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SORRY

Sorry We Play Vinyl

Sorry We Play Vinyl 3

Sorry We Play Vinyl are once again not at all sorry to play vinyl and good, frankly, because what they serve up on wax is always going to be well received. 'EDIT7' kicks off this latest with a tightly worked 90s sample woven into a loopy groove that is going to get crowds into a funky lather. 'EDIT8' follows with retro-slanted raver era breakbeats and opulent synth oozing, the odd bleep and a bubbling bass thrown in for good measure. 'EDIT9' completes a varied EP with some smooth and succulent deep house with a US warmth to it. The soulful vocals are smeared through soft drums and it's a perfect late-night tool.

TRACK LISTING

EDIT7
EDIT8
EDIT9

Shelf Lives

HypernormaL

    Shelf Lives are an Electro-Bass Punk (a genre that probably doesn’t exist—but somehow makes perfect sense when you hear them). After years of creating, releasing, and caring-ish what people think, the band now operate with zero hesitation and total authenticity. The result of this controlled chaos is their debut album ‘hypernormaL’.

    The 11-track album, produced by imdead, reveals that Shelf Lives are once again redefining the boundaries of modern punk and electronic music. It captures the duo at their most uncompromising — blistering, self-aware, and disturbingly danceable. Just when you think you’ve figured them out, Shelf Lives grin, twist the dial, and push the needle into the red.

    The album sees the band collaborating with an enviable list of who’s who, from Danio (Fred Again, Joy Anonymous, Jelani Blackman) on 60K, to writing with Pat Alvarez (Blessed Madonna, Joy Crookes, Good Neighbours) and Lola Sam from Hot Wax playing bass on ‘like heR’. 


    TRACK LISTING

    1. 2phoneS
    2. 60K
    3. Baby SonG
    4. Don’t LaugH
    5. SychophanT Ft. NIXER
    6. Gr33b0 (interlude) Ft. Gr33bo
    7. FrissoN - Additional Production By TechnoDaddy 666 (PVA)
    8. Try HarD Ft. TATYANA
    9. Like HeR
    10. PsychO
    11. Tone DeF

    Sorry We Play Vinyl

    Sorry We Play Vinyl 2

    DC10 remains one of the most authentic clubbing experiences on the White Isle. It has different golden eras depending on your age, but for minimal lovers, that was 15 years ago, when you would get the likes of Romanina outfit a:rpia:r doing a cult b4b with Ricardo Villalobos. That's the vibe these new edits from the Sorry We Play Vinyl label are going for. 'EDIT4' is all wonky rhythms and twisted synthetic sounds and rising sine waves with chopped vocal fragments. 'EDIT5' is dubby house scattered with congas and 'EDIT6' is a more light and soulful sound for the early morning session with funky guitar twangs and skeletal rhythms locking you in for the duration.

    TRACK LISTING

    Edit 4
    Edit 5
    Edit 6

    Art Brut / Bis

    Sorry About That EP

      A year in the making and the product of a team of wonderful musicians letting loose and having fun, Sorry About That is a joyful romp through the realisation of all those things you decide would be a good idea at 2am, but are too hungover to get on with in real life.

      Aiming all glitter cannons firmly at CHRISTMAS #1 (vinyl singles chart - let's be real), art punk royalty Art Brut and electro pop gems bis deliver genuine glitter dancefloor filling power with a cover of Paula Abdul's 'Opposites Attract', twang liberally at heartstrings with a take of 'Make Your Own Kind of Music' by Cass Elliot - finally covering each other's seminal bangers with an icy fresh take that can only come from years of genuine love of the band you're reimaging. 

      TRACK LISTING

      1. Opposites Attract (Paula Abdul Cover)
      2. Make Your Own Kind Of Music (Cass Elliot Cover)
      3. Teen-C Power (performed By Art Brut)
      4. My Little Brother (performed By Bis)

      Lia Ouyang Rusli

      Sorry, Baby (Original Soundtrack)

        Lia Ouyang Rusli’s score for 'Sorry, Baby' plus early demos and commentary from director Eva Victor pressed on New England-sky blue vinyl. Includes a booklet with letters from the director and composer, as well as sheet music for select songs from the score.

        TRACK LISTING

        1. THE YEAR WITH THE BABY
        2. AGNES AND LYDIE
        3. ACROSS THE FIELD
        4. FLASHBACK
        5. AN EMPTY FEELING
        6. TO THE LIGHTHOUSE
        7. THE YEAR WITH THE BAD THING
        8. WE ARE WOMEN
        9. THE NEXT MORNING
        10. COVER THE WINDOW
        11. THE YEAR WITH THE GOOD SANDWICH
        12. BEING GAY AND IN LOVE
        13. GAVIN WILL YOU COME FUCK ME
        14. BATHTUB
        15. SORRY BABY (PIANO)
        16. SORRY BABY (ELECTRONIC)
        17. YEAR OF THE BABY DRAFT 1
        18. WALKING IN FIELD VOICE NOTE
        19. SORRY BABY (PIANO) MELODY 1 VOICE NOTE
        20. SORRY BABY (PIANO) MELODY 2 VOICE NOTE
        21. I-580 W 13.MP4 (EVA ON THE ENDING MUSIC)

        K-Lone

        Sorry I Thought You Were Someone Else

        An intimate, mesmerising record about loss and change, ‘sorry i thought you were someone else’ is K-LONE’s most personal album to date and his debut release on Incienso. Made after his father’s passing, the album became a place of escape and reflection. It’s a warm, hypnotic space to drift within.

        It's a gentle and considered contrast to his more upfront, bass-heavy club trax on Tempa and Fabric, but with just as much attention to sound design and rhythmic structure. Finding a natural home on Incienso with its 4/4 propulsion, crackly textures, feathery beats and sublime atmospheres. It's a more mellowed out, fathoms deep, house flavoured distillation of this unique producer's sound. 

        TRACK LISTING

        A1. Someone Else
        A2. Slide By Side
        B1. Fauna
        B2. Fair Enough 2 Be Fair
        C1. Slk
        C2. Sslip
        C3. Gurgle
        D1. Sonder
        D2. Rezz
        D3. The Haze

        Sorry

        COSPLAY

          “We died when we started writing this album,” say Sorry, preparing to release 'COSPLAY', their third studio album, set for release on 7th November on Domino. But if Sorry did, indeed, die before a note had been recorded, before a single word had even been jotted down, who the hell are this bunch now masquerading as Sorry? Who has donned the Sorry outfits so convincingly? Who is it that has recorded 'COSPLAY', this album that first meticulously erases and then extravagantly redraws the perimeters of what a contemporary rock’n’roll band can achieve? Welcome to the world of 'COSPLAY', where anyone can be anyone, past or present, real or imaginary, dead or alive.

          STAFF COMMENTS

          Barry says: Effortlessly slipping between jagged, angular garage rock and woozy alt-pop with flickering post-rock instrumentation and soaring synthy accents. All of this perfectly twisting around Asha Lorenz's evocative, chameleonic vocal. A brilliantly momentous, constantly evolving treasure.

          TRACK LISTING

          1. Echoes
          2. Jetplane
          3. Love Posture
          4. Antelope
          5. Candle
          6. Today Might Be The Hit
          7. Life In This Body
          8. Waxwing
          9. Magic
          10. Into The Dark
          11. JIVE

          Sorry We Play Vinyl

          Sorry We Play Vinyl 1

          There's no need to apologise - not when the vinyl in question is as good as this. If you've seen Ricardo Villabos behind the decks of late you'll almost certainly have heard him drop one or more of these superlative edits, as he's been hammering them practically non-stop. You can't blame him. 'Edit 1' is a hypotonic bongo-fest that shimmers and caresses the dancefloor with absolute confidence. 'Edit 2' is a female vocal-led disco-slanted house affair with neatly trimmed, jazzy keys and a perky bassline, while 'Edit 3' looks to the late 70s/early 80s for inspiration with a super catchy synth motif that Vince Clarke would give his right hand for and some exotic sounding, continental male vocals that round it off superbly. Imagine that Patrick Cowley and Kraftwerk made a tune together and you're in the right area. Put all three together and, well, you've got quite the package.

          TRACK LISTING

          EDIT1
          EDIT2
          EDIT3

          The Pigeon Detectives

          Still Not Sorry

            20 years into a career of indie bangers and amazing live shows The Pigeon Detectives bring the definitive tracks from across their catalogue onto one album...'Still Not Sorry'

            This marble designed record comes as a double vinyl featuring the best of on one disc, and 3 re-works of classic tracks on the second disc. Side D features signatures from the band ETCHED into the record.

            The album comes in a gatefold sleeve with previously unseen pictures from the band's history by long-time photographer Justin Slee. 

            TRACK LISTING

            1. This Is An Emergency
            2. I Found Out
            3. Wolves
            4. Lovers Come And Lovers Go
            5. I Don't Mind
            6. Take Her Back
            7. Everybody Wants Me
            8. Romantic Type
            9. What Can I Say?
            10. Say It Like You Mean It
            11. Falling To Pieces
            12. Enemy Lines
            13. Done In Secret
            14. I'm Not Sorry

            Sorry Girls

            Dreamwalker

              Montreal’s fever dream pop duo, Sorry Girls, returns with their third album 'Dreamwalker' out via Arbutus Records. Their eccentric blend of nostalgic 70s power ballads and 80s kitsch breaks through new thresholds, dismantling futile illusions to brave the cold and ask what lies ahead.

              Since forming in 2015, Heather Foster Kirkpatrick and Dylan Konrad Obront have been creating their own brand of lush pleasure seeking synth-pop. With a knack for matching personal lyrics with an off-kilter sound, their Lynchian world is free and uncanny. Everything seems familiar, a tune lapping an old dreamscape, and yet something is slightly off.

              The band debuted in 2019 with the self-produced 'Deborah', earning praise from Pitchfork and Gorilla vs Bear. Their 2023 spirited sophomore album, 'Bravo!', showcased a more live-band sound. With headlining shows at festivals like Pop Montreal, SXSW, and the Red Bull Music Festival, and tours with artists like TOPS, Devon Welsh (Majical Cloudz), and Sean Nicholas Savage, they've honed their organic approach to music.

              Inspired by Fleetwood Mac’s Tusk era, the band set up camp at Montreal’s Two Sisters Recording Studio for several months to make 'Dreamwalker'. Imposing a working time constraint, their aim was more band collaboration, and quick and decisive artistic decisions to stay as true as possible to the music.

              The result is a sound that is earnest, emotional and lucid. Washy production techniques and punchy bass lines pair with softer whimsical piano trills and gentle drums, recreating the thematic push-pull between two-worlds. The lyricism toys with Idyllic visions of love objects, fantasies of future utopias, and the obsessive longing for an ease and newness to sweep in.

              'Dreamwalker' is self-aware and ironically self-effacing, trapped in the reflection of a window. The album calls for boldness—to slide open the handles and step into the unknown.


              TRACK LISTING

              1. Falling Down The Stairs
              2. Hush Baby
              3. Quiet Hands
              4. Ricochet
              5. My Utopia
              6. Holding On To Me
              7. Music For Rats
              8. Footprints
              9. Stalker
              10. It’s Only You (Holding You Back)
              11. Great White

              The Number Ones

              Sorry

                Has it really been seven years since the last The Number Ones record? Luckily for all the pop pickers in the world they are back with a two track 7", their first with new bassist Pete O'Hanlon. Both tracks have everything you’d want from The Number Ones - joyous and uptempo songs with hooks galore that get stuck in your head after one play. ’Sorry’ lasts just over two minutes and is a stonewall classic. It’s like a prime Buzzcocks 1979 7” single mixed with a rawer production from any number of the Good Vibrations label or Rip Off Records releases. The flip ‘Blind Spot’ (complete with a guest appearance from Al and Amy from Terry) has a more 60’s edge but still with the classic power pop sound you’d expect and love. This band should be a household name.

                TRACK LISTING

                1. Sorry
                2. Blind Spot

                Destroy Boys

                Sorry, Mom - 2024 Reissue

                  DESTROY BOYS formed in 2015, when founding members Violet Mayugba and Alexia Roditis were just 15 years old, and each release has marked a period of growth and change. "Looking back, our frst three albums marked the deaths of things," says guitarist Violet Mayugba. "They were soundtracks to our funerals, whether they were for our ages, our mental states. We've gone through a lot of changes as a band and as people."

                  "The first one ('Sorry, Mom') was our high school album," Mayugba explains. "On the second record ('Make Room'), we went to college and were saying goodbye to our childhood. On the third one, we'd just gone through COVID and, speaking for myself, I lost my entire sense of self and gained a new one."

                  Now, at 24, Mayugba and Roditis are standing frmly on solid ground with more resolute and confdent than ever in their place as musicians.

                  TRACK LISTING

                  1. K Street Walker
                  2. Duck Eat Duck World
                  3. Junk
                  4. Widow
                  5. I Threw Glass At My Friend's Eyes And Now I'm On Probation
                  6. No Respect
                  7. Goldilocks Spot
                  8. Cattywampus
                  9. Word Salad

                  Adult Jazz

                  So Sorry So Slow

                    London-based four-piece Adult Jazz announce their first full-length album in a decade, So Sorry So Slow, out 26 April 2024 via Spare Thought. Alongside the announcement comes lovesick new single ‘Suffer One’ featuring Owen Pallett, a cautious excavation of self and sexuality, clambering across a gorgeously shapeshifting, filmic five-minutes.

                    Containing some of the band’s most abrasive but gentle, beautiful and melismatic work to date, So Sorry So Slow has many defining characteristics: romance, panic, devotion and remorse, threaded together by an intentionally laser-focused love. It’s deeply personal, bruised and candid in its expressions of tenderness, and deeply pained in its concurrent reflections of ecological regret. Across its hour-long runtime, a delicate, frenetic energy and glacial heaviness coexist, the band pitting those paces against one another. In their richly experimental timbre, dancing strings and fluttering falsettos prang against a bed of brass drones like a wounded bird.

                    “We started writing in 2017 and began recording in 2018,” says vocalist Harry Burgess. “We genuinely thought it might be finished in 2018! But things kept developing and, having resolutely not struck while the iron was hot, there was no real external push to rush things after that, so we just kept letting things shift and unfold until it felt right. Listening back to my voice notes it’s nice to notice that there are fragments of ideas from the whole period 2017-2023 which have shaped the record.”

                    Recorded in bursts at studios across London and in the band members’ flats, at Konk, on the Isle of Wight and in Sussex, So Sorry is unambiguous in its evolution. Sonically, there are sparks of the arrhythmic brightness that afforded the band’s critically acclaimed debut album Gist Is its cult adoration, for fans of Arthur Russell and Meredith Monk, but with a blossoming, melancholic darkness often overhead. Piano sprees and luscious string sections appear like low-hanging stars on a night-time drive, whilst plunging vocal distortions and humming brass loops resurrect heavy limbs in a bad dream.

                    “I usually have objects as kind of totems for ideas,” explains Burgess. “The album initially started out to do with performance… [the totem] was a head mic, one of the subtle skin-tone ones, discreet on the forehead of a West End star. A number of the first songs in their original forms were almost musical theatre piano ballads. I think that was really a device to write about my life as the ‘main character’ (pre internet-speak reframing): regrets about romance, relationships - unsustainable relationships with the self and others.”

                    “However, once we started writing, the ideas about unsustainable personal relationships, loving unevenly and heartbreak conflated with a more expressly ecological regret. Like contending with big feelings of loss, endings, beauty, desolation, and with how much joy the earth contains in it. Feeling so much gratitude bound up in waves of sadness. Maybe witnessing a slow-motion goodbye to all that, or its last gasps. I love the earth and the life it supports so much. I love how ecosystems fit together - even the brutal stuff. It may be basic to say, but now is the time to be laser focused on that love. I was thinking about human centrality on earth, us as the ‘main character’, the way that is served by faith and romanticism, and the subsequent disingenuous understandings of our position in the ecosystem, as only stewards somehow, rather than subjects. The totems at this point: a herald’s horn, lorry inner tubes, archaeological tools. I guess from doom, industry, history respectively.”

                    “Now I would say the record is about gripping. Totems being: crampons, rope, drips, desalination equipment, accruing various survival tech. I think gripping sums up both of the threads. There’s the emotionally correct clinging to the earth that is the substrate of everything we value, or the delusional clinging to our imagined dominant position. But also the practical, technological aspects of creating a sustainable relationship, of remaining here. Then I think of romance again.”

                    So Sorry So Slow comes out 26th April 2024 on Spare Thought, mixed by Fabian Prynn at 4AD Studios and mastered by Alex Wharton at Abbey Road.

                    Adult Jazz is Harry Burgess, Tim Slater, Steven Wells and Tom Howe.


                    STAFF COMMENTS

                    Barry says: It always surprises me when a band can inoffensively arrhythmically skip between themes and motifs in their music, because It never strikes me as something that should be doable without a noticeable thematic shift. There's something about the staggered determination and swaying dreamlike haze of Adult Jazz's music that has always been seamless and so organic, and remains in abundance here.

                    TRACK LISTING

                    Side A
                    Bleat Melisma
                    Suffer One
                    Y-rod

                    Side B
                    No Relief
                    Plenary
                    Marquee

                    Side C
                    Dusk Song
                    Earth Of Worms
                    No Sentry

                    Side D
                    Bend
                    I Was Surprised
                    Windfarm

                    Sorry

                    Anywhere But Here

                      London once again features as a prominent character on Sorry’s second studio album, Anywhere But Here.

                      "If our first version of London in 925 was innocent and fresh-faced, then this is rougher around the edges. It's a much more haggard place," Louis says.

                      Earwigged conversations, text messages, snatched speech recorded underground; the city’s discarded words fed into the lyrics which map the experience of urban life on a young and frustrated generation. Produced alongside Portishead’s Adrian Utley in Bristol, the result is an angular, acerbic, bittersweet triumph.

                      Sorry

                      Let The Lights On

                        Sorry’s blistering new single, ‘Let The Lights On’, on 7”, backed by earworm b-side ‘I Tried 4 U 2’.

                        TRACK LISTING

                        Let The Lights On
                        I Tried 4 U 2

                        Sorry

                        There's So Many People That Want To Be Loved

                          A brand-new 7” from Sorry, featuring new single “There’s So Many People That Want To Be Loved” backed by b-side “15’4”.

                          King Hannah

                          I'm Not Sorry, I Was Just Being Me

                            Liverpool duo Hannah Merrick and Craig Whittle, aka King Hannah release their debut LP I’m Not Sorry, I Was Just Being Me via City Slang.

                            The first single from the album, All Being Fine, sets the stall perfectly for the rest of I’m Not Sorry, I Was Just Being Me, drenched as it is in cinematic, often immersive and offbeam soundscapes, punctuated by lyrics that are darkly romantic and thrillingly sardonic in equal measures. Written and then recorded with additional musicians Ted White, Jake Lipiec, and Olly Gorman in just eight months, the LP is a bold, memorable, even startling document of a dream shared, an ambition fulfilled and a vision realized. I’m Not Sorry, I Was Just Being Me is a spectacular debut from the duo and a clear indication this is the beginning of a long, fruitful journey for King Hannah.

                            King Hannah make music that lives somewhere between the gorgeously meditative pop of Yo La Tengo and the beautiful drama of Sharon Van Etten.

                            STAFF COMMENTS

                            Laura says: This is just fantastic. Brooding desert blues from the dust-bowl of erm, Liverpool! Hannah Merrick's vocals, which fall somewhere between Mazzy Star's Hope Sandoval and Sharon Van Etten, float over a beautifully narcotic backdrop of intricate guitar melodies and gentle drum rhythms that slowly build to a crescendo on album closer "It's Me And You, Kid".

                            TRACK LISTING

                            A1. A Well-Made Woman
                            A2. So Much Water So Close To Drone
                            A3. All Being Fine
                            A4. Big Big Baby
                            A5. Ants Crawling On An Apple Stork
                            A6. The Moods That I Get In
                            B1. Foolius Caesar
                            B2. Death Of The House Phone
                            B3. Go-Kart Kid (HELL NO!)
                            B4. I’m Not Sorry, I Was Just Being Me
                            B5. Berenson
                            B6. It’s Me And You, Kid

                            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.

                              TRACK LISTING

                              1. Right Round The Clock
                              2. In Unison
                              3. Snakes
                              4. Starstruck
                              5. Rosie
                              6. Perfect
                              7. As The Sun Sets
                              8. Wolf
                              9. Rock 'n' Roll Star
                              10. Heather
                              11. More
                              12. Ode To Boy
                              13. Lies (Refix)

                              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

                                TRACK LISTING

                                1 Sleeping Without You Is A Dragg
                                2 Good, Better, Best
                                3 Don't Take Her (She's All I Got)
                                4 Family Pain
                                5 I Lay Awake
                                6 Memories (feat. John Prine)
                                7 I'd Rather Be Your Used To Be
                                8 Billy
                                9 A Good Song
                                10 Please Let Me Go Round Again (feat. John Prine)

                                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.

                                  TRACK LISTING

                                  Transformative Experience
                                  Study Up
                                  STTS
                                  SIGNS [Detroit’s Theme]
                                  Regalview Theme
                                  Money Money Money
                                  Powercallers Suite
                                  Mr. Green's Muzak
                                  Let's Begin Again (Nit Not)
                                  Does It Feel Good
                                  Sad Theme
                                  Revealed
                                  Steve Lift's Party
                                  Performance Art
                                  Triumph
                                  Love Theme
                                  Play My Clip
                                  This Is My White Voice
                                  Does It Feel Good (Lucid Dream Mix)
                                  The Reveal
                                  Backbone

                                  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.”

                                    TRACK LISTING

                                    Wish You Could See Me Now
                                    Sorry Is Gone
                                    Meadow
                                    Maybe Whatever
                                    Soaked Through
                                    Safe 2 Connect 2
                                    Burn Me Out
                                    WTF
                                    Offa My Hands
                                    World Won’t Stop
                                    Too Much Terrible

                                    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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