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SORRY

Sorry

925

    Together with co-producer James Dring (Gorillaz, Jamie T, Nilüfer Yanya), best friends Lorenz and Louis O’Bryen have woven 925 like a dreamscape in which idyllic and hellish scenes intermingle, forcing the question of what is real and what is make believe. Inspired by everything from Hermann Hesse to Aphex Twin and old-school crooner Tony Bennett, their experimental and holistic approach marks them out as a thoroughly 21st century band; from their open-minded approach to genre to their creativity allowing them to self-produce the music and direct accompanying videos.

    Joined by drummer Lincoln Barrett and Campbell Baum on bass, Sorry emerged from a thriving scene of bands in London, and though 925 is their debut album, it is by no means their first statement. It follows a series of mixtapes, released sporadically and used as a way to experiment with the disparate influences and sounds that give 925 its distinctively modern and apocalyptic sound.

    Where previous singles and mixtapes earned the band their status as one of the most vital and relentlessly creative new British bands of the moment, 925 is a record which will undoubtedly cement their status as true originals and cross-genre innovators in 2020 and beyond.

    FORMAT INFORMATION

    Coloured LP Info: Indies exclusive silver vinyl.

    Swamp Dogg

    Sorry You Couldn't Make It

      'Sorry You Couldn't Make It' is the long awaited "country album" from the legendary Swamp Dogg. Recorded in Nashville, featuring John Prine, Justin Vernon, Jenny Lewis, and others. Jerry Williams’ aka Swamp Dogg first love was country music, listening to it as a Navy family kid growing up in Portsmouth, Virginia. “My granddaddy, he just bought country records out the asshole,” Swamp remembers. “Every Friday when he came home from the Navy yard he’d stop off and get his records. His first time performing on stage, in fact, was a country song at a talent show when he was six years old: “I did Red Foley’s version of ‘Peace in the Valley.’”

      While the 77 year-old Williams’ most enduring persona is the psychedelic soul superhero Swamp Dogg a musical vigilante upholding truths both personal and political since 1970’s immortal album, Total Destruction To Your Mind he will tell anybody who will listen that he’s considered himself country this entire time. “If you notice I use a lot of horns,” Swamp says. “But actually, if you listen to my records before I start stacking shit on it, I’m country. I sound country.” Swamp began his professional singing career as Little Jerry Williams back in the ‘50s before working as an A&R man for Atlantic Records in the late ‘60s. His biggest hit is actually a country song: 1970’s “Don’t Take Her (She’s All I Got).”

      Written with his best friend Gary U.S. Bonds. Following 2018’s critically acclaimed, Ryan Olson-produced Love, Loss, And Auto-Tune his first LP to debut on 11 Billboard charts (including at #7 on 'Heatseekers’) and his first chart ink since his 1970 song “Mama's Baby Daddy's Maybe”. Sorry You Couldn’t Make It allows Swamp to finally dive into the sound he grew up playing. With the support of Pioneer Works Press, they recorded the album at Nashville’s Sound Emporium with Olson as producer once again, and backed by a crack studio band led by Derick Lee, a keyboard virtuoso who worked as the musical director of BET’s Bobby Jones Gospel Show for nearly four decades. Nashville guitar firebrand Jim Oblon combusts his way through lead duties, while frequent collaborator Moogstar and special guests Justin Vernon (Bon Iver), John Prine, Jenny Lewis, Channy Leaneagh and Chris Beirden of Poliça, and Sam Amidon join the action throughout

      FORMAT INFORMATION

      LP includes MP3 Download Code.

      Sorry

      Right Round The Clock / Rock'n'Roll Star

        Tune-Yards

        Sorry To Bother You: Original Score

          Tune-Yards’ original score for Boots Riley’s acclaimed surrealist social satire 2018 film ‘Sorry To Bother You’ (starring Lakeith Stanfield and Tessa Thompson) has been praised by Billboard as “a simultaneously erratic and ecstatic medley of instruments and vocal layering”. Tune-Yards’ score album follows the 2018 release of ‘Sorry To Bother You: The Soundtrack’ by The Coup. Director Boots Riley described the score as “the film’s musical voice” and explains the difference between the score and the soundtrack: “The characters can’t hear [the score]; the soundtrack, the characters can [hear].” The score also includes dialogue samples from the film and four bonus tracks never before heard in the film. The bonus tracks feature up-and-coming Oakland artists including Chhoti Maa as well as Lyrics Born and Lateef the Truthspeaker.

          Sorry

          Showgirl / Twinkle

            Sorry are back with a new 7”, following their previous 7” singles, ‘Wished’ / ‘Lies’ from last year and ‘2 Down 2 Dance’ earlier in the year.

            The ferocious ‘Showgirl’ is the third and last instalment of the band's early singles period, produced by Frank Ocean and James Blake collaborator Sean Oakley, who also helmed the band’s 2017 debut single, ‘Lies’.

            The band recently toured the UK with Sunflower Bean.

            Listed among the Dazed ‘100 for 2018’.

            “Fuzzed out guitars and production with a lo-fi edge, it's an off kilter return that recalls everyone from Pavement to The Fall's chart flirtation” – Clash.

            “A top-drawer shame spiral from a great new English altrock band. Lead singer Asha Lorenz moans about falling to pieces, and the guitars pull her hard into the emo deep” - Rolling Stone.

            Chuck Cissel

            Don't Tell Me You're Sorry / Do You Believe

              Chuck Cissel, from Tulsa, Oklahoma, recoded just two albums in 1979 and 1982 respectively, both for Arista at the time and reissued together on CD by Expansion in 2014. He is best known in disco circles for ‘Cisselin’ Hot’, but over the last two decades has become renowned for “Don’t Tell Me You’re Sorry” in northern and crossover soul circles. Today it is his most sought after record, original copies worth £150.

              Jessica Lea Mayfield

              Sorry Is Gone

                ‘Sorry Is Gone’, the highly anticipated new full length album from Jessica Lea Mayfield, is released on ATO Records.

                The 11-track record was recorded at Water Music and Electric Lady studios with producer John Agnello (Kurt Vile, Sonic Youth, Dinosaur Jr., Phosphorescent).

                Of the record, Mayfield comments, “The whole record is about me taking my life back, without really realizing it. I realized I’m the only person that is going to look out for me. I have to be my main person. No one else.” She continues, “I have to sing about things and write about things that have happened to me as therapy. That’s what connects me to other music I listen to. I want music to make me feel things. This is my inner dialogue, and my chance to get the last word.”

                ‘Sorry Is Gone’ is Mayfield’s first solo album since 2014’s ‘Make My Head Sing…’, which was released to widespread acclaim. Of the album, Rolling Stone asserted, “…Mayfield’s echo-laden bluegrass vocals mesh with scorching electric guitar lines to render remarkable results,” while Pitchfork praised, “There’s something certainly compelling about this raw, minimalist sound.”

                The Replacements

                Sorry Ma, Forgot To Take Out The Trash

                Rhino retraces the shambolic swath the influential Minneapolis quartet cut across the American Underground, reissuing deluxe editions of the band's Twin/Tone releases. All have been exquisitely remastered and generously embellished with rare and previously unreleased tracks. The band was instrumental in selecting the bonus songs, many of which have never been heard-even among the band's most ardent followers. Released in 81, "Sorry Ma, Forgot To Take Out The Trash" was The Replacements' audacious debut. Songs such as "Takin A Ride", "Shiftless When Idle", "Customer" and "Johnny's Gonna Die" herald the band's competing tendencies toward genius and bleary, drunken repugnance. The thirteen bonus tracks open appropriately with the four songs Westerberg gave to Peter Jesperson in 1980 that brought the band to Twin/Tone's attention.

                The Uncomfortables

                Look! Who's Sorry Now?

                The release of "Look! Who's Sorry Now?" follows the success of previous single "Windmills", backed with "Vodka Stomach" and "Set Me Free", this is intense psychedelic-surf-pop with twinges of the Modern Lovers, Twin Peaks and film noir.


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