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THE LEAF LABEL

Domenique Dumont

People On Sunday

    People On Sunday is an original soundtrack to the 1930 silent film variously known as Menschen am Sonntag, Les Hommes le Dimanche and People On Sunday. The film is a key work of interwar German cinema, based on a screenplay by Billy Wilder.

    Like Domenique Dumont’s earlier albums, Comme Ça and Miniatures De Auto Rhythm, People On Sunday evokes a more innocent, carefree time conjured by wistful electronics full of warmth and melody. Touching on the hazy exotica that made those two records so alluring, here Dumont draws on his love of classical music, library music and early electronic experimentation to create a timeless, optimistic sound. If his past productions possessed a certain Mediterranean quality, across these 13 new pieces Dumont’s shimmering synth-pop has an enchanting simplicity.

    Part documentary, part fiction, the film People On Sunday follows a group of characters going about their business in Weimar-era Berlin over one weekend and shows normal life in Germany before dictatorship.

    “The film shows people and their surroundings shortly before all of it was destroyed,” says Dumont. “Ironically, watching this movie with the eyes of today, it looks more surreal than documentary. And I can’t help but think and reflect about the times we are living in now. We might have similar desires people had a hundred years ago, but we now have a completely different approach to life.”


    FORMAT INFORMATION

    Coloured LP Info: Indies only white vinyl - 700 copies for the world.

    Coloured LP includes MP3 Download Code.

    Keeley Forsyth

    Debris

      The songs comprising Keeley Forsyth’s debut, are, she states simply, “like blocks of metal that drop from the sky”. Minimal arrangements place that elemental voice front and centre. Nerves are quietly frayed over its running time; an intimate document of personal change, we’re held in limbo until the final note is left to ring. Debris explores the darker corners of domestic life, balancing the need to create with the responsibilities that come with a family, a partner and a career. Seismic ruptures behind closed doors. “There was a lot going on in my life that was heavy and hard,” she adds. “Songs were made under that moment.”

      Born and raised in Oldham in the north-west of England, Forsyth first made her name as an actor. Her enigmatic voice is so indelible even she is sometimes provoked to refer to it as a third person, like the characters she’s inhabited as an actor, this time populating songs sharing tales of the high and low tides, of freedom and entrapment, and of hard-won triumphs. “They’ve been in my mind for a while,” she concludes. “I have sung them to my children, and at home alone, and making this album has been an opportunity for me to discover the voice and being who sings these songs. It has changed me, and will continue to. I recognise my life again.”

      With sparse arrangements by pianist and composer Matthew Bourne and producer Sam Hobbs, Keeley Forsyth’s music is centred around a singular, emotionally raw and magnetic vocal delivery


      FORMAT INFORMATION

      Love Record Stores LP Info: Love Record Stores exclusive limited edition oxblood vinyl LP.
      Limited to 300 individually signed copies.

      Craven Faults

      Erratics & Unconformities

      Erratics & Unconformities is the first album by Craven Faults. It follows three EPs: Netherfield Works, Springhead Works and Nunroyd Works. Long-form analogue electronic journeys across decades and continents, and swathes of post-industrial northern Britain.

      The journey on Erratics & Unconformities picks up where Netherfield Works left off. We take the canal towpath out of the city. We fork north shortly afterwards. Is this where it started? The terrain gradually becomes more rugged. Familiar. Wild. Evidence of human activity is less immediate in this glacial landscape. It’s there if you seek it. But easy to ignore. If you listen carefully, you can still hear the weight of the ice-sheet carving its way through the rock.

      Everything in its own time. The output from the old textile mill Craven Faults calls home is no longer as linear as it once was. There was no clear start point for the project, rather simply rediscovering the joy in experimentation with no material goals. Some of the recordings that make up Erratics & Unconformities go back almost seven years. Tracks have come and gone in that time. They don’t leave until they’ve undertaken a stringent quality control process. It started slowly, but has picked up momentum in the last eighteen months. Recorded and re-recorded to the correct level of imperfection, and then left to breathe. Mixed and re-mixed. Carefully compiled when the time was right.

      The journey is just as important as the destination.


      STAFF COMMENTS

      says: In a kinda Will Bevan / Burial type fiesco, Craven Faults has got us all eagerly scratching our heads trying to work out who this post-industrial-obsessed Northerner could possibly be! The music is phenomenal, glacial electronics conjuring desolate sonic canvasses of a forgotten North.

      FORMAT INFORMATION

      Love Record Stores LP Info: Love Record Stores exclusive double black vinyl LP in gatefold sleeve with 20-page 12” square photography booklet to mark 'Erratics & Unconformities' inclusion in LRS’s Albums of the Year campaign. Limited to 250 copies.

      Keeley Forsyth

      Photograph

        For fans of Nico, Scott Walker, Aldous Harding, Karen Dalton, Susanna & The Magical Orchestra, Jenny Hval, PJ Harvey, Cat Power, Mary Margaret O’Hara, Fever Ray.

        Keeley Forsyth follows up her critically lauded debut album, Debris, with the Photograph EP. Across four tracks the domestic tensions remain, albeit taking a more introspective view. Forsyth’s striking vocals are cocooned within otherworldly synthesisers- they transport her words across continents before snapping back to the room. The walls closing in .There’s an aching sense of detachment, which resonates with the circumstances in which it was written.

        “I always work from home,” Forsyth explains. “This time, the isolation had a new influence on my lyrical ideas. I was contemplating the idea of homesickness within the home; when life is lived on the domestic grid, in rooms and in tasks. I was looking to reframe the day, to give sound to the picture.”

        Photograph takes two steps on from Debris’ electronic closer ‘Start Again’. Continuing the fruitful working relationship with composer Matthew Bourne and bringing Trestle Records’ Ross Downes into the fray, it hints at the vast possibilities open to Forsyth on her next album, and also brings the late period Scott Walker comparisons into focus, with traditional song structures giving way to something more expansive. Cloaked in darkness but seeking surreal beauty and art in the debris of modern life.


        This mini-album is Craven Faults’s second vinyl release on The Leaf Label.
        Thirty-seven minutes of music over three epic tracks - longform analogue electronic journeys across the north of England.

        Enclosures follows Craven Faults’ debut album Erratics & Unconformities. These 37 minutes of music are the start of the next journey. New terrain and more refined methods of travel. Dark clouds gathering.

        We’re out of the blocks quickly. German engineering carries us swiftly across the moors on a Saturday night rendezvous. Two almost identical mushroom shaped rocks are the destination. There’s evidence of previous rituals carried out. Two hours due north we go in search of the power source. Cascading. An experiment in performance over a fixed point. Tape loops recorded in 1967 at The Philadelphia College of Art. Woodwind purchased from a charity shop in Yeadon. The concept of work was forgotten. We’re back on the millstone grit of the Mid Craven Fault for an exercise in simplification. Familiar territory. Sometimes the theory isn’t all it’s cracked up to be, and there’s still power in hammering a single note over two chords – a lesson learnt from the American South in the late 40s and early 50s and boiled down in the late 60s. Olympic Sound Studios, April 1967. The Hit Factory, April 1969.

        On Erratics & Unconformities, Craven Faults often found a calm inner space in the vistas. Here the tensions of the early EPs return, with a focus on how human ‘progress’ has impacted and shaped the landscape. How the land was divided now shapes our present and future, and retracing that journey is particularly pertinent.


        FORMAT INFORMATION

        Mini LP Info: Edition of 300 on black vinyl.

        Snapped Ankles

        21 Metres To Hebden Bridge

          THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE SEPTEMBER 26TH DROP DAY AT 6PM.
          LIMITED TO ONE PER PERSON.


          Blistering live recordings from Snapped Ankles' triumphant sold out tour of the UK, recorded at the legendary Trades Club in Hebden Bridge in Yorkshire.The unique Snapped Ankles live experience in your own home.Stunning Luxury indeed.On leaf green transparent vinyl exclusive to RSD, with printed outer sleeve and download code.

          Warmduscher

          European Cowboy

            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.

            If you are cursed in a dream, that very same curse will devour you and - even in your waking moments - deliver you screaming, into the arms of a winged beast. Behold a 12” of limitless pleasure. Three remixes by three captains of colossal love and power. Grasp tight the rope of passion, joy will envelop you. - Dr Alan Goldfarb, February 2020 A little side order to go with your Tainted Lunch? Triple-cooked Warmduscher fries courtesy of Soulwax, Decius and Savage Gary ready in time for Record Store Day. 12” collecting Warmduscher remixes featuring a brand new Soulwax remix of ‘Midnight Dipper’, plus a wonky house rework of ‘Disco Peanuts’ by Decius, and Savage Gary’s filthy take on ‘I Got Friends’. Legitimate bangers. First time on vinyl Limited edition black vinyl. Only 1,000 copies for the world Last year’s Dan Carey-produced Tainted Lunch crashed the UK Independent Album Chart at #12 and scored #3 in the Record Store Chart Support for Warmduscher at BBC 6 Music has been incredible with Tainted Lunch landing at #6 in their albums of the year list and playlisting for ‘Midnight Dipper’ and ‘Disco Peanuts’ (five weeks on A-List) Marc Riley, Amy Lamé, Iggy Pop and Lauren Laverne have been singing their praises from the rooftops of Wogan House and MediaCity The BBC 6 Music love-in continues with Warmduscher performing at The Electric Ballroom for the 6 Music Festival End of year accolades for Tainted Lunch include The Quietus, Long Live Vinyl, Resident and Rough Trade If you like the ‘Duscher on record, it’s even better in the flesh, as sold out shows across the country attest Their biggest headline show is coming up at the legendary Heaven nightclub in March, which sold out months in advance Love is real

            Laurence Pike

            Prophecy

              Laurence Pike continues in a rich creative vein with the release of Prophecy, his third solo album in as many years. Inspired to write and record in response to the devastating wild fires in his native Australia, the percussionist, composer and producer has created a work for our times.

              Adopting the working formula of ‘one take’ studio performances for drum kit and sampler; channelling the moment through Pike’s singular, organic use of electronics, and intuitively constructed arrangements. There is an instinctive and emotional resonance here, driven by his reaction to the climate emergency.

              Laurence Pike on Prophecy:
              The music on Prophecy was made during an intense period of climate-related disasters in my home of Australia last summer that seemed to represent the beginning of a strange new way of existing on Earth.

              The pieces were developed in the space of four weeks at my home, and then captured in a single day of studio performances. As a result, the music is as much an assemblage of moments from the days leading up to the recording (stepping into my garden to be greeted by a dark pink sun against a brown sky, and ash gently raining on me) as it is a reflection of how I felt in the moment playing them live in the studio.

              In the short time since, we’ve gone from staying inside and wearing face masks because the city was completely surrounded by fire, and the air filled with acrid smoke, to staying indoors to stop the spread of a global pandemic…



              FORMAT INFORMATION

              Coloured LP Info: Limited edition on yellow vinyl with download code.

              Nightports W/ Betamax

              Nightports W/ Betamax

                Nightports w/ Betamax is the second in a series of albums from musician-producers Adam Martin and Mark Slater to be released on The Leaf Label, following 2018’s Nightports w/ Matthew Bourne.

                This time, Nightports have enlisted the formidable talents of drummer and percussionist Betamax, the beating rhythmic heart of sonic explorers The Comet Is Coming.

                Nightports is based on a simple but unbreakable rule of restriction: only sounds produced by the featured musician can be used. Nothing else. These sounds can be transformed, distorted, translated, processed and reprocessed, stretched, cut, ordered and reordered without limitation.

                Nightports is about amplifying the characteristics of the musician – celebrating what’s particular about them, finding sounds that nobody else can make, constructing a complex sonic weave that, however radical the transformations, still bears the watermarks of its origin.

                “Within the depths of the drum takes, we found hidden melodies, chords, structures and bass lines which we distilled and exaggerated to realise this album,” Slater explains. “On the one hand, this album is fully improvised in that all drum performances were spontaneous, intuitive and responsive; however, they were then subjected to editing and manipulation to arrive at a sound that is neither purely improvised nor constructed.”

                Recorded in one day in February 2018 with The Comet Is Coming’s Betamax at Malcolm Catto’s Quatermass Sound Lab studio.

                The Comet Is Coming continue their stratospheric trajectory, this record follows 2019’s Trust In The Lifeforce of the Deep Mystery.
                 


                Death To The Planet was originally released for Record Store Day 2017CE, selling out of its initial run of 700 “Comet Fire” orange vinyl immediately. Unavailable on vinyl at retail since 2017, with huge Discogs/eBay demand. Darkness and light. The party to end all parties. The ghosts of 70s Harlem, via the warehouses of Chicago and Manchester, presided over by Sun Ra. The sound of total planetary destruction, produced with laser-guided accuracy and aimed directly at the dancefloor.


                Sarathy Korwar

                More Arriving

                Born in the US, raised in India and resident in the UK, Korwar has established himself as one of the most original and compelling voices in the UK jazz scene, collaborating with the likes of Shabaka Hutchings (The Comet Is Coming), clarinettist Arun Ghosh and producer Hieroglyphic Being

                Korwar’s debut Day To Day (Ninja Tune, 2016), combined the folk rhythms of India’s Sidi community with contemporary electronics and jazz textures, earning praise from the likes of Four Tet, Gilles Peterson and Floating Points.

                We live in divisive times. Multiculturalism rises hand-in-hand with racial tensions, and politicians seem powerless to even bring people within earshot of their convoluted message. It’s time for a different perspective.

                On his second studio album, More Arriving, Sarathy Korwar blasts out his own vibrant, pluralistic missive for the world to hear. This is not necessarily a record of unity; it’s an honest reflection of Korwar’s experience of being an Indian in a divided Britain. Recorded over two and a half years in India and the UK, More Arriving draws on the nascent rap scenes of Mumbai and New Delhi, incorporating spoken word and Korwar’s own Indian classical and jazz instrumentation. This is a record born of confrontation; one for our confrontational times.

                With this album, Korwar expands his politicised narrative to envelop the entire diaspora. “This is a modern brown record. The kind of record that a contemporary Indian living in the UK for the past 10 years would make,” Korwar says. “This is what Indian music sounds like to me right now.”

                It all begins with the title: “More Arriving comes from the scaremongering around Brexit,” Korwar says. “It’s a tongue-in-cheek play on the fact that there are more people coming and you’ll have to deal with it!” Through this defiance, Korwar takes clear pride in the knotty mix of his identity – harking back to the new India of the Mumbai hip-hop kids, as well as identifying with London’s cultural diversity. “I want the idea of brown pride to come through,” he says. “My voice is one amongst a thousand, but this record is a snapshot of something much greater than myself. It’s the chance to send a message.” 


                STAFF COMMENTS

                says: A highly political record, fitting in perfectly between the colourful sounds of modern India and the UK's flourishing appreciation for nu-jazz and hip-hop. Korwar has managed to craft a brilliantly immersive LP, seamlessly segueing between genres while retaining the parts of each that make them great. A true melting pot, and a necessary political statement.

                Laurence is one third of Szun Waves, who released their second album New Hymn To Freedom last year to critical acclaim.

                “I hope,” says Laurence Pike, “the listener is as excited – and at times confounded – by this music as I am.”
                Holy Spring is an “article of faith” for Pike, expressing the sense that “The ritual of performance can transcend the confines of style, structure and concept to connect with something universal.”
                The name of the album is beautifully ambiguous, evoking a wellspring, but also rebirth, and more besides. It sounds constantly, effervescently fresh, just as it should when its creation was a series of surprises to its own creator. And that happens not just with one listen, but with many: each time you hear it, it’s as if this music has been created anew. The listener, just like the musician, are privy to what Pike describes as “the music simply playing itself, achieving what I now understand to be, and can only describe as ‘freedom’.”
                Improvisation has played a role throughout Pike’s long and diverse career in music. Whether as part of PVT, Triosk or Szun Waves, or collaborating with Liars, legendary jazz pianist Mike Nock, DD Dumbo or the mighty Bill Callahan, he has long been a responsive musician for whom sensitive listening leads to spontaneous invention. Every motion, from the most minuscule flicker to a primal groove, is an expression of what’s happening around him. Which is precisely how he, and the ensembles he’s been part of, have been able to navigate so deftly between the poles of the familiar. Pike’s work has always skirted around electronica, spiritual jazz, post-rock and many other recognisable sounds, without ever converging on one single style or resorting to obvious fusions.


                FORMAT INFORMATION

                Coloured LP Info: Strictly limited edition transparent blue vinyl for indie stores only.

                The Comet Is Coming

                Channel The Spirits


                  “Great fire will fall from the sky, the cause will appear both stupefying and marvellous. Very soon after, the earth will tremble. ” The arrival of The Comet as prophesised by Nostradamus. And the earth did tremble.

                  Our saviours Danalogue The Conqueror , Betamax Killer (both Soccer96 ) and King Shabaka (Sons Of Kemet, The Ancestors ) bestowed upon us their debut album Channel The Spirits on April 1st 2016 CE. From simpler times, this was a prophetic document. A celeb ration. The beginning of the end.

                  For those recent converts, here is Channel The Spirits (Special Edition) . Here is the universe in a microcosm; the life-force distilled down to its raw essence : sex and dancing. Here is a package that includes the debut Prophecy EP from 2015CE. Here are three previously unheard tracks: the fabled Ancient Tapes.



                  FORMAT INFORMATION

                  Ltd LP Info: Black vinyl repress.

                  Snapped Ankles have taken on the guise of the very agents of their community’s demise – the property developers and brokers who heat the market on the promise of ‘Stunning Luxury’. With their adopted warehouse habitat under constant threat, the woodwose have taken this sharp-suited incarnation in order to infiltrate. The resistance starts here.

                  From humble forest beginnings via bohemian East London on debut album Come Play The Trees, Snapped Ankles are moving on. The log synths have been transformed into gaudy “To Let” and “For Sale” signs, which have become the new instrument of choice for the discerning woodwose. The sounds they eke out of the housing bubble are as frenzied and unstable as you’d expect. Dystopian bangers. Illicit thrills. Stunning Luxury moves quickly through life in the capital: microdosing mindfulness in the morning, a poisoned nod to the marketing department, investment portfolios and death by same day delivery.

                  The primal rhythms and forest chants are all present and correct. On the surface it’s hedonistic business as usual – a communal dance for the ages. But there’s a sense of discomfort too. There’s subversion, but it’s not clear who’s subverting who. There’s a message, but it’s often fragmented. Keep dancing. Keep foraging. Perhaps the woodwose are human after all…


                  STAFF COMMENTS

                  says: Throbbing pulses, primal motorik melodies and fiery post-punk aggression spew forth from the sophomore Snapped Ankles outing. Continuing on from 2017 triumphant debut ‘Come Play The Trees’, it’s as if they were born to make this sound. A destabilizing stew that moves the body and the mind.

                  FORMAT INFORMATION

                  LP Info: Black vinyl.

                  Features the track ‘PNO' released to coincide with Piano Day 2018 (it made Nils Frahm’s official playlist).

                  3PE is the first in a series of releases by Portland, OR, based Luke Wyland under his new LWW moniker. In contrast to his previous work as AU, these are spontaneous explorations in repetition, alternate tuning systems and, for the most part, tempered minimalism.

                  After the spiritual rush of ‘CTP’, there are never more than two or three sounds interacting. Unadorned single takes unfold organically to explore the textural and rhythmic possibilities within those limitations.

                  Each piece has a distinct palette; from the rolling triumphant piano polyrhythms of ‘PNO’ (included on Nils Frahm’s official Piano Day 2018 playlist) to the unsettling oblique synthesiser angles on ‘DTE’ – Wyland stretches the boundaries of cadence and melody before snpping it all back into line. A direct link can be drawn from the tuned percussion work of ‘PRC’ to AU’s contribution to the influential Tradi-Mods vs. Rockers compilation series, which features the likes of Deerhoof and Juana Molina’s takes on the ‘Congotronics’ music of Kinshasa.

                  Many of these recordings date back to the period shortly after AU’s final release Both Lights. The bubbling energy remains, while Wyland’s musical dexterity is all the more startling in these stripped down, unrestricted forms. “There’s a certain fleeting magic to capturing unselfconscious improvisations to tape,” Wyland explains. “A quality that is often lost when tracking an album you intend to release to the public.” Opening epic ‘CTP’ serves to bridge the gap between AU and LWW – “the first track is the only improvisation that I’ve dissected and evolved into a more maximalist composition. The rest of these songs are simple one take snapshots into my process of research - essentially conversations with myself.”


                  Let Warmduscher be your guide. Clams Baker: the man with the golden tongue. Fast-talking, no nonsense networker. The ‘legitimate’ front to the great rock ‘n’ roll swindle. No time for fact checking. No need for building regulations. Heading straight to the top. Consequence be damned. Lightnin’ Jack Everett is his man on point. The rhythm. The brains. The brawn. Let’s make lots of money. The Saulcano, Mr Salt Fingers Lovecraft and The Witherer operate in the shadows. The cogs. The machine. The bootleggers.

                  South London recidivists Warmduscher include members of Paranoid London, Fat White Family and Childhood.

                  Longtime Warmduscher biographer Dr Alan Goldfarb describes Whale City as “a rock opera so vast in magnitude that - were in not for my being strapped naked to a chair in a garage - could send a man hurtling towards the outer perimeters of uncharted space”.


                  FORMAT INFORMATION

                  Ltd LP Info: vinyl edition includes a set of postcards featuring artwork by David Ruddeforth.

                  "Distant Early Warning" is the debut solo album by Australian drummer, percussionist and composer Laurence Pike. For the best part of two decades Pike has operated at the cutting edge of the electronic and jazz music worlds, releasing albums to critical acclaim and touring the world with his bands PVT (formerly Pivot), Triosk and Szun Waves, and featuring on numerous albums, tours and soundtracks as a collaborator. On "Distant Early Warning" he carves himself a moment of reflection. The calm in the eye of the storm. An ominous portent as the rocks appear on the horizon.


                  Originally conceived as a technological and spiritual jazz suite for drums, "Distant Early Warning" is a series of solo performances for kit and sampler recorded live in a single day. 'For a long time I’ve been feeling there’s a central part of my musical voice that didn’t have an outlet,' Pike says. 'So this album is definitely a product of inner necessity.' 


                  When the city starts to encroach on the forest, nature will find a way to reclaim what is rightfully hers. Snapped Ankles come as messengers. On debut album Come Play The Trees they hold a mirror up to us. They’re here to plant the seed. They’re here to have a good time, but never at the expense of their natural habitat.

                  Snapped Ankles have emerged from the woods clutching an album that feels simultaneously modern and ancient. This is what dance music will sounds like when computers finally fail us. Log synths, bass guitar and sticks on taut animal skin coalesce to form fearsome primal rhythms. Fuzz guitars rubbing up against dirty rolling arpeggiated synthesisers to ignite wild white noise fires. Forest folklore passed down through generations, has made its way onto the tracks. Subjects veer from dystopian futures to railing against Swedish flat-pack furniture, from the films of Jean-Luc Godard and Andrei Tarkovsky to throwaway YouTube comments. High art and cultural detritus are all fair game - a brave new world indeed.

                  • This is Snapped Ankles debut album

                  • Since relocating to bohemian East London, the woodwose have integrated seamlessly into the creative firmament, setting up camp at the Total Refreshment Centre

                  • The videos for singles ‘Jonny Guitar Calling Gosta Berlin’ and ‘I Want My Minutes Back’ offer a glimpse into the off-kilter art-house minds of Snapped Ankles and display a certain preoccupation with spaghetti

                  • A dish best served live: wildmen dressed in ghillie suits coaxing unholy noise from a forest of logs, wires, drums and guitars.


                  STAFF COMMENTS

                  says: Throbbing pulses, primal melodies and fiery aggression spew forth from the newest Snapped Ankles outing. It’s as if they were born to make this sound.

                  'Moogmemory' is the latest album from multi-award winning pianist and composer Matthew Bourne, who has turned his considerable talents to the world of analogue synthesizers.

                  Very much in demand as a collaborator and co-conspirator, Bourne has his fingerprints on a huge number of projects, having worked with artists as diverse as John Zorn, Annette Peacock, Nils Frahm, Nostalgia 77, Amon Tobin and Broadway Project.

                  Growing from spontaneous improvised live performances, the album took shape in the studio as Bourne explored and moulded the vast sonic possibilities of voltage-controlled oscillators, creating beautiful, brooding landscapes of thick impasto and translucent sunbursts.

                  The seed for this project was planted when Bourne acquired an uncooperative 1982 Memorymoog, having it painstakingly modified and upgraded by Rudi Linhard in Germany .

                  Created without the use of computers or sequencers,Moogmemory is the first album to be recorded using only the Lintronics Advanced Memorymoog.

                  Bourne will tour moogmemory in collaboration with brilliant visual artist Michael England, who has worked with Autechre, Bola, Leila, Demdike Stare and many more.

                  STAFF COMMENTS

                  says: Bringing to mind the more ambient, beat-less works of Alessandro Cortini (or indeed Nine Inch Nails), or the early electronics-heavy compositions by Nils Frahm ; Moogmemory is unsurprisingly, unashamed synth-worship. Through the impeccably textured compositions and characteristic, classic sound of a legendary instrument, this collection is breathtaking.

                  Melt Yourself Down

                  Live At The New Empowering Church

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

                    Finally! The horn-wailing, mic-swinging, percussion-overloaded, call-and-response explosiveness of the Melt Yourself Down experience is captured on plastic in all its sweat-drenched fury
                    This Record Store Day exclusive LP was recorded at MYD’s sold out show at The New Empowering Church in east London late last year: “the house band from hell” in the house of GodA raw and ragged document of sweet sonic violence in a small room, it’s a strobelit snapshot, warts and all, captured for you

                    MYD twist jazz, punk, funk and afro-beat into strange and brilliant new shapes
                    They’ve kept raising their game since the release of their self-titled debut album in June 2013 (appearing on Later… and hitting the album of the year charts in Rough Trade, Time Out and more), and will appear on festival stages throughout the land this summer. The campaign begins with shows at SXSW and in New York in March, and club nights with MYDJs will follow ahead of the festivals - all confirmed dates below. Strictly limited edition Record Store Day vinyl LP (900 copies for the world) also includes a download of the live album. The LP is packaged in a new, dayglo variant on the already iconic album artwork. MYD have already started work on their second album. Don’t take your eyes off them



                    Almost four years in the making, Chicago trio Volcano! have delivered the long-awaited follow-up to 2008’s celebrated Paperwork album. Their outstanding third offering, Piñata, is well worth the wait - by any measure it's their best yet.

                    Piñata is the sound of volcano! past distilled into a most potent formula for the present: unsparingly concise, stickily melodic, lyrically stronger and stranger, darkly humorous, ferociously driven, fabulously inventive. Clocking in at just over 40 minutes, the album has an aggressive energy that’s as exciting as it is unpredictable. It’s leaner and meaner than its predecessors, with the themes behind the songs drawn from more familiar sources. “They're mainly based on weird fantasies,” says frontman Aaron With. “Our goal was to tell stories with strange but universal sentiments.”

                    The fantasies that form the foundations for certain songs are hardly commonplace musings on love and life. ‘Child Star’ imagines its protagonist (re)born with all the skills and experience of a previous life, gaining competitive advantage over a helpless peer group. ‘St. Mary Of Nazareth’ takes the listener on a tour of a spaceship disguised as Catholic hospital, where the nurses are nuns, and the nuns are aliens. Lead single ‘Piñata’ is a petty vision of posthumous karmic retribution, while ‘Fighter’, the album’s dramatic centrepiece, is a violent revenge fantasy set to music. But while the songs can be complex conceptually, the incisive compositions ensure they effortlessly get under your skin.

                    More immediate than anything the trio has crafted before, it makes perfect sense that at the time of writing Piñata, volcano! were indulging themselves on radio hits alongside a steady diet of music from the outer reaches of the spectrum. Meanwhile the band has lost none of the playful, idiosyncratic elements that make them unique. “We kept the weird energy, the melodic tension, and the neurotic rhythm,” says With, “but we’ve made the framework a little more decipherable.” Not a second is wasted as volcano! gleefully take a baseball bat to musical convention in the name of great pop.

                    Aaron With (vocals, guitar), Sam Scranton (drums, percussion) and Mark Cartwright (synths, bass) formed volcano! in 2003, and have stockpiled critical acclaim since the beginning. Their debut album Beautiful Seizure (2005) was awarded 10/10 by Drowned in Sound and was dubbed the “soundtrack to the Bible” by Fader; Paperwork garnered four stars in Mojo and Uncut, and the video for ‘Africa Just Wants To Have Fun’ has notched up 200,000 views. The two albums have become cult favourites among those fortunate enough to hear them, and the sense of anticipation for Piñata is palpable.


                    AU are Portland, Oregon-based duo Luke Wyland and Dana Valatka. 'Both Lights' is AU’s third album and first for The Leaf Label, a joint release with US label Hometapes

                    'Both Lights' is the closest their recorded incarnation has yet reached to the blissful force of an AU live show, while expanding outward in new directions. Since 2008’s 'Verbs' album, AU have slimmed down to an extraordinarily potent two-piece live band, with Valatka on percussion and Wyland taking care of everything else: vocals, keyboard, sampler, lap steel, banjo and melodica (often two or more at once). Wyland’s rich baritone takes centre stage on 'Both Lights', a one-man tug-of-war with love, loss, pain, anger and desire, while the music behind him flits with gleeful abandon between styles - choral folk, ferocious jazz-punk, wild percussive workouts, sumptuous indie-pop.

                    AU contributed a track to the Tradi-Mods vs. Rockers collaboration in 2010, which featured versions of tracks by Konono No.1 and Kasai Allstars. The Congolese bands’ influence is strongly evident on 'Both Lights'.


                    The ‘Solid Gold’ 7” is limited to 500 copies for the world (just 150 for Europe), and is a joint release by The Leaf Label and Hometapes. Pressed on transparent yellow-orange vinyl, it’s packaged with full-colour transparent cover art in a heavy PVC sleeve, and includes a free digital download.

                    Luke Wyland and Dana Valatka, the Portland, Oregon-based duo known as AU, embody a remarkable, cathartic energy that is immediately apparent on ‘Solid Gold’, the first single to be taken from their forthcoming album. Both Lights will be AU’s first album for The Leaf Label (released by Hometapes outside Europe). Fortifying Valatka’s adrenalised percussion and Wyland’s soaring vocals and multi-tentacled performance on keys / guitar, is man-machine Colin Stetson on alto and bass saxophone. The B-side, ‘Under / Epic’, is a reinterpretation of the album’s opening track, taking Stetson’s wild wind a notch higher and into the brightly lit stratosphere.

                    AU reflect that light. ‘Solid Gold’ is the first taste of a sweeping aural experience that captures Wyland and Valatka’s journey through three years of love, loss, and levity. “The back and forth, the tug of war for love,” says Wyland, getting at the root of ‘Solid Gold’, in essence a love song, “exhausting, exhilarating, and so totally not sustainable.” Like the best songs, in some way or another, we can all sing along to that.


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