their debut double-A vinyl single for Dais Records, Don't take the light away / Remember me captures KITE at their most urgent, thrilling and apocalyptic.

"Don't take the light away" is a song about “the war between energies, ”with singer Stenemo’s wounded croon leading a rising tide of stabbing strings, pulsing percussion, and looming bass orchestrated by keyboardist Hutchinson Berg, surging to a mass-chanted chorus both desperate and triumphant (“dance, let them dance into me / people versus people can’t see / hands should be holding hands”). "Remember me" was written following the band's 2017 US tour, capturing the intense feelings of burnout and exhaustion. "Remember me, Won't you remember me, Promise you'll remember me.

"Words only tell half of the story; smoke spills across the stage, and the melodies become a battle cry. Our worst fears eventually boil over, turning into hope and resilience. Like the best of KITE’s music, "Don't take the light away" and "Remember me" fuse theater and catharsis into anthems of universal yearning, born of “the struggle to keep a flickering candle lit in a very dark space.”

TRACK LISTING

1. Don't Take The Light Away
2. Remember Me

Weval (Harm Coolen and Merijn Scholte Albers) are an Amsterdam-based duo who have established a solid reputation across the globe for crafting highly textured and sophisticated electronic music. Pitchfork were quick to praise the talent of the duo, highlighting that the “fully-formed nature of their songwriting, sublime pacing and monolithically tasteful atmosphere is remarkable” in their 8.0 review for Weval’s self-titled debut album in 2016. Since they first released their “Half Age” EP in 2014 on Michael Mayer’s legendary Cologne-based Kompakt label, Weval have strived to test and improve their songwriting abilities by incorporating their own vocals and live instrumentation into their recordings, adding an extra dimension to their already impressive sound and in 2019 they released their second album The Weight to critical acclaim. Remember is their third album, and will be released on Ninja Tune imprint Technicolour. The first single from the album, “Never Stay For Love”, features Dutch singer/songwriter, Eefje de Visser.

Recommended if you like: Howling, Max Cooper, Modeselektor, Apparat, David August, John Talabot, Dark Sky

TRACK LISTING

SIDE A
1. Remember
2. Everything Went Well

SIDE B
1. Losing Days
2. Where It All Leads
3. Don’t Lose Time

SIDE C
1. Never Stay For Love
2. Day After Day
3. Changed For The Better

SIDE D
1. I Saw You
2. Is That How You Feel It
3. Forever

Yaya Bey is one of R&B’s most exciting storytellers. Using a combination of ancestral forces and her own self-actualization, the singer/songwriter seamlessly navigates life’s hardships and joyful moments through music. Bey’s new album, ‘Remember Your North Star’ (out June 17), captures this emotional rollercoaster with a fusion of soul, jazz, reggae, afrobeat and hip-hop that feeds the soul. The artist’s knack for storytelling is best displayed in the album’s lead single, “keisha”. It’s an anthemic embodiment of fed-up women everywhere who have given their all in a relationship, yet their physical body nor spiritual mind could never be enough.

Bey’s ability to tap into the emotionally kaleidoscopic nature of women, specifically Black women, is the essence of the entire album. With themes of misogynoir, unpacking generational trauma, carefree romance, parental relationships, women empowerment and self-love, Remember Your North Star proves that the road to healing isn’t a linear one – there are many lessons to gather along the journey.

“I saw a tweet that said, ‘Black women have never seen healthy love or have been loved in a healthy way.’ That's a deep wound for us. Then I started to think about our responses to that as Black women,” Bey says of ‘Remember Your North Star’s title inspiration, an entirely self-written project featuring key production from Bey herself, with assists from Phony Ppl’s Aja Grant and DJ Nativesun. “So this album is kind of my thesis. Even though we need to be all these different types of women, ultimately we do want love: love of self and love from our community. The album is a reminder of that goal.”

The artist’s raw, unfiltered approach threads ‘Remember Your North Star’. “big daddy ya” finds the artist tapping into her inner rapper, channeling the too-cool and confident factor that artists like Megan Thee Stallion and City Girls are well-known for. “reprise” captures women’s exhaustion everywhere, with its lyrical tug-of-war of bettering oneself while trying to cut yourself off from toxic relationships. There’s also “alright” (co-produced by Aja Grant), a soothing, jazz-inspired ditty that showcases Bey’s love for the genre’s icons like Billie Holiday, while the carefree “pour up” highlights the artist’s friendship with DJ Nativesun (the song’s producer) and will immediately rush hips to the dancefloor.

There is no fakeness when it comes to Bey’s music, and her authenticity can be partly attributed to her upbringing in Jamaica, Queens. Early childhood memories included watching her father (pioneering ‘90s rapper Grand Daddy I.U) record in his studio – which also doubled as Bey’s bedroom – and listening to records by soul legends Donny Hathaway and Ohio Players around the house. Beginning at age nine, the artist’s father would leave space for her to write hooks to his beats, using her favorite artists like Mary J. Blige and JAY-Z as inspirations.

Bey quickly grew out of New York City and moved to D.C. at age 18. Calling it her second home, the city further ignited the artist’s creativity as she worked at museums and libraries, as well as tapping into poetry and attending protests. Her first release ‘The Many Alter - Egos of Trill’eta Brown’ in 2016 that incorporated a digital collage and a book, was praised by Solange’s Saint Heron agency, FADER, Essence, and many more. Bey followed up with fellow critically acclaimed projects like 2020’s ‘Madison Tapes’ album and 2021’s ‘The Things I Can’t Take With Me’ EP – the first release on Big Dada’s relaunch as a label run by Black, POC and minority ethnic people for Black, POC and minority ethnic artists – that received support from Pitchfork, Rolling Stone, NPR, Harper’s Bazaar, FADER, HotNewHipHop, Dazed, Clash, FACT, Crack Magazine, The Line of Best Fit and Mixmag.

In 2021, Bey was also profiled by Rolling Stone for their print magazine, contributed to the publication’s The 500 Greatest Songs of All Time list, and curated a playlist for Document Journal. The artist’s “september 13th (DJ Nativesun Remix)” and “made this on the spot” singles received strong radio support from BBC Radio 6 Music and BBC 1 Xtra’s Jamz Supernova. Last May, Bey was interviewed on BBC 1Xtra and performed three tracks for Jamz Supernova’s “Festival Jamz” including The Things I Can’t Take With Me’s “fxck it then” and “september 13th” that December.

Bey is also a critically acclaimed multidisciplinary artist and art curator, creating the artwork for her music through collages of intimate photos and self-portraits. In 2019, her work was featured in the District of Columbia Arts Center’s “Reparations Realized” exhibit and Brooklyn’s Museum of Contemporary African Diasporan Arts (MoCADA)’s “Let the Circle Be Unbroken” exhibit. She also completed multiple fine art residencies with MoCADA, curating programs that reflect the same theme that drives her music: the Black woman's experience.

‘Remember Your North Star’ continues Bey’s personal and artistic evolution as she strives to be a soundboard for Black women everywhere. “I feel empowered in music because I can transform anything that happens to me into something that is valuable. Music helps me to see the value in what's going on in my life,” she explains. “There’s a spirit in music. It’s a culture and I'm in that community, contributing my story which keeps us connected.”

STAFF COMMENTS

Matt says: Seriously, get on this! Landing somewhere between Green Tea Peng, Amy Winehouse and Erykah Badu (!!) with that adoration for retroistic jazz and soul influences showered in sunshine and delivered with her own highly individualistic, localized vocal flow. She's also provocative, stylish and outspoken, making her a perfect star for 2022. Gonna blow up!

TRACK LISTING

Side A
1. Intro
2. Libation
3. Big Daddy Ya
4. Keisha
5. Nobody Knows
6. Alright
7. Meet Me In Brooklyn
8. It Was Just A Dance
9. Pour Up (feat. DJ
Nativesun)
10. Uh Uh Nxgga

 Side B
1. Reprise
2. Rolling Stoner
3. Don't Fucking Call Me
4. I'm Certain She's There
5. Street Fighter Blues
6. Mama Loves Her Son
7. Either Way
8. Blessings

Singer-songwriter David Crosby’s solo debut, If I Could Only Remember My Name, was dismissed by critics when it came out in 1971. Over the years, however, appreciation has grown for the album’s adventurous aesthetic, stacked harmonies and haunting lyrics about loss and confusion. Billed as Crosby’s solo debut, the album was anything but a one-man project. Instead, it was one of his most collaborative efforts, featuring an all-star cast of players that included members of the Grateful Dead, Jefferson Airplane, and Santana, along with Graham Nash, Joni Mitchell, Neil Young, and others.

Vinyl Details:
If I Could Only Remember My Name turned 50 earlier this year and Rhino is celebrating with a 1LP 180g vinyl that includes the album lovingly remastered from the original analog tapes. The new remaster was overseen by original album engineer Stephen Barncard with restoration and speed correction using Plangent Processes. 

2CD Details:
If I Could Only Remember My Name turned 50 earlier this year and Rhino is celebrating with a 2CD set that includes the album lovingly remastered from the original analog tapes, accompanied by a bonus disc that features a dozen unreleased demos, outtakes, and alternative versions. The new remaster was overseen by original album engineer Stephen Barncard with restoration and speed correction using Plangent Processes. The liner notes that accompany the collection were written by Steve Silberman, co-author of Skeleton Key: A Dictionary for Deadheads.

TRACK LISTING

CD Tracklisting:
Disc One: Original Album
“Music Is Love”
“Cowboy Movie”
“Tamalpais High (At About 3)”
“Laughing”
“What Are Their Names”
“Traction In The Rain”
“Song With No Words (Tree With No Leaves)”
“Orleans”
“I’d Swear There Was Somebody Here”
Bonus Track
“Kids And Dogs”

Disc Two: Bonus Tracks
Demos
“Riff 1” – Demo *
“Tamalpais High (At About 3)” – Demo *
“Kids And Dogs” – Demo *
“The Wall Song” – Demo *
“Games” – Demo *
“Laughing” – Demo *
“Song With No Words (Tree With No Leaves)” – Demo
“Where Will I Be” – Demo *
Sessions
“Cowboy Movie” – Alternate Version *
“Bach Mode” – Pre-Critical Mass *
“Coast Road” *
“Dancer” *
“Fugue” *
* Previously Unreleased

Vinyl Tracklisting:
1. “Music Is Love”
2. “Cowboy Movie”
3. “Tamalpais High (At About 3)”
4. “Laughing”
5. “What Are Their Names”
6. “Traction In The Rain”
7. “Song With No Words (Tree With No Leaves)”
8. “Orleans”
9. “I’d Swear There Was Somebody Here”

Geoffrey O'Connor, one time frontman for euphoric guitar pop band Crayon Fields, returns with his first solo album in seven years - but is it really a solo album? For As Long As I Can Remember is a suite of duets with some of Australia's most iconic modern singers, including Jonnine (HTRK), Sarah Mary Chadwick, Laura Jean, Sui Zhen and more. The album explores late night tales of unsublimated desire, a synth-pop cocoon world where obsessions drift slowly into the rear view mirror and exert an unsteadying backwards pull. Geoffrey's duet partners do not proffer easy love or solace, rather they challenge him, gently put him down, or glance back at a history of faded passion.

Other guests include Nicole Thibault of Chapter artists Thibault, Jess Ribeiro, June Jones, Summer Flake's Steph Crase, Sienna Thornton (Cyanide Thornton) and Mystery Guest's Caitlyn Lesiuk. Sydney funk sophisticate Donny Benet appears on bass on two tracks. Since his previous solo album, 2014 critic favourite Fan Fiction (written up by Pitchfork, Spin, All Music and elsewhere), Geoffrey has released Crayon Fields comeback album No One Deserves You (2015) and an expanded reissue of 2009 classic All the Pleasures Of the World. He has also produced albums for Sarah Mary Chadwick, June Jones, Summer Flake and others. Geoffrey has appeared on records by The Pains Of Being Pure At Heart and Donny Benet, been remixed by Chet Faker, and was a member of Melbourne psych pop band Montero

TRACK LISTING

1. For As Long As I Can (with Jonnine)
2. Foolish Enough (with Laura Jean)
3. What A Scene (with Sui Zhen)
4. Renee (with Sienna Thornton)
5. Strange Feeling (with Sarah Mary Chadwick)
6. Precious Memories (with Remember Sarah Mary Chadwick)
7. Catwalk (with Caitlyn Lesiuk)
8. Tired Of Winning (with June Jones)
9. Shelley Duvall (with Nicole Thibault)
10. Tunnel Of Love (with Jess Ribeiro)
11. Love Is Your Best Friend (with Stephanie Crase)

For a band that resists repeating itself, picking up lessons from a decade prior is the strange route Cloud Nothings took to create their most fully-realized album. Their new record, The Shadow I Remember, marks eleven years of touring, a return to early songwriting practices, and revisiting the studio where they first recorded together.

In a way not previously captured, this album expertly combines the group’s pummeling, aggressive approach with singer-songwriter Dylan Baldi’s extraordinary talent for perfect pop. To document this newly realized maturity, the group returned to producer Steve Albini and his Electrical Audio studios in Chicago, where the band famously destroyed its initial reputation as a bedroom solo project with the release of 2012 album Attack on Memory.

Another throwback was Baldi’s return to constant songwriting à la the early solo days, which led to the nearly 30 demos that became the 11 songs on The Shadow I Remember. Instead of sticking to a tried-but-true formula, his songwriting stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. I really didn’t like that role.” More frequent writing led to the freedom in form heard on The Shadow I Remember. What he can’t do alone is get loud and play noisily, which is exactly what happened when the entire band— bassist TJ Duke, guitarist Chris Brown, and drummer Jayson Gerycz—convened.

The band had more fun in the studio than they’ve had in years, playing in their signature, pulverizing way, while also trying new things. The absurdly catchy “Nothing Without You” includes a first for the band: Macie Stewart of Ohmme contributes guest vocals. Elsewhere, celebrated electronic composer Brett Naucke adds subtle synthesizer parts.

The songs are kept trim, mostly around the three-minute mark, while being gleefully overstuffed. Almost every musical part turns into at least two parts, with guitar and drums opening up and the bass switching gears. “That’s the goal—I want the three-minute song to be an epic,” Baldi says. “That’s the short version of the long-ass jam.”

Lyrically, Baldi delivers an aching exploration of tortured existence, punishing self-doubt, and the familiar pangs of oppressive mystery. “Am I something?” Baldi screams on the song of the same name. “Does anybody living out there really need me?” It’s a heartbreaking admission of existential confusion, delivered hoarsely, with an instantly relatable melody.

“Is this the end/ of the life I've known?” he asks on lead single and album opener “Oslo.” “Am I older now/ or am I just another age?” Despite the questioning lyrics, the band plays with more assurance and joy than ever before. The Shadow I Remember announces Cloud Nothings’ second decade and it sounds like a new beginning.

TRACK LISTING

1 Oslo
2 Nothing Without You
3 The Spirit Of
4 Only Light
5 Nara
6 Open Rain
7 Sound Of Alarm
8 Am I Something
9 It's Love
10 A Longer Moon
11 The Room It Was

Featuring six never before heard tracks, Unremembered, Remembered is essentially the final album from The Wolfgang Press that never was. Having exhumed the tracks, the band have mastered their final studio sessions at Abbey Road and they sound magnificent. Art for this release has been done by long-time 4AD collaborator Chris Bigg. Originally released for Record Store Day in August 2020, this is now available as a limited edition one-off pressing on CD

TRACK LISTING

You Say You Love Me
God, Let It Shine On
My Mother Told Me
Black Hole Star
Liar
Miss H.I.V.

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
LIMITED TO ONE PER PERSON.

This one will be a real surprise for both Wolfgang Press and 4AD fans.Featuring 7 never before heard tracks, Unremembered, Remembered is essentially the final album from The Wolfgang Press that never was.Having exhumed the tracks, the band have mastered their final studio sessions at Abbey Road and they sound magnificent.Art for this release has been done by long-time 4AD collaborator Chris Bigg and news of the album's existence will drop with the RSD 2020 announcement.Red vinyl 1.You Say You Love Me 2.God, Let It Shine On 3.My Mother Told Me 4.Black Hole Star 5.Liar 6.Miss H.I.V.

Terry is a latent man of mystery. Terry is also a band from Melbourne, Australia. Divide him in half and you split the genders, into quarters and you get Amy Hill (also of Constant Mongrel, School Of Radiant Living), Xanthe Waite (Mick Harvey Band, Primo), Zephyr Pavey (Eastlink, Total Control, Russell St Bombings) and Al Montfort (UV Race, Dick Diver, Total Control). Guitars, bass, drums, all four sing. Terry are busy people and Terry is a particularly active project too, having released two EPs and a full length album (‘Terry HQ’) last year on Upset The Rhythm.

After returning from summer 2016’s European tour, Terry set about writing a new album of songs. These are now grouped together as ‘Remember Terry’, an album full of wish fulfilment, critiqued characters, memorial muscle and historical hustle.’Start The Tape’ is a not quite two-minute careen through what Terry are best known for; gang vocals, chased-down melodies and acerbic commentary. “The Boys in Blue are no nonsense, but no nonsense just won’t hold up” they assert throughout the song, amid unbridled drum rolls and keyboard sirens.

Terry draw on their everyday realities to make personal conclusions; “I can’t live here, I can’t leave here” they collectively sing through the strummed guitars and skittling synths of ‘Heavin Heavies’. Somehow the serious nature of the themes handled in their songs are only further emphasised by the tuneful, arguably ‘sing-along’ treatment Terry usually employ. ‘Give Up The Crown’, ‘The Colonel’ and ‘Gun’ are other prime examples of this, packed full of assembled vocal harmonies, contagious riffs and rhetoric.

With tracks like ’Glory’ and ‘Homage’, Terry allow us for the first time to see a more laid-back side of his personality. Supplemented with fluorescing synth lines and adopting an unhurried pace, both songs lull you into a false sense of pleasantry, only to pack a greater punch when lyrics like “Off his bloody head goes” or “No head, no choice, no land, no time, no crime, no good” surface. ‘Take Me To The City’ is a similarly evocative stroll through the “bright night city lights”, with Amy and Xanthe listing their nightlife observations over languorous guitar lines and programmed drums. Their “all they talk about..” refrain drifts off effortlessly into dazed disclosures. Terry prefer to make a profound point in a quiet way, hectoring bypassed for self-revelation. The truth is in there, just skating below the surface of their glammy, country-stepping punk/pop odysseys, we only have to listen carefully.

‘Remember Terry’ is a fitting follow-up to last year’s celebrated debut album. Ideas are pursued and new ground explored. Throughout this expansion of sound and subject-matter though, Terry remain committed to telling it straight, reporting from the frontline of the political made personal. ’Remember Terry ‘ was recorded by Terry at Grace Lane and Terry HQ through the first few months of 2017. Digitised by Nick Kuceli. Mixed and Mastered by Mikey Young.

TRACK LISTING

01. Rio
02. Start The Tape
03. Take Me To The City
04. Risk
05. Give Up The Crown
06. Heavin’ Heavies
07. Glory
08. Gun
09. The Colonel
10. Homage

Classic Rock N' Roll mixed with elements of Chilli Peppers-esque subtle spoken word and neon funk. 'Confusion' fuses rapid trap drums and distorted guitar sweeps topped with repeated hip-hop vocal stylings musing on life and identity. 'Baby Grow' kicks off with a sliding surf-rock guitar and segues into a regionally recognisable British indie vocal (think Jamie-T or Jake Bugg) over Jangly guitar work, danceable and frenetic. 'Ragdoll Mama' is more on the blues-rock end of the spectrum, deep southern sweeps, and scorching fuzzed-out solos, While 'Kundalini Express' plays out like a swooning college indie-rock anthem, heartfelt but driven, with beautifully realised instrumentation before breaking into the imitable vocal breakdown. A varied and well accomplished outing throughout, always changing enough to keep things interesting and fresh. 

TRACK LISTING

1. Inside 1:25
2. Confused (feat. Rowetta)
3. Hitchin 5:18
4. Baby Grow 3:05
5. Without Love 3:27
6. Ragdoll Mamma 4:13
7. Magnetz (feat. Rowetta) 
8. Unconditional 4:24
9. Kundalini Express 4:07
10. Juice Girl 3:35
11. Move Luv 3:08
12. John & Yoko 2:28


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Krautrock, that perennial badge of hipness. The ultimate honorary title for repetitive music, as played by Camera. In fact, the Berlin band's penchant for playing without permission in underground stations or other public places (in the gents at the Echo awards ceremony) has seen them dubbed "Krautrock Guerilla". Camera are not seeking to emulate the sound of older Krautrock bands, in any case. Nor have they been listening incessantly to NEU! or Can.

"Perhaps we just have the same angle of approach" suggests keyboard player Timm Brockmann, "we start playing and simply go with the flow." Motorik-driven, energetic stretches laced with psychedelic overtones rise up from keyboards, drums and guitars, much as they did for the pioneers of German Krautrock some forty years ago. On the back of "Radiate!", their debut album in 2012, Camera extended their range to Russia and the USA.

Whilst "Radiate!" was entirely the product of studio improvisation, "Remember I Was Carbon Dioxide" sees Timm Brockmann and drummer Michael Drummer revisit and revise jams supplemented by various different guitarists and other guest musicians, exploring the possibilities of the studio as a reflection loop. Without losing sight of their overriding impulse to improvise-which is, after all, the essence of Camera.

Brand new studio album from Remember Remember, following on from their Scottish Album Of The Year shortlisted ‘The Quickening’ (2011).

"Forgetting The Present shares all the essential DNA of its precursors; thick waves of emotive guitars, piano and synth are punctuated by lovely melodic through-lines and delicate trickles at the top end that, in their fragility, make the big sounds even bigger. But each element feels more in-synch than ever before, from the chilly, Tubular Bells-referencing flow of opener “Blabbermouth” to the final strains of echoing electronics on “Frozen Frenzy”, the distant but soothing lullaby that closes the album." - Best Of Line Fit.

Recorded in Glasgow at Castle Of Doom Studios by Tony Doogan (Belle & Sebastian, Mogwai, The Pastels, The Delgados, Super Furry Animals) and mastered at Abbey Road by Frank Arkwright (Mogwai, Johnny Marr, Rudimental, Arcade Fire), ‘Forgetting The Present’ will be released on CD, heavy pressed gatefold double LP and digital download via Mogwai’s Rock Action Records label.

Nova Scotia's underground punk output has been sorely ignored by most of the world, and with the debut 7" EP by Sydney's brilliantly belligerent Mess Folk, hopefully a little more light will be shed on this systematically-neglected barren frontier. With an immediate slop/savant aesthetic that conjures a drooling, drugged-out, and agitated ball of putrescence, Mess Folk keep their blurry message straight to the point and deliver three devastating punk cuts simmering in anxiety, depression, and the delusional inner turmoil that sets in after months of cabin fever. The deranged, discombobulated vocals go so perfectly with the frantic razored guitar slashings and choppy songwriting that eeks out resemblances of discarded Electric Eels and Urinals ruination/infatuation, radiating with a sticky familiarity you just can't quite put your finger on. Anyway you cut it, Mess Folk have arrived and it's gonna take a hell of a lot of zit cream and/or stain remover to eradicate their slimy presence from the ugly face of modern punk.