This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.

Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.

We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.

Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic. 

TRACK LISTING

A1 XXI
A2 XXII
A3 XXIII
A4 XXIV
A5 XXV
A6 XXVI
A7 XXVII
B1 XXVIII
B2 XXIX
B3 XXX

It's counter intuitive perhaps to react to the increasing noise of the world, not by adding to it, but by seeking quiet. Or something close to it.

Arrival's debut EP does just that - assembling immersive aural environments and delicately detailed backdrops - setting the scene for the perfectly pitched deeply melancholic meditations of Britain's least known and most valuable guitarist, Kevin McCormick.

Gordon Milson and Mark Rayner as Arrival, and Kevin too, are all proud Stockport denizens.
They're central to something gently stirring in the town They're calling it (using the district postcode) SKambient.
It's a youthful music scene sprouting from the cracks between the cobbles of a neglected old town area, built around the meandering Underbanks.
Here outliers like the bespoke hifi gaff, Odioba and Bruk are venues open to DJs and listeners looking for something deeper and less simplistically confrontational than your regular shouty Manc racket, R. Kid.
It's organic electronic, and (mindful of the Derbyshire hills to be seen peeping through the gaps throughout the town) pastoral too. Now the mills and workshops have fallen silent, never to be rebooted, these neglected spaces have been subdivided at affordable (for now) rents, allowing young sonic creatives to explore new environmental responses to a post, post-industrial landscape.
It's not unexpected. This is the town where the first (and perhaps greatest) ambient pop song in 10cc's "I'm Not In Love" was recorded in 1975 - at the legendary Strawberry Studios.

Kevin McCormick - with a whole series of rightly revered, self-defining records to his name - copies no one. But there are definite echoes in his approach. Consider the unquestionable genius of Vini Reilly. His eternally stunning Return of The Durutti Column was mixed in that same studio.
Alongside Arrival and their distinctly calming compositions, the former mills and converted spaces are full of laptops and instruments shared by a like-minded extended community in Jack Lever/Open Tapes, Arcade, Joe Synkro, Bop, Elsewhere and Thought Leadership. It's crass indeed to suggest all these things sound alike, but there's a definite thread, a certain sensibility.

Arrival have already received significant support from characteristically curious backroom Balearic selectors and collectors. It's music made for the joy of it and released here by the uniquely open-minded DJ, and scene stalwart, Jason Boardman's Before I Die imprint.

STAFF COMMENTS

Matt says: Fresh from the Stockport underground comes this serene and considered masterpiece from Arrival and Kevin McCormick. Shimmering like a mirage on the Stockport vitsa; perfect for when you've had a few too many at The Red Bull the night before.

TRACK LISTING

A1. One
A2. One (Solstice Mix)
B1. Common Place (Thought Leadership Remix)
B2. Common Place

On a "Balearic-Jazz trip", the phenomenally hyped Thought Leadership returns with another X ideas: the deck this time chooses the Ace of Swords. In the acclaim garnered by III of Pentacles, there were many whispers of “Balearic” from those in the know. As soon as you drop the needle on XI you will be basking in turbo Balearica.

The sonic palate has been augmented by the addition of synth and bass; there are more guitar layers, more pedals and more organic drums this time – a much fuller production. Still DIY, and still recorded straight to multitrack, just ever so slightly grander in scale; think a rough-hewn, long-lost Claremont 56 cut and you’ll have some idea of how XI opens this future classic LP.

The touchstones so key to the vision of Pentacles (Cocteau Twins, Dif Juz, Durutti Column) are all still present and correct; XII could be a piece from Extractions, XIII is pure Garlands-era Guthrie and, now with the shuffling jazz drums, XV makes TL even more LC – but more disparate influences are found this time out too. ECM guitar legends John Abercrombie and Pat Metheny in the more considered melodic phrasing and harmonic structure of the ideas and a nod to the cosmic Balearic spirit in the overall vibe, means more is offered to the listener across Swords.

XVI and XVII are the biggest indicators to Thought Leaderships’ new found love of The Real Book and their grasp of jazz chords. The former sounds like if Mike Hedges had produced on a heavily sedated ECM date in the early 80s, whilst the latter is Bright Size Life condensed into a most post-punk shard of Strat conversation. The syrupy Phase 90 on the lead parts lends much weight to the guitar melodies, a beautiful tonal counterpoint to the Vox-ish chimes of the plangent chords we’ve all come to love.

The flip again treats us to three extended, improvised jams. XVIII owes as much to Canterbury as it does to Krautrock, another modal voyage through the stars. Light the incense and drift away, guided by delayed cymbals and weaving ribbons of guitar. XIX has almost a New-Wave/Sophisti-Pop energy to it in tone, if not in structure and execution. Something almost Tears for Fears-esque in the chiming chorus guitars. An interesting outlier that has already received a lot of love from those that have heard it. XX is the starkest idea, and the only piece this time with no drums. What we do get, however, is a free exploration over a two chord-vamp. It’s Harvest Time meets Planet Caravan and a fitting end to this Balearic jazz trip.

Be With is honoured to present the first ever vinyl release of Ace Of Swords, carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last one flew. You have been warned.

STAFF COMMENTS

Barry says: Echoic guitar effortlessly woven around a core of minimalist percussion and rolling bass, occasionally flecked with stabs of saturated synthesisers and soaring solos. There are obviously links to be drawn to other well-known Manchester bands that really like this sort of chorused guitar, but that's certainly no bad thing. Superb.

TRACK LISTING

A1 XI
A2 XII
A3 XIII
A4 XIV
A5 XV
A6 XVI
A7 XVII
B1 XVIII
B2 XIX
B3 XX