The debut collaborative album from world-renowned UK producer, Kieran Hebden (Four Tet), and American guitarist, William Tyler, '41 Longfield Street Late ‘80s' is inspired by their shared deep connection to 1980s American country and folk artists such as Lyle Lovett, Nancy Griffith, Joe Ely and David Grissom. A cover of Lyle Lovett's song 'If I Had a Boat' is the most literal pull from this ‘80s country sound, accompanied by soft synth tones.

TRACK LISTING

1. If I Had A Boat
2. Spider Ballad
3. I Want An Antenna
4. When It Rains
5. Timber
6. Loretta Guides My Hands Through The Radio
7. Secret City

For 5 years after they'd swapped sought-after apprenticeships for life on the dole, brothers William and Jim Reid sat up till the early hours in the front room of their parents' East Kilbride council house, plotting their path to world domination over endless cups of tea, with the music turned down low so as not to wake their sleeping sister. They knew they couldn't play in the same band because they'd argue too much, so they'd describe their dream ensembles to each other until finally they realised that these two perfect bands were actually the same band, and the name of that band was The Jesus and Mary Chain.

The rest was not silence, and picking up those conversations again more than 40 years later, William and Jim tell the full story of one of Britain's greatest guitar bands for the very first time - a wildly funny and improbably moving chronicle of brotherly strife, feedback, riots, drug and alcohol addiction, eternal outsiders and extreme shyness, that also somehow manages to be a love letter to the Scottish working-class family.

An electric, searing memoir by the original riot grrrl and legendary frontwoman of Bikini Kill and Le Tigre Hey girlfriend I got a proposition, goes something like this: Dare ya to do what you want. Kathleen Hanna’s rallying cry to feminists echoed far and wide through the punk scene of the 1980s, ’90s, and beyond. Her band, Bikini Kill, embodies this iconic time, and today their gutsy, radical lyrics of anthems like ‘Rebel Girl’ and ‘Double Dare Ya’ are more powerful than ever.

But where did this transformative voice come from? In Rebel Girl, Hanna’s raw and insightful new memoir, she takes us from her tumultuous childhood home, to her formative college years in Olympia, Washington, and on to her first years on tour, fighting hard for gigs and for her band. As Hanna makes blindingly clear, being in a ‘girl band’, especially a punk girl band, in those years was not a simple or a safe prospect. Male violence and antagonism threatened at every turn, and surviving as a singer who was a lightening rod for controversy took limitless amounts of determination.

But the relationships she developed during those years buoyed her – including with her bandmates Tobi Vail, Kathi Wilcox, and Billy Karren; her friendship with Kurt Cobain; and her introduction to Joan Jett – and they were a testament to how the true punk world nurtured and cared for its own. Hanna opens up about falling in love with Ad-Rock of the Beastie Boys and her debilitating battle with Lyme disease, and she brings us behind the scenes of her later bands, Le Tigre and The Julie Ruin. She also writes candidly about the Riot Grrrl movement and its decline, documenting with love its grassroots origins but critiquing its later exclusivity.

In an uncut voice all her own, Hanna reveals the darkest, hardest times along with the most joyful – and how it all fuelled her revolutionary art, from the 1980s to today.

After crucial stints in Silver Jews and Lambchop, William Tyler emerged with a string of inquisitive albums that paired his country rearing and classical enthusiasm with his ardor for experimentation and field recordings. His productive enclave of instrumental music has not only ushered in new sounds, but also critical new voices. No other solo American guitarist this century has impacted that fecund scene quite like him. And on the brilliant, bracing 'Time Indefinite', Tyler’s first solo album in five years, he steps at last into the widening gyre he helped create. The guitar is the starting point for an album that will make you reconsider not only Tyler but also the possibilities of an entire field. A vortex of noise and harmony, ghosts and dreams, anguish and hope, it is not just a great guitar record. It is a stunning record by a great guitarist, a masterpiece of our collectively anxious time.

In early 2020, as the world teetered at the edge of unrests still unimagined, Tyler left LA for Nashville, where he’d lived most of his life. Most of his gear and all of his records stayed, awaiting a presumed rapid return. It, of course, wasn’t. So as Tyler dealt with the depression, nerves, and questions of those endlessly tense times, he began recording ideas with his phone and a cassette deck, resigning himself to the distortion inherent in those devices. Tyler was talking with Kieran Hebden about making a record together, and some of these bits felt like test cases. As that collaboration crept in other directions Tyler magpied other sounds. He asked longtime friend, producer Jake Davis, to help stitch them together, opting to embrace the hiss and wobble and to unintentionally make a record that reflected those times and these—uneasy, damaged, honest.

A seesaw of struggle and survival defines these songs, a map of anguish and belief and the trails that link them. “This is a mental illness record,” Tyler will tell you without shame, as open in life and speech as he is on tape. “It’s music about losing your mind but not wanting to, about trying to come back.” He doesn’t need to tell you that; you can feel it, possibly recognize it from your own experience.

Tyler’s albums have been nests of non-musical influences, as he has pivoted between spirituality and philosophy and summoned the landscapes of the greater American imagination. Time Indefinite is no different, especially in the way it conjures the deeply personal films of Ross McElwee. In the mid-’80s, he began to make a movie about Sherman’s march through the South, but it spiraled into a tangled history about family, loss, and what we do when our best instincts surrender to the worst things we can imagine. The record is a nod to this idea, of time’s relentless push and our place in, beneath, and beside it. It is no great revelation that the lives we lead shape the work we make, whether or not we intend that to be the case. In these songs, you can hear Tyler wrestle with incoming demons out loud—addiction, middle age, loneliness, neurosis. All of our struggles are different, but we are united in having them. This is the soundtrack that Tyler’s create.

TRACK LISTING

1. Cabin Six
2. Concern
3. Star Of Hope
4. Howling At The Second Moon
5. A Dream, A Flood
6. Anima Hotel
7. Electric Lake
8. Hardest Land To Harvest
9. Held

William Onyeabor was born outside Enugu, a small, rural town in Eastern Nigeria, he created his own genre of African electronic funk in the late 70s and early 80s, making music completely unique for his time. Today, he is reaching cult status among a growing list of admirers, including everyone from Damon Albarn and Hot Chip to Carl Craig and Madlib, with some likening him to the Kraftwerk of West Africa, or a precursor to LCD Soundsystem.

Among the crate-digging few that knew of him, he is considered a complete myth. While he has never performed live and almost never given interviews, his fantastical biography is scattered and has to this day not been verified. And he refused to speak about anything regarding the past.

According to various rumors, he left home following the Biafran War and went to study cinematography in the Soviet Union, returning in the mid-70s to start his own film company and record label, Wilfilms. He then self-released eight remarkable records from 1978-1985. He wrote and produced everything on his own, and possibly played every instrument himself. Then, at some point of his life, he became born again and denounced his earlier music, deciding it is something he would never speak about.

TRACK LISTING

1. The Way To Win Your Love
2. Poor Boy
3. Love Me Now
4. Fantastic Man
5. Try & Try

William Onyeabor was born outside Enugu, a small, rural town in Eastern Nigeria, he created his own genre of African electronic funk in the late 70s and early 80s, making music completely unique for his time. Today, he is reaching cult status among a growing list of admirers, including everyone from Damon Albarn and Hot Chip to Carl Craig and Madlib, with some likening him to the Kraftwerk of West Africa, or a precursor to LCD Soundsystem.

Among the crate-digging few that knew of him, he is considered a complete myth. While he has never performed live and almost never given interviews, his fantastical biography is scattered and has to this day not been verified. And he refused to speak about anything regarding the past.

According to various rumors, he left home following the Biafran War and went to study cinematography in the Soviet Union, returning in the mid-70s to start his own film company and record label, Wilfilms. He then self-released eight remarkable records from 1978-1985. He wrote and produced everything on his own, and possibly played every instrument himself. Then, at some point of his life, he became born again and denounced his earlier music, deciding it is something he would never speak about.

TRACK LISTING

1. Beautiful Baby
2. Better Change Your Mind
3. Atomic Bomb
4. Shame
5. I Need You All Life 

In 2015, Spaceman, Coxon, and friends performed a new original score live at a special film screening at the Barbican Gallery in London. The recording sat on a shelf for 10 years, and will finally be unveiled through this release.. Stranded in Canton is a black-and-white film portrait of Memphis in 1974, shot in bars and on street corners, showing Eggleston’s friends carousing, playing music and firing pistols into the night sky. It is raw, greasy, Quaalude-y and hot. Jagged and intimate, the film is a handheld window into a different world; “Hogarth on Beale Street” as writer Richard Williams describes it in the album’s liner notes. The tones Spaceman and Coxon came up with mirror the ragged nature of the film perfectly. Riffs written under flickering light bulbs, hypnotic tremolo, boozy romances, some barroom boogie, the blues, and hoping the bottle won’t let you down tonight. The characters of Stranded in Canton dance around the music, living their best Memphis lives by any means necessary.

TRACK LISTING

1. I Was Stranded In Canton
2. Last Week I Took A Trip
3. It’s Not Gospel
4. What Train Blues
5. I Don’t Know What I Can Possibly Do
6. Mother’s Milk
7. Back Up William
8. Everybody In Their Life At One Time Or Another
9. Love For The Asking
10. Credits Roll

The first new release by iconic composer, William Basinski, since the hugely acclaimed Lamentations (2020). September 23rd is the first release in William Basinski's new Arcadia Archive series. Recorded in September 1982 in his first loft in the pre-gentrified DUMBO neighbourhood in Brooklyn, New York, September 23rd is a recently unearthed early entry in what has become a hugely inspirational and influential catalogue. Built from a piano piece that Basinski composed in high school in the mid-1970s, September 23rd quickly evolved into a vastly different work.

As Basinski explains: "The original piano recordings were made on a piano belonging to my downstairs neighbour, John Epperson – later known more famously as world-renowned drag artist, Lypsinka – at 351 Jay Street aka Casa Degli Artisti, our first loft in New York. It was recoded with a little portable (probably Radio Shack) cassette deck sitting on the piano as I improvised a piece I had been working on since high school. It was pretty terrible, but when I did the John Giorno/William Burroughs cut-up technique, suddenly I had something to put through the Frippertronics loop and feedback loop tape delay system – and boy did I get results. A very prolific time for a young, wacked-out queen in NYC."

“At its best, William Basinski’s music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead.” – Pitchfork. 

STAFF COMMENTS

Barry says: A wonderfully immersive piece from Basinski that has some of the hallmarks of his legendary 'Disintegration Loops' series, but with a more melancholic edge. Flickering echoes and building ambient washes coalesce together into a river of piano-adjacent echoes and barely perceptible atmospheres.

TRACK LISTING

1. September 23rd (40:11

For 5 years after they'd swapped sought-after apprenticeships for life on the dole, brothers William and Jim Reid sat up till the early hours in the front room of their parents' East Kilbride council house, plotting their path to world domination over endless cups of tea, with the music turned down low so as not to wake their sleeping sister. They knew they couldn't play in the same band because they'd argue too much, so they'd describe their dream ensembles to each other until finally they realised that these two perfect bands were actually the same band, and the name of that band was The Jesus and Mary Chain.

The rest was not silence, and picking up those conversations again more than 40 years later, William and Jim tell the full story of one of Britain's greatest guitar bands for the very first time - a wildly funny and improbably moving chronicle of brotherly strife, feedback, riots, drug and alcohol addiction, eternal outsiders and extreme shyness, that also somehow manages to be a love letter to the Scottish working-class family.

Another amazing Dirty Blends edition with three tracks of heavy jak beat and OG Chicago warehouse flavours.

The A side kicks off with Kincaid presenting a dark and menacing composition played and created with blood and sweat behind the vintage music boxes to come with this 12 minute cranium splitter - "Circuit Collapse".

Cliff Solomon honors the timeless work of originators Boyd Jarvis & Timmy Regisford with an '85 flavoured exercise of proto-house entitled "Battle Cry". With drum machines you'd associate more with the boogie genre, plus expert keyboard sections and sound effects, this retrograded house track will definitely devastate today's dancefloor leaving people scratching their heads as to its origin.

The Jak and Lex Lathan collaborate on "The Call (On The Edge)". recorded at Nation HQ and perhaps the most twisted and discordant offering out of the three. Warped vox, detuned synths and deranged licks smothering a straight up jak beat rhythm. Seriously wild stuff for the more adventurous DJ and dancer - TIP! 

STAFF COMMENTS

Matt says: Dirty Blends can do no wrong in my book at the moment. There's no one out there daring to take on the dark passion of jak beat with such authority. With each release they seem to get closer to the spirit of Ron Hardy... if you don't know - get to know.

TRACK LISTING

A1. William Kincaid - Circuit Collapse
B1. Cliff Solomon- Battle Cry
B2. The Jak & Lex Lathan - The Call (On The Edge)

Serving up art-pop for the anthropocene, Springs Eternal is the Mercury-nominated, critically acclaimed artist William Doyle’s most ambitious and most playful creation to date. Taking a panoramic view of the ecstasies and agonies of life in the 2020s, the record asks how we exist as fragile flesh and blood – our hearts beating and our minds racing – in an unprecedented, almost unimaginable time of runaway climate destruction and technological expansion.

Springs Eternal presents a strange and thrilling cast of characters – from cowboys to castaways – who just might be Doyle, once or twice removed. “Most of the songs are in the first-person, but rather than being autobiographical, I was trying to imagine hyperreality versions of myself,” Doyle says. “What if decisions I made in my life had resulted in the self of each particular song? How many degrees of separation am I from those realities? It’s a frightening thought, and frightening thoughts often make for good songs.”

Across 11 tracks, we hear from narrators teetering on the precipice of global disaster, heartbreak, addiction, indoctrination and mental illness, until they pass into the great unknown. The lyrics, by turns earnest and ironic, upfront and allegorical, are paired with infectious melodies and often outright swagger. Co-produced by indie superproducer Mike Lindsay (Tunng, LUMP) at his MESS studio in Margate, we hear the siren song of the sea washing around pulsating electronics and stirring instrumentation, featuring contributions from musicians Alexander Painter, Genevieve Dawson and Brian Eno.

A recurring theme of water and flooding runs through the record, alluding simultaneously to the global climate crisis and the deluge of overwhelm these parallel-universe Williams are experiencing. “It wasn’t until we were mixing the record that I realised how many water references there are,” Doyle says. “I guess there’s a fluid border between our inner selves and the outside world that allows things to flood in, in unstoppable or perhaps irresistible ways.”

Springs Eternal is the next chapter in the William Doyle sonic odyssey that began with his incarnation as East India Youth (Total Strife Forever, 2014; Culture of Volume, 2015) and developed under his own name, producing the critically acclaimed records Your Wilderness Revisited (2019) and Great Spans of Muddy Time (2021). Alongside his own output, Doyle recently produced Anna B Savage’s celebrated debut album A Common Turn (2021) and plays in Orlando Weeks’ band both live and on his upcoming record.

TRACK LISTING

Garden Of The Morning
Now In Motion
Relentless Melt
Soft To The Touch
Eternal Spring
Cannot Unsee
Castawayed
Surrender Yourself
A Short Illness
A Long Life
Because Of A Dream

William Eggleston is a famed photographer and musician credited for iconic album covers such as Spoon’s Transference and Jimmy Eat World’s Bleed American. 512 was inspired and recorded at the Parkview Apartments in Memphis, Tennessee where Eggleston lived for almost ten years. The apartment was full of art and inspiration: cameras, naturally, but also high-end stereo tube amplifiers and objects that you’d rush towards money in hand at your local flea market. But also a gigantic nine foot Bosendorfer grand piano and a massive grand vintage JBL theater speaker console. His home was overwhelmed by music.

By recording there the album captures not just his performances, but also the vibe of the place; it often felt as though there were artists lurking in the aether listening along. His visitors over the years were no small change: Lee Friedlander, Carl Sagan, Dennis Hopper , Paul McCartney and many others came to see him and listen to his hypnotic “Musik”. You can hear local traffic, a dog barking, weather; reality, in other words. But there was another space layered on top, a kind of surreality echoing his music, as you can imagine a gathering of musicians listening in, eager to join him. Thus came along 512 which features the legendary Brian Eno on bells and production from Leo Abrahams (Regina Spektor, Paul Simon, Jon Hopkins).”

TRACK LISTING

1. Improvisation
2. Ol’ Man River
3. Smoke Gets In Your Eyes
4. Over The Rainbow
5. That’s Some Robert Burn
6. Onward Christian Soldiers

William The Conqueror's fourth album finds the indie-rock trio firing on all cylinders as frontman Ruarri Joseph confronts the thin line between creativity and madness, inspired by compassion for the reallife angels of the world. Produced by the band in a playground of vintage gear and mixed by Barny Barnicott (Arctic Monkeys, Sam Fender, Kasabian), the resulting album's ten tracks marry earworm tunes with insistent, imperious, soaring rock shapes, punctuated by chorus hooks that are simultaneously nuanced and anthemic. Joseph's compelling semi-spoken vocals and swamp-blues-Seattlescuzz guitars are propelled by the rhythm section of Naomi Holmes (bass) and Harry Harding (drums) as Excuse Me While I Vanish delivers an effortlessly winning blend of melody and ensemble dynamics, the most accomplished and undeniable William The Conqueror album to date.

TRACK LISTING

1. The Puppet And The Puppeteer
2. The Bruises
3. Sheepskin Sleeve
4. L.W.Y.
5. Somebody Else
6. Shots Fired From Heaven
7. The Tether
8. Elsie Friend
9. A Minute's Peace
10. In Your Arms

The William Loveday Intention is the latest incarnation of song and dance man Wild Billy Childish, who has been recording and performing since the 1977 Punk explosion; notably with The Pop Rivets, The Milkshakes, Thee Mighty Caesars, Thee Headcoats, The Buff Medways and CTMF, and many more!

The 'intention' of The William Loveday group was to revisit some early tunes which Billy had imagined could be orchestrated.

"Darkness Darkness" and “No Services” are songs by Kieran Hebden (Four Tet) and William Tyler.

The first song “Darkness, Darkness” contains samples from Gloria Loring's version of "Darkness, Darkness." The songs were produced by Kieran Hebden. The guitar was performed by William Tyler and recorded by Jake Davis at Huge Planet in Nashville.

STAFF COMMENTS

Matt says: Kieran Hebden returns to his real name moniker and the electro-acoustic, vivid pastoral elegance that made his early catalogue so infamous. "Darkness, Darkness" is a moving, emotional titan of live drum breaks and multi-layered instrumentation; rising to an incredible climax of soaring guitar feedback & distorted electronics.

TRACK LISTING

1. Darkness, Darkness
2. No Services

Recorded live at Yellowhammer Brewing in Huntsville, Alabama, in May 2021, Secret Stratosphere finds William Tyler and fellow psychedelic dreamers The Impossible Truth refashioning prime cuts from the Nashville guitarist's rich catalog, casting new light onto once-familiar songs. Featuring the crackling combo of Jack Lawrence (Raconteurs, Dead Weather), Brian Kotzur (Silver Jews, Country Westerns), and Luke Schneider (solo, Margo Price), the quartet stretch the dynamics of Tyler's compositions to their fullest interdimensional potential, exposing a deep undercurrent of kosmische and post-rock influences (with the right amount of grit from the nitrous corner of the Dead Lot). In teasing these influences out on favorites and new songs alike he cheekily calls closer "Area Code 601" a "Hawkwind meets Charlie Daniels Band number" before sending the crowd home on a previously unreleased stunner that lives somewhere between mind-expanding prog and beer commercial–backing Southern rock Secret Stratosphere confirms William Tyler's place as one of our most brilliant guitarists, bandleaders, and composers.

TRACK LISTING

01 Our Lady Of The Desert
02 Highway Anxiety Radioactivity
03 Whole New Dude
04 I'm Gonna Live Forever (If It Kills Me)
05 Gone Clear
06 We Can't Go Home Again
07 Area Code 601

Superb private spiritual jazz meets classical choir. The William Penn Jazz Ensemble was formed by American composer and flutist Leslie Burrs. Throughout the 1970s, Leslie performed with several major jazz and funk artists, including Grover Washington Jr., Kool & The Gang, and most notably, with Del Jones for the now cult album "Positive Vibes". "Carvings", recorded in 1982, holds a special place in Leslie's career. This album showcases Leslie's musical versatility and features clear influences of both jazz and classical music. The Ensemble's uncommon association of African American and white members at the time results in a unique fusion of cultural influences that is reflected in the music.

The musical journey is both profound and spiritual, taking listeners on an experience that is both deep and meaningful.

STAFF COMMENTS

Matt says: Ambrosial, spiritual jazz with gospel-leaning passages and some breath-taking flute work. A real treasure trove find from the archives.

TRACK LISTING

Meditation
Carvings
Naima
Blessings And Glory To God
Lazy Bird
Dolphin Dance

Hand-Numbered, Limited to 500.

The William Loveday Intention* is the latest incarnation of song and dance man Wild Billy Childish, who has been recording and performing since the 1977 punk explosion. Notably with The Pop Rivets, The Milkshakes, Thee Mighty Caesars, Thee Headcoats, The Buff Medways and CTMF.

The A side is his take on the Donovan classic.

William Orbit returns with his first new album in over eight years. Entitled ‘The Painter’ it is unmistakeably William Orbit and features vocal collaborations from an array of artists including Katie Melua, Beth Orton, Georgia, Polly Scattergood, Ali Love and more.

TRACK LISTING

1. Duende (feat. Katie Melua)
2. Bank Of Wildflowers (feat. Georgia)
3. I Paint What I See (feat. Beth Orton)
4. William Orbit & Hukwe Zawose - Heshima Kwa Hukwe
5. Nuestra Situación (feat. Lido Pimienta)
6. The Diver (feat. Natalie Walker)
7. William Orbit & Polly Scattergood - Colours Colliding
8. Gold Coast
9. Second Moon
10. Promethean Lies (feat. Ali Love)
11. Planet Sunrise
12. No Other World (feat. Beth Orton)
13. Free Glo (feat. Gloria Kaba And Laurie Mayer)
14. I Paint What I See (feat. Beth Orton) (Epic Mix) (VINYL ONLY EXCLUSIVE TRACK)

It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time.

In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love as both a highly limited four LP box set, titled ‘Slowly Arranged: 2016-19’, and as separate albums.

The Dream Derealised is a collection of nine abstract, lo-fi pieces that were recorded during the summer of 2016, when focusing on creating them helped guide Doyle through a “difficult period of anxiety, panic and a regular dissociative feeling called derealisation.” At the time, doing something creative in a quick and immediate fashion felt vital to Doyle, carrying him to a new place: “I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves. What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.”

TRACK LISTING

1. Seeing Spectral
2. Everything Tilted
3. Flexford Looping
4. A Silence Of Vision
5. Derealisation LKX
6. I No Longer Knew What To Do
7. Field Open Wide
8. Don’t Get Carried Away
9. All To Be Footnotes 

It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time.

In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love as both a highly limited four LP box set, titled ‘Slowly Arranged: 2016-19’, and as separate albums.

Lightnesses Vol. I & II sees Doyle create what we might understand as true ambient music – that is, music intended for the background that wasn’t composed as such, but allowed to blossom out of the setting of some rules and parameters, played by sounds he created and then resampled. The deceptively simple, droning pieces are unlike anything Doyle has made before or since. “During their creation I’d often take photographs of the light coming in through the windows of the two houses I lived in during their creation. I’d post these on social media and they became quite popular parts of my output. This music was intended to accompany those visuals. The first volume’s photo is a double exposure of the sun shining in on my notebook and my hand, whereas the photo for the second volume was taken in Joshua Tree Park, California as I saw our tail lights illuminate one of the trees.”

TRACK LISTING

Disc 1)
1. Aisles Of White
2. Number Of Harmony,
Disc 2)
3. History Of Change
4. Winter Of Fullness

It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time.

In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love as both a highly limited four LP box set, titled ‘Slowly Arranged: 2016-19’, and as separate albums.

Near Future Residence is music for an imagined place based on real ideas; the soundtrack for an ecologically sustainable housing development somewhere in a not-too-distant future Britain. The eleven instrumental pieces here come from a place of optimism, imagining a future that is based on cooperation, community and ecological urbanism. It's music intended to sit in this imagined environment rather than impose upon it, similar in principle to the function of Kankyō Ongaku (Japanese environmental music). The ideas contained on Near Future Residence laid the groundwork for - and can be seen as a companion piece to - the album Your Wilderness Revisited, released to critical acclaim in 2019. Doyle explains how the pieces “were composed in entirely generative ways using samples of instruments, synthesisers and field recordings I've collected and developed throughout 2018. In generative composition, rules are set and parameters are chosen and then put into motion, the results constantly changing and surprising.”

TRACK LISTING

1. Flexford Forest Community Choir
2. Cadence Gardens, 2026
3. Sightings At Tangmere Close
4. Music For The 3rd Floor Atrium
5. Rose Building Improv Group
6. Next Door’s Granular Band Practice
7. Hocombe Astral Projection Society (Abridged)
8. New European Optimism
9. Derwenthorpe Rainwater Harvest
10. Municipal Harmonics
11. Near Future Residence

Brand new double 7” by The William Loveday Intention! As part of an incredibly productive year by one of the world's most productive and cherished artists, Billy Childish releases a new EP by The William Loveday Intention as part of his attempt at “a career in a year”. “Four tracks that address the game of being a human being.” 'I'm Good Enough' is a fresh look at Thee Headcoats' classic. 'Failure not Success' speaks for itself - and embodies the quest for un-muddied art. 'Becoming Unbecoming Me' is the story of a Jewish girl in Austria who changed her identity and married a Nazi to escape the death camps. 'Subterranean Homesick Blues' is our version of Bob Dylan's version of 'Too Much Monkey Business' by Chuck Berry.”

TRACK LISTING

A – I'm Good Enough
B – Failure Not Success
C – Becoming Unbecoming Me
D – Subterranean Homesick Blues (Alt Version)

The final William Stuckey release unfortunately did not make it on time for the man himself who sadly passed last year, with support of his family we are very happy to do this 45 justice.

The previously unreleased 'Everything That's Good In Life' A Very suitable unreleased track up there with his finest moments, it's got everything that would have made this a classic over the years and no doubt will make it a future classic for years to come, flipped with an alternate 7" Mix of 'Hold Me Close' this is a rock solid 45. You know what to do.

TRACK LISTING

1. Everything That's Good In Life
2. Hold Me Close (7 Inch Mix)

Wild Billy Childish has been recording and performing since the 1977 punk explosion. The Pop Rivets, Thee Milkshakes, The Headcoats and The Buff Medways are just a few musical outfits that Billy has been involved with. Billy is also an internationally exhibited artist and poet. The William Loveday Intention is the latest incarnation. The groups name can be attributed to Billy's grandmother, Ivy Loveday, who registered his birth as William Ivy Loveday, with William being his great grandfather's name. The 'intention' of The William Loveday group was to revisit some early tunes which Billy had imagined could be orchestrated. This was the beginning of a 'career in a year' with over 14 LPs being recorded during the lockdown period at Jim Riley's Ranscombe Studios.


Side A's 'Sex And Flys' is a complete make-over of the original Rhythm 'n' Punk track previously recorded by Thee Headcoats (which can be found on the 1996 long player 'In Tweed We Trust'). Side B's 'Becoming Unbecoming Me (Slight Return)' recounts the true-life story of a Jewish girls change of identity in war-time Venice to escape the death camps.

Wild Billy Childish has been recording and performing since the 1977 punk explosion. The Pop Rivets, Thee Milkshakes, The Headcoats and The Buff Medways are just a few musical outfits that Billy has been involved with. Billy is also an internationally exhibited artist and poet. The William Loveday Intention is the latest incarnation. The groups name can be attributed to Billy's grandmother, Ivy Loveday, who registered his birth as William Ivy Loveday, with William being his great grandfather's name. The 'intention' of The William Loveday group was to revisit some early tunes which Billy had imagined could be orchestrated. This was the beginning of a 'career in a year' with over 14 LPs being recorded during the lockdown period at Jim Riley's Ranscombe Studios.


'The Jutland Sea' is a tribute to all that fought in the Battle Of Jutland in 1916 - the largest naval battle of the The Great War. Billy's Grandfather was aboard HMS Thunderer. 'Scapa Flow' (not to be confused with the track of the same name by The Milkshakes) is an instrumental in honour of the home base of The Grand Fleet.

Centring around the Icarus myth, William Fitzsimmons’ seventh album sees him debark on a slightly different sound aesthetic, yet still his distinctive voice holds it all together.

For fans of Bon Iver, The National, Sufjan Stevens and José Gonzalez.

TRACK LISTING

‘Ready The Astronaut’ (CDGRON242 / LPGRON242)
Dancing On The Sun
No Promises
Down With Another One
Daedalus, My Father
As Long As I Can Breathe
Ready The Astronaut
You Let Me Down
Maybe She Will Change Her Mind
If I Fell Back To The Earth (You Will Never Find Me)
Icarus
To Love Forever

Bonus CD (LPGRON242 only)
Ready The Astronaut (Alternate Version)
Adore You
Maybe She Will Change Her Mind (Alternate Version)

The twenty-fourth - and final - issue in FatCat’s long-running and much-loved Split Series arrives on the 25th Anniversary of the Brighton-based label.

‘Split Series #24’ features acclaimed Canadian singer / composer Ian William Craig alongside the brilliant but little-known Estonian Kago - two artists each using their voice as a central element of their craft, mediated through technology to conjure startlingly singular soundworlds.

Neither side here will sound quite like anything you’ve previously heard. Ian William Craig provides a 19-minute-long immersive tape piece, with Kago delivering a warped, acid-tinged slice of Eastern European freak-folk to round off a killer release that fits the free-wheeling aesthetic of the Split Series perfectly.

Last ever release in FatCat’s long-running and much-hyped Split Series, described by NME as “a virtual academy of the abstract... [where] the shock troops of post-everything music gather” and by The 405 as having “left an indelible mark on the face of modern electronica.”

Hand-drilled and hand-numbered sleeves with full printed inner sleeve in a one-off vinyl pressing.

For fans of Tim Hecker, William Basinski, Ben Frost, The Caretaker, Maarja Nuut, Mari Kalkun.

TRACK LISTING

Ian William Craig
Because It Speaks

Kago
Kröösnomi
Avovang
Suure Reede Lapsed
Leontiine Kirotosk
Tetermats 2
Käed Lahti On Ulga Kergem
Sõita
Uued Vigikad

It’s nearly a decade since William Doyle handed a CD-R demo to the Quietus co-founder John Doran at a gig, who loved it so much he set up a label to release Doyle’s debut EP (as East India Youth). Doyle’s debut album, Total Strife Forever, followed in 2014, as did a nomination for the Mercury Music Prize. A year later, he was signed to XL, touring the world and about to release his second album – all by the age of 25.

After self-releasing four ambient and instrumental albums, Doyle’s third full-length record – and the first under his own name – Your Wilderness Revisited arrived to ecstatic reviews in 2019: Line of Best Fit described it as “a dazzlingly beautiful triumph of intention” and Metro declared it an album not only of the year, but “of the century”. Just over a year later, as he turns 30, Doyle is back with Great Spans of Muddy Time.

Born from accident but driven forward by instinct, Great Spans’ was built from the remnants of a catastrophic hard-drive failure. With his work saved only to cassette tape, Doyle was forced to accept the recordings as they were – a sharp departure from his process on Your Wilderness Revisited, which took four long years to craft toward perfection. “Instead of feeling a loss that I could no longer craft these pieces into flawless ‘Works of Art’, I felt intensely liberated that they had been set free from my ceaseless tinkering,” Doyle says.

“The album this turned out to be – and that I’ve wanted to make for ages – is a kind of Englishman-gone-mad, scrambling around the verdancy of the country’s pastures looking for some sense,” says Doyle. “It has its seeds in Robert Wyatt, early Eno, Robyn Hitchcock, and Syd Barrett.” Doyle credits Bowie’s ever-influential Berlin trilogy, but also highlights a much less expected muse: Monty Don, presenter of the BBC programme Gardeners’ World, Doyle’s lockdown addiction.

“I became obsessed with Monty Don. I like his manner and there's something about him I relate to. He once described periods of depression in his life as consisting of ‘nothing but great spans of muddy time’. When I read that quote I knew it would be the title of this record,” Doyle says. “Something about the sludgy mulch of the album’s darker moments, and its feel of perpetual autumnal evening, seemed to fit so well with those words. I would also be lying if I said it didn’t chime with my mental health experiences as well.”

Great Spans of Muddy Time is a beautiful ode to the power of accident, instinct and intuition. The result, however, is far from an anomaly: this celebration of the imperfect album is one that required years of honed craft and dedicated focus to achieve. “For the first time in my career, the distance between what I hear and what the listener hears is paper-thin,” Doyle says. “Perhaps therein reveals a deeper truth that the perfectionist brain can often dissolve.”

STAFF COMMENTS

Barry says: There has been a significant stylistic change in Doyle's output since his early material as East India Youth, and every single note oozes with the intellectual construction and well placed melodic sensibilities that will ensure his place in the musical landscape for years to come. 'Great Spans...' is a wonderfully rich and fascinating journey, and one that rewards with each further listen.

TRACK LISTING

Side A
I Need To Keep You In My Life
And Everything Changed (But I Feel Alright) 
Somewhere Totally Else
Shadowtackling
Who Cares
Nothing At All

Side B
Rainfalls
New Uncertainties
St. Giles’ Hill
Semi-bionic
A Forgotten Film
Theme From Muddy Time
[a Sea Of Thoughts Behind It]

In a Word, the sixteenth installment of the intergenerational collaboration series FRKWYS, brings together composer Daniel Lentz and vocalist and sound artist Ian William Craig for an album that embraces erosion and the potential of its loam left behind. A major figure in American composition, Daniel Lentz has worked at the middle and margins of postminimalism for more than four decades. A pioneer of “live multitrack recording” with the Daniel Lentz Group, he frequently writes for ensembles of similar instruments, from choirs to string orchestras to glass harmonicas. Like his west coast colleagues Harold Budd and Ingram Marshall, Lentz composes music of slow changes, built on fundamental harmonies and rhythms that evoke vast spaces and deep, ancient stone.

Canadian artist Ian William Craig combines his classically trained voice with precarious technologies: homemade analog synths, altered reel-to-reel machines, and faulty tape decks. His solo albums, including the acclaimed Centres (2016) and, more recently, Red Sun Through Smoke (2020), document a haunted nostalgia. In contrast to Lentz’s (sometimes) radical expansiveness, Craig’s music is fragile and self-consciously created alone, using his customized machination to create warped nocturnes of melody and dissonance. The sessions for In a Word took place in the Santa Barbara home studio of engineer Dick Dunlap. For both musicians the experience was an exploration toward each other. Craig with his rickety tape decks, Lentz sat at a grand piano. Lentz was immediately enchanted by Craig’s voice and equipment: “With the first note he sang, I was hooked. The beauty of his voice and his unique analog looping setup, all compacted into a small suitcase, were both remarkable and always surprising in what they could do. The music emerged spontaneously from simple, even cautious beginnings.

For Craig, who rarely works with other musicians, the sessions encouraged him to shed selfconsciousness and attune himself to his cocreator. Previously, he had regarded his tape decks and synths as bandmates, providing the creative energy he could get from other people. Recording with Lentz pushed him to find a new, more collaborative perspective. “I tried my best to control what was going on at first, and failed spectacularly. Once I let this aspect go and began to listen to Daniel, to my surroundings, and to the engineers, something finally clicked.” In a Word documents a coming together of two distinct musical personalities, and also a transformation. Lentz’s toiling, echoing piano, recalling his work on 1984’s Point Conception or the 1992 collaboration Music for 3 Pianos with Budd and Ruben Garcia, are churned into lush earth by Craig’s faltering machines. Craig’s folk-like tenor is realigned with Lentz’s crisp, minimalist repetitions; the combination is warm yet deeply layered, like the Californian sunset that would acknowledge the two composers at the end of each session day. Together, Craig and Lentz unearth deep forms of sonic expression from a common ground and newly seeded camaraderie. Lentz’s unmistakable piano sound is clearly relished by Craig’s tape decks, which add ghostly counterpoints of distortion and disintegration to its acoustic resonances. To this hall of haunted mirrors, Craig’s voice adds a yearning, human quality that is sometimes caught up in the same machinery, and is sometimes allowed to spirit above it. 

An accompanying documentary of the collaboration directed by Eli Welbourne will be released in tandem. A portion of the proceeds from this release will benefit Wolfstone Ranch, a spiritually-based, activist community dedicated to making the rural Midwest a more compassionate place for all the animals who live there.

TRACK LISTING

A1. Tasteful Gloss
A2. Joyce
A3. Aphrodite
A4. Erebus
A5. Up Up Up Stay
B1. A Pair Of Pears
B2. Fragrance
B3. Stöltzle
B4. Poire

Vancouver-based singer/composer Ian William Craig returns with a brilliant and powerfully emotive new album. His first for a long while to be centred around the piano - and also one of his most pared back - the record was made through an intense period of personal loss and environmental catastrophe.

‘Red Sun Through Smoke’ was recorded over two cataclysmic weeks in August 2018 in Kelowna, whilst the city was encircled by the forest fires which, under a warming climate, now regularly rage through British Columbia in summertime. With smoke engulfing the landscape, it was recorded from start to finish in the living room of a small house owned by his grandfather, who was moved into palliative care and tragically died halfway through the recording, his lungs filled with fluid as a result of the smoke.

Forged in trauma and an intense, bewildering slew of mixed emotions, Ian William Craig has created an album of incredible beauty, sadness and depth. ‘Red Sun Through Smoke’ is a profoundly moving album, a standout record in a prolific body of work that shows no sign of faltering.

TRACK LISTING

Random
The Smokefallen
Weight
Comma
Condx QRN
Mountains Astray
Take
Last Of The Lantern Oil
Supper
Far And Then Farther
Open Like A Loss
Stories

William Doyle (previously Mercury nominated with his East India Youth project) releases his first new album for four years ‘Your Wilderness Revisited’. The album is an extraordinarily imagined exploration on the theme of the British suburban environment, inspired by William’s personal experience of having grown up in this setting and how he eventually saw beyond its ordinary stereotypes, towards something that was both illuminating and inspirational. It features guest appearances from writer and film maker Jonathan Meades (whose programme ‘Magnetic North’ was an influence on the album), saxophonist Laura Misch and legendary musician Brian Eno.

As William himself puts it, “This album has been rattling inside of me for over 10 years now. When I left the suburb I spent my entire teenage life in, I started to think back to it and notice the influence it had on me, on my art, and on my development as a person. The architecture and the planning of the modern British suburb influenced this album as much as the experiences and emotions I superimposed upon that landscape at a formative age. I started creating in these places, I started to expand myself in these places, I grappled with grief and loss in these places. I realised that I wouldn’t be alone in having these experiences here, and so I thought there should be a way of redefining or reimagining these places that painted a different picture of them in our collective consciousness. These weren’t just places to escape to the nearest city from – perhaps they held as much truth and beauty in them as anywhere else. This album is, in part, an interrogation and excavation of that truth and beauty.”

TRACK LISTING

1. Millersdale
2. Nobody Else Will Tell You - William Doyle Feat. Laura Misch
3. Zionshill
4. Design Guide - William Doyle Feat. Brian Eno
5. Continuum
6. Full Catastrophe Living
7. Blue Remembered
8. An Orchestral Depth
9. Thousands Of Hours Of Birds

“One Alone,” the debut solo LP from Alice In Chains lead singer/guitarist, William DuVall, is a smoldering all-acoustic affair, a late-night meditation on heartbreak, triumph, and hard-won lessons. This recording is as intimate as it gets, like a private living room concert.

William DuVall’s debut solo album, One Alone, is an all-acoustic meditation on heartbreak and hard-won wisdom. Nick Drake meets Jeff Buckley by a late-night campfire. “After three albums and numerous world tours with Alice In Chains, as well as creating the Giraffe Tongue Orchestra album (w/ Brent Hinds of Mastodon and Ben Weinman of The Dillinger Escape Plan), and, of course, my catalog of albums and tours with Comes With The Fall, I felt the need to peel everything back to the bare bones. This album is strictly one voice, one guitar. It reveals the very core of who I am as a singer, guitarist, and songwriter.” 

TRACK LISTING

Side A:

1. ’Til The Light Guides Me Home
2. The Veil Of All My Fears
3. The 3 Wishes
4. Strung Out On A Dream
5. White Hot

Side B:

1. Still Got A Hold On My Heart
2. Smoke And Mirrors
3. So Cruel
4. Chains Around My Heart
5. No Need To Wonder. 

The new studio album from one of the world’s most celebrated sound artists. Vinyl format features exclusive mixes that differ from the CD and Digital formats. “At its best, William Basinski’s music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead.” 

On Time Out of Time is a suite of works originally commissioned for the 2017 installations ‘ER=EPR’ and 'Orbihedron' by artists Evelina Domnitch and Dmitry Gelfand (in collaboration with Jean-Marc Chomaz and LIGO) for the exhibition, ‘Limits of Knowing’ at Martin-Gropius-Bau, Berlin by curator, Isabel de Sena. These works utilize, among other things, exclusive source recordings from the interferometers of LIGO (Laser Interferometer Gravitational-Wave Observatory) capturing the sounds of the merging of two distant massive black holes, 1.3 billion years ago. The CD and Digital formats feature two tracks: The 40-minute title track, “On Time Out of Time,” as well as “4(E+D)4(ER+EPR)”, a live track recorded during the aforementioned installation. 

TRACK LISTING

1. On Time Out Of Time (39:33)
2. 4(E+D)4(ER+EPR) (9:46)

Some words from M.C. Taylor of Hiss Golden Messenger:

"I met William Tyler on a train going south out of London. He had a nervous and cryptic and welcoming aura and was the first Nashville native (there is such a thing) that I’d ever met. We both carried more than we could manage on that trip, and I realized later that his bags were full of books. Books about psychology, philosophy, the Civil War, and astrology. Books—I realize now as I write this—about measuring and deciphering the boundaries of kindness and cruelty. William and I bonded early in our relationship over Barry Hannah, a hellraising writer from Mississippi who practically reinvented the way that words could be assembled on a page. Like Hannah, William Tyler knows the South—as a crucible of American histories and cultures, an entity capable of expansive beauty and incomprehensible violence, often in the same beat.. In the music of William Tyler, the South is not apart from America; the South is America condensed. And like Hannah—and this part is important—William moved to California, where Goes West was written.

William’s new record, Goes West, is the best music that he’s ever made. I’m sure of this because I know and love all of his music intimately, and this album moves me the most, and the most consistently. The first time I heard it was in the late spring in the Texas Hill Country, rolling between limestone and scrub. I was on a cleanse then—no alcohol, no drugs, no evil thoughts—and was astonished at the emotional clarity that the album held. Goes West marks a sort of narrowing of focus for William’s music; it sounds as though he found a way to point himself directly towards the rich and bittersweet emotional center of his music without being distracted by side trips. Perhaps this is down to the fact that William only plays acoustic guitar on the album, a clear and conscious decision considering that he is one of Nashville’s great electric guitarists."

STAFF COMMENTS

Barry says: William Tyler definitely has an ear for a progression. Pitch-perfect guitar athletics, tempered by warming Americana vibes help to make what could easily have been a confusing ball of sound into a multi-layered, and beautifully textured tapestry. Undoubtably one of the greatest folk / Americana artists out there today. Superb

TRACK LISTING

1. Alpine Star
2. Fail Safe
3. Not In Our Stars
4. Call Me When I’m Breathing Again
5. Eventual Surrender
6. Rebecca
7. Venus In Aquarius
8. Virginia Is For Loners
9. Man In A Hurry 
10. Our Lady Of The Desert (features Bill Frisell)

Native Memphian William Eggleston, 77, is widely regarded to be the most important photographer of the late 20th Century but there is another side to him that took root in his Sumner, Mississippi childhood, where he discovered the piano in the parlour that ignited in him a lifelong passion for music.

In the 1980’s, Eggleston, who disdained digital cameras and modernity in general, became surprisingly fascinated with a synthesizer, the Korg O1/W FD, which had 88 piano-like keys and in addition to being able to emulate the sound of any instrument, also contained a four-track sequencer that allowed him to expand the palette of his music, letting him create improvised symphonic pieces, stored on 49 floppy discs, encompassing some 60 hours of music from which this 13 track recording was assembled.

The music, which he refers to as ‘Musik’, adopting the German spelling of his hero, JS Bach, is highly emotional, whether he’s improvising a Bach-like organ fanfare out of whole cloth, using a Korg patch titled ‘Guitar Feedback’ to create a dirge, or playing Lerner and Lowe’s ‘On The Street Where You Live’ as a dramatic overture.

Release available in a beautiful gatefold double LP with photography by Alex Soth.

From the combined backgrounds of film score composition and field recordings comes ‘Asylum For Eve’, Thomas William Hill’s rich and expressive new album and the first written under his own name.

While not a concept album in the strict sense of the term, the album’s title refers to a hypothetical imagining of ‘Mitochondrial Eve’, the theorised matrilineal ancestor of all living humans, reincarnated in today’s world of restricted movement. Threads inspired by this juxtaposition of division and connectedness run through the album, which drifts from plaintive piano-led passages to brisk chamber music and back again, tied together by the textured layering of found sounds and instruments that distinguishes Thomas’s music.

Moskenstraumen, Christopher William Anderson’s first and only release under his own name, sees him saying goodbye to the electric guitar as the instrument of choice for solo compositions.

The tracks were crafted using a Gretsch Duo Jet and numerous tape and digital delays/loopers into something far removed from the sound of the source.

Originally self-released 3 years ago almost to the day and sold in painstakingly produced hand crafted packaging only a few were lucky enough to grab a copy. Now we are incredibly privileged to help "Moskenstraumen" see the light of day again amongst the increasing ranks of Sacred Tapes releases.

Written and recorded by Christopher Anderson between 2009-11

TRACK LISTING

An End To Calm
Blood & Salt
Moskenstraumen
Eye
The Last Refracted Light

THE PICCADILLY RECORDS REISSUE/COLLECTION OF THE YEAR 2013.

Through its World Psychedelic Classics series, Luaka Bop has succeeded at introducing long-forgotten artists including Os Mutantes, Shuggie Otis and Tim Maia to the world at large. William Onyeabor is as obscure as these other artists were before their Luaka Bop releases, although his recordings from the 70s and 80s are beloved by die-hard record collectors and artists such as Damon Albarn, Devendra Banhart, Four Tet and Caribou, to name a few. The music ranges from synth-heavy electronic dance music to Afrosoul with saxophones and female backup singers, to psychedelic funk with wah-wah guitar and fuzzy keyboards - and often combines all of these elements.

'Who Is William Onyeabor?' may be the most complicated, if also one of the richest, undertakings in Luaka Bop's (rarely straightforward) 25-year history. Following the eight albums Onyeabor self-released between 1978 and 1985, he became a Born-Again Christian, refusing ever to speak about himself or his music again. Various biographies can be found online. Some say he studied cinematography in the Soviet Union and returned to Nigeria in the mid-70s to start his own film company, Wilfilms. Some say he was a lawyer with a degree from a university in Great Britain. Others portray him as a businessman who for years worked on government contracts in Enugu, Nigeria.

By attempting to speak with Onyeabor himself, and by talking to people who seem to have firsthand knowledge, Luaka Bop has been trying to construct an accurate biography of him for the past 18 months...without success.

One thing that's undisputable is that Onyeabor's music is utterly unique and ahead of its time.

The vinyl release comprises 13 tracks spanning Onyeabor's body of work and will include artwork by John Akomfrah, Njideka Akunyili, Harrison Haynes, Dave Muller, Odili Donald Odita and Xaviera Simmons. 

"The world might just be better off not hearing [Onyeabor's "Atomic Bomb"], which will burrow and propagate its seed exponentially by the second, into the hearts and souls of all humanity. It's the catchiest song I've ever heard; when it gets in my brain, I can't sleep...He's a mythical character from Nigeria." - Devendra Banhart in Uncut

"Anyone out there who is making music at the moment...will be quite excited by this..." - Damon Albarn on BBC Radio One

"LCD Soundsystem sounds like an American William Onyeabor." - Peaking Lights

"Talked to Luaka Bop about details of the William Onyeabor comp they are working on... Gonna blow minds!!!!!!!!!!!!!!!" - Four Tet

"People are really going to freak out!" - Caribou

TRACK LISTING

1. Body And Soul
2. Atomic Bomb
3. Good Name
4. Something You Will Never Forget
5. Why Go To Ware
6. Love Is Blind
7. Heaven And Hell
8. Let’s Fall In Love
9. Fantastic Man

LP EXCLUSIVES – NOT AVAILABLE ON CD OR DIGITALLY:
10. When The Going Is Smooth & Good
11. The Way To Win Your Love
12. Jungle Gods
13. Love Me Now

William D Drake is a composer, songwriter and performer in his own right as well as being a contributing member of the critically acclaimed North Sea Radio Orchestra. The work of a highly original and eccentric figure, Drake's music is flavoured with tastes developed from early childhood. The sense of dark antiquity in 78 rpm records of Debussy, Paderewski and Rachmaninov, silent film and the first Disney shorts infiltrated an imagination already seduced by Edward Lear and Spike Milligan's use of the surreal and the absurd. His is a many-layered and enticing vision where sweetness jostles with the macabre, absurdity with gravity. "Yew's Paw", a cycle of 13 solo piano pieces, is a powerful expression of these colliding themes. Stylistically, its roots can be traced equally to Drake's classical training and his influential membership of Cardiacs.