Marking the 20 year anniversary of 'Age of Winters', this new edition elevates an already impossibly high mark from The Sword’s early canon. Newly remastered by Dan Coutant at Sun Room Audio, this anniversary edition accents and amplifies a modern metal classic. 

TRACK LISTING

1. Celestial Crown
2. Barael's Blade
3. Freya
4. Winter's Wolves
5. The Horned Goddess
6. Iron Swan
7. Lament For The Aurochs
8. March Of The Lor
9. Ebethron

Six touching tracks that, starting from quiet ambient atmospheres, initially soft, tenuous, and crepuscular, gradually seem to soar... ascending towards celestial spaces, revealing ever-wider and brighter landscapes below, ever-more distant horizons, ever-more infinite spaces...

Highly evocative progressions, guided by sober and delicate melodies and driving, pulsating bass lines, wonderfully deep (best enjoyed with a good stereo system to truly appreciate them), the kind that make your stomach churn before you even perceive the exact frequency and harmonic progression, often set in sober rhythmic patterns that mark the time, making a sonic journey even more dynamic and compelling.

If it doesn't surprise you, it's probably only because you've already had the opportunity to explore and plumb Fabio Orsi's most recent discography, and are already accustomed to the best of what this new wave of distinctly electronic but ambient-inspired music has to offer.

TRACK LISTING

Quiet
Margins
Off Road
Bustle
Last Night
All is Within

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

Special 3LP Expanded Edition of Cream’s third album, ‘Wheels of Fire’, features the original 4 tracks released as ‘Wheels of Fire: Live at the Fillmore’, as well as 8 additional tracks performed at the March 1968 concerts.

Seven of the additional tracks were issued on ‘Live Cream’ in 1970 and ‘Live Cream Volume 2’ in 1972. "We're Going Wrong" has never been officially released before.

All tracks have been newly remastered. Available on black vinyl as a Record Store Day 2026 exclusive.

TRACK LISTING

SIDE 1
1 CROSSROADS 4.14 2 SPOONFUL 16.46
SIDE 2
1 TRAINTIME 7.02 2 TOAD 16.16
SIDE 3
1 N.S.U. 10.12 2 SLEEPY TIME TIME 6.50
SIDE 4
1 ROLLIN' AND TUMBLIN' 6.34 2 SWEET WINE 15.15
SIDE 5
1 TALES OF BRAVE ULYSSES 4.45 2 WE’RE GOING WRONG 7.00
SIDE 6
1 SUNSHINE OF YOUR LOVE 7.24 2 STEPPIN' OUT 13.38

Sourced from electrifying live performances across October 10–12, 1968, this collection showcases Hendrix at peak creativity, delivering towering versions of his most iconic songs alongside extended improvisations that reveal new dimensions of his musicianship. From the blistering intensity of 'Fire' to the soulful sweep of 'Little Wing' and the psychedelic charge of 'Are You Experienced?', this curated single‑LP set offers a powerful snapshot of Hendrix in his prime.

TRACK LISTING

1. Fire (Live 10/12/68, Winterland, San Francisco)
2. Foxey Lady (Live 10/10/68, Winterland, San Francisco)
3. Like A Rolling Stone (Live 10/11/68, Winterland, San Francisco)
4. Hey Joe (Live 10/11/68, Winterland, San Francisco)
5. Little Wing (Live 10/12/68, Winterland, San Francisco)
6. Are You Experienced (Live 10/11/68, Winterland, San Francisco)
7. Purple Haze (Live 10/10/68, Winterland, San Francisco)

Few artists arrive as compellingly yet elusively as did Stuart Moxham upon the startling debut of Young Marble Giant’s sole studio album, Colossal Youth. Initial excitement was thrust upon the young Alison Statton, who sang songs written by Stuart with a couple of exceptions. The unaffected tone of her voice was in steep contrast to the typical goings-on in that still quite punky time, but it was what she sang that fully sold it. Moxham’s lyrics were both intensely personal and woefully oblique. There seemed to be a sort of story in there. Confusingly, that story often felt like it was Alison’s rather than the fellow who’d penned it. The unexpected miracle a deal with Rough Trade and the album’s subsequent success had the band stymied for a second act and it wasn’t long before the group disintegrated, although circumstances often brought members and a few of their peers - among them Debbie Pritchard, Spike Williams, and a third Moxham brother, Drew. - Phil Moxham was the band’s bassist - together in odd combinations and pairings.

None of the three YMG members have been especially prolific, but it’s Stuart’s career that has seemed the least straightforward, as if he’d wondered, “What to do when your debut is a nearly perfect artefact?” In the case of his first “solo” full-length in thirty years, Stuart took the unusual step of entering an alien studio with American producer Dave Trumfio (who’s also the leader of Pulsars and bassist for Mekons) and allowing him to decide what tracks (of a large number submitted by Stuart) to record, and how they’d be orchestrated.

Or not. In this case - save for the writing and composing - it’s really Dave’s album as much as Stuart’s. The tracks went with Dave back to LA, where they were mixed, a few parts added (including subtle backing vocals from the incredible Linda Smith) . . . then later unmixed and reworked by John Henderson and Roni Ayala back in Valencia. Both versions will be made available, and both have a compelling cohesion missing from some of Stuart’s work since YMG. Stuart’s minimalism is quite intact, the range of emotions quite wide. There are few artists operating today like Stuart Moxham, a composer of the upper echelon of innate talent who combines avant-garde ideas with deceptively forthright personal lyrics, solid hooks, ambience and vaguely off-centre instrumentation which defies the casual marketplace as confoundingly as it ever did to the underground, whatever that is these days. His songs have been admired and / covered by everyone from Lush to Kurt Cobain, adaptations in Japanese and even a French-language hit by Etienne Daho, adaptations by Hole, Galaxie 500, Magnetic Fields, Belle And Sebastian and many others - but a new Stuart Moxham album is a special kind of joy.

TRACK LISTING

1 Cottonmill Lane
2 Dagger And Pill
3 Before We Prayed
4 Heart Of Glass
5 The Quiet One
6 Ancient Time
7 A Different Day
8 State Of Penitentiary
9 Do The Locomotion
10 Storms
11 A Different Day II

The Face is a British music, fashion, and culture monthly magazine originally published from 1980 to 2004, and relaunched in 2019. It was first launched in May 1980 in London by Nick Logan, the British journalist who had previously been editor of New Musical Express and Smash Hits.

Full of joy, they ran to meet him.
Then threw one of the shirts over each of them,
and when the shirts touched their bodies they were transformed into swans,
and flew away over the woods.

The record is comprised of a series of improvised recordings made over the course of an evening in Autumn ’23, captured at the Jabu home studio, south Bristol while Teresa was staying in town for a show. Everything was recorded into the desk in a single take and left as it was, no editing or overdubs, instruments were swapped around and effects units left buzzing ground hum scattered over the floor.

Teresa and Guest (Jasmine of Jabu) provided the vocals, taking words from anything at hand - poetry books, an old copy of the Whole Earth Catalog - their voices winding together, echoing out each other’s melodies. This approach is mirrored by the instrumentals, anchored by something at times - a bassline, one of Birthmark’s synth drones or a fizzing chord but always on the edge of collapsing in on itself or floating away. The tracks become more soporific as the record goes on (and as the night got later), ending on a refrain of ‘say you think its true’ as the instrumental finally dissolves the pedals get dialled up to 11 and Birthmark’s drones turn into distant lasers in a last swan song of feedback.

Recorded Sep 2023 in Bristol, BS3, by:

Teresa Winter (vocals, fx)
Guest (vocals, guitar, fx)
Birthmark (synth, fx)
A.Childs (samples, bass, guitar)

TRACK LISTING

1. 1
2. 2
3. 3
4. 4

The band Silver Biplanes formed during the 2020 lockdown when multi-instrumentalist and songwriter Tim Vass and his wife, singer Vanessa Vass, began working on songs together. Both Tim and Vanessa have a long history in the indie music scene. Tim was a member of the indie rock band the Razorcuts, who had two top three albums on the indie charts in the late 1980s, as well as the psychedelic bands Red Chair Fadeaway and Dandelion Wine. Vanessa sang in the indie pop band The Melons in the 1990s. The Melons released several singles, including two on DamagedGoods. After recording a first demo in July 2021, Rob Scott, another former member of the Melons, joined them on drums. So far, the group has released two albums: 'A Moment In The Sun' (2023, on Where It's At Is Where You Are) and 'Travelling By Candlelight' (2024, on Where It's At Is Where You Are and the Greek label Old Bad Habits). Recently, they released a four-song 10" EP titled 'Coming Up For Air' on Precious. The band calls itself a melodic indie group, and their music is influencedby a wide array of genres, including indie pop, post-punk, psychedelic rock, glam rock, and krautrock.

In 2022, Silver Biplanes recorded the famous silver-themed Christmas song: 'Silver Bells'. Now, three years later, the trio—joined by guitarist Noel Douglas—offers their first original Christmas song for a Snowflakes Christmas Club single: 'Christmastime In Outer Space'. A blend of indie rock and synthpop, the song takes listeners on a rocket trip far from church bells and Christmas trees. Space echoes and a motorik-like beat give the song a sense of traveling through outer space. The B-side, 'Winter', is a cover of a song by the legendary indie rock band The Loft. The Silver Biplanes give the song a complete makeover. With dreamy vocals by Vanessa and a melancholic organ-like keyboard backing, it has an early 1980s feel (Virginia Astley springs to mind) and a timeless quality that perfectly captures the feeling of winter. The single is pressed on white bio vinyl and comes in a retro-looking sleeve designed by wiaiya.

TRACK LISTING

1. Christmastime In Outer Space
2. Winter

Headcount Records is proud to present the third vinyl collaboration with renowned composer and multi-instrumentalist Steve Jansen. ‘My Winter’ is a specially curated 4-track EP exploring ambient, cinematic, and experimental textures – showcasing Jansen's signature melodic sense, rhythmic restraint, and atmospheric depth.

TRACK LISTING

A1. My Winter
A2. The Journey Back
B1. Now He Dreams
B2. Deadman’s Ballad (feat. David Sylvian)

A fixture in LA’s music scene for over a decade, singer and songwriter Samira Winter found a home in the city’s DIY rock community, carving out her own niche of gloriously detailed and eclectic dream pop under the name Winter. Her newest record and Winspear debut, 'Adult Romantix', is a farewell love letter to LA—“a tunnel of summers and memories”—inspired by Mary Shelley’s gothic-romantic literature and ’90s rom-coms. After growing up in Curitiba, Brazil and playing in her first bands in Boston, she relocated to Los Angeles in 2013 and fell in love with the city. But at a certain point, Samira was craving a change of scenery to facilitate self-growth, a painful, but necessary realization that brought about a move to New York City.

Leading up to her emotional coast-to-coast move, she spent roughly two years writing songs in a transitory state: often in between tours, in different cities, and in various sublets. The resulting 13 tracks became her new LP, 'Adult Romantix'— the follow-up to 2022’s landmark 'What Kind of Blue Are You?' Nostalgic and wistful, the album blends swirling guitars, cigarette-glazed vocals and a few notable guest collaborators, like Horse Jumper of Love’s Dimitri Giannopoulos and Hannah van Loon of Tanukichan. Influenced by touchstones like Sonic Youth’s 'Rather Ripped', Elliott Smith’s 'Either/ Or' and 2010s sunkissed California shoegaze, 'Adult Romantix' vacillates between dewy, strummy ecstasy and moody, nighttime desire. Marked by swirling, drive-pedal squalls and open-tuned acoustic guitar, there’s a palpable bittersweetness to these raw, lovesick tunes.

STAFF COMMENTS

Barry says: Hazy indie is clearly in-vogue right now, but I don't think anything sounds quite like Winter. It's got the naïve dreamy storytelling of Claud or Soccer Mommy, but with a more clashing shoegaze production and jagged, grungy melodicism. Great stuff.

TRACK LISTING

1. Just Like A Flower (Intro)
2. Just Like A Flower
3. Hide-A-Lullaby
4. Misery
5. Existentialism
6. Sometimes I Think About Death
7. Like Lovers Do
8. Without You
9. In My Basement Room
10. The Beach
11. Candy #9
12. Running
13. Hollow

Jessica Winter’s debut ‘My First Album’ is a fully realised bold, questioning album, full of personality sitting somewhere on the spectrum between therapy and the dancefloor. Musically there are shades of Kylie Minogue and the glitter of 80s Madonna, there’s the flamboyance of Prince and Queen, the energy and occasional snarl of punk and the dreamy arched eyebrow of psychedelia. In a world where maximalist pop is back and therapy memes rule supreme, My First Album is the perfect soundtrack.

Jessica Winter is a British singer, songwriter, and producer known for her experimental pop music that blends elements from various genres, including pop, industrial, and indie. To date, Jessica has released a series of EPs, including Limerence (2023), More Sad Music (2021), and Sad Music (2020), each showcasing her ability to infuse unconventional themes and introspective lyrics into pop song structures.

In addition to her solo project, Winter has an extensive list of credits as a co-writer and producer, having collaborated with artists like The Horrors, The Big Moon, Jazmin Bean, Phoebe Green, Lauren Auder, Pre Goblin, Sundara Karma, Walt Disco, and Brodka.


“a pure pop confection” – The New York Times.
“Jessica Winter is a pop-music obsessive whose sound and lyrics are high-concept experimentations that test how far she can take the genre” - Rolling Stone US
“The UK’s most exciting alt-pop oddball” - NME
“Moreish pop music that’ll be spinning around your head for days” - GQ
“Gothic, pop-centric cabaret” - The Guardian
“Weird, moreish pop music” - Dazed
“Rebellious alt-pop that feels both classic and utterly new” - CLASH
“The new face of outsider pop” - The Line Of Best Fit
“Vibrant, paradoxical, and all-in-all exuberant” - DIY
“Jessica Winter is an artist with an astounding talent” - So Young

STAFF COMMENTS

Barry says: Bright, bold synth pop that sounds as influenced by modern synthesis and production techniques as it is the classic synth era, and shows a songwriter who is unafraid to embrace pop sensibilities while taking things a little outside the comfort zone. Hefty in parts, sugary sweet in others and wonderfully written throughout.

TRACK LISTING

1. Nirvana
2. L.O.V.E.
3. Feels Good (For Tonight)
4. Aftersun
5. Big Star
6. Worst Person In The World
7. I See The Robin
8. All I Ever Really Wanted
9. Wannabe
10. Just Like That
11. Got Something Good
12. Only Lonely
13. To Know Her

Lovely top quality black Russell Athletic 280g Authentic sweatshirt with a large distressed orange screen print of our classic logo on the front.

Lovely top quality black Russell Athletic 280g Authentic hoodie with front kangaroo pocket. Features a large distressed orange screen print of our classic logo on the front. 

10th Anniversary re-issue of Smoke Fairies’ seasonally themed masterpiece 'Wild Winter' on limited edition ‘Snowglobe Blizzard’ vinyl. Ten seasonal tracks from Smoke Fairies including 'Christmas Without A Kiss', '3 Kings' and Handsome Family cover 'So Much Wine' and their version of Captain Beefheart’s 'Steal Softly Thru Snow'. Smoke Fairies (Katherine Blamire and Jessica Davies) explained: "We have a love / hate relationship with winter and the Christmas holiday.

When it was suggested Smoke Fairies make a Christmas album the last thing we wanted to do was make a classic, jolly, celebratory album that can only be played once a year. Sometimes winter provides us with a sense of togetherness and love and sometimes it leaves us feeling alienated, cold and playing a glockenspiel alone in a darkened room. It's part of the year that will always be bittersweet and wild. This was the inspiration behind the record. We got together with our band, played around with the songs a few times then headed off to the studio to record them all live. It's buzzy and raw and not one tinkling of sleigh bells can be heard."

The result is a record that very much is its own world. Where chaos is carefully organized, where being able to ever actually chill out is totally illusory, a trick mirror.

TRACK LISTING

1. Christmas Without A Kiss
2. Steal Softly Thru Snow
3. Kings
4. Ive And Receive
5. Circles In The Snow
6. Bad Good
7. Wild Winter
8. Snowglobe Blizzard
9. So Much Wine
10.All Up In The Air

For Fans Of... Marvin Gaye, Rotary Connection, Asha Puthli, Grace Jones, Clairo, Khruangbin, Lady Wray, Thee Sacred Souls.

‘Purple Snowflakes’ is a cover of a Marvin Gaye Christmas classic "The Wintertime’ brand new original Christmas tune.

Feel awash with festive nostalgia with two Christmas tunes from Say She She on a must-have 45 this holiday season.

On the A, gentle voices drift and float above tumbling chromatic piano lines that fall like moody Purple Snowflakes in Say She She's cover of this quintessential psychedelic Christmas classic originally by Marvin Gaye.

The B-side is Say She She's first original Christmas song. ‘This Wintertime' is a heartfelt carol composed with love, nostalgia and a room full of kin. The track serves as a reminder that perhaps the greatest gift of all to give during the season is in fact simply a sweet song and to let music will make us merry.

TRACK LISTING

A. Purple Snowflakes
B. This Wintertime

‘Heavy Metal’ is the debut solo album from Geese frontman Cameron Winter. It’s an unexpected sonic left turn from Geese’s now-patented brand of jam-adjacent indie twang.

Winter mostly forgoes stadium-sized guitars in favour of a softer touch that puts his mystical, imaginative lyrical style on full display.

Occasionally confounding, endlessly rewarding, ‘Heavy Metal’ reveals Winter as a chameleonic master of his craft, a shapeshifting singer-songwriter in the mould of greats like Dylan, Cohen and Nilsson.

TRACK LISTING

The Rolling Stones
Nausicaä (Love Will Be Revealed)
Love Takes Miles
Drinking Age
Cancer Of The Skull
Try As I May
We’re Thinking The Same Thing
Nina In A Field Of Cops
0$ Man
Can’t Keep Anything

WAWBARC is Mathieu Ball (BIG|BRAVE) + Efrim Manuel Menuck (Thee Silver Mt Zion, Godspeed You! Black Emperor) + Jonathan Downs (Ada) + Patch (Ada). On “NO MORE APOCALYPSE FATHER” they present six modal lullabies drenched in seared distortion, slathered across striding electronic pulses.

Ball and Menuck began creating music in and for the bleakest moments of Montréal winters: “We’re honoring that idea of winter, when you come inside and your house is warm, a place that only exists because of how cold it is outside,” says Menuck. They later recruited Downs and Patch to flesh out their initial ideas. Menuck met them in 2015 when recording Ada’s final album at Montréal’s Hotel2Tango — where they reconvened to make this record.

“NO MORE APOCALYPSE FATHER” is an album about witnessing bleakness from a place of safety. Carrying newfound descriptive depth, thanks to the quartet’s open-ended songs freeing him from writing in meter, Menuck likens his lyrics to photorealism. On opener ‘Rats and Roses’ he sings of an unnamed city struck by an unknown cataclysm, but the details are local: specifically, his neighbors inadvertently poisoning birds when tackling a rat infestation. It’s backed by blown out synths and guitars reaching a soaring crescendo. “Seeing things from a distance and not being able to intervene happens a lot on the record,” Menuck explains. “If you’re a feeling and thinking person, that’s just part of the human condition. We watch horror unfolding from afar, unable to do anything concrete to change it.”

A powerless witness, able to describe but not intervene. ‘Dangling Blanket From A Balcony (White Phosphorous)’ references Michael Jackson holding his child over a hotel balcony in 2002 the bizarre media spectacle still lodged in Menuck’s psyche. This and the album’s closing track also elegize white phosphorous, a technology of war designed to light up battlefields but capable of inflicting horrific burns on those it touches. Illumination and horror in one, here underpinning scenes picturesque and terrifying. “The last song ‘(Goodnight)

White Phosphorous’ is deliberately like a lullaby,” says Menuck. “Written from the viewpoint of watching white phosphorous falling outside your window.”

Scorched and tarnished and laden with harrowing imagery, “NO MORE APOCALYPSE FATHER” is also a record bathed in light: the bewilderment of hopeful spirits witnessing despair, watching a blizzard of distress unfold outside from a place of relative shelter and comfort. You could call that emotional ambivalence, maybe numbness. But those words are too passive for the weight of conflicted feeling resonating through the album.

“I never know how I feel on an overcast day when the sun is still bright despite the grayness and the light is very flat. The colours become more saturated, and you see a single flower, say a morning glory, whose colour is so vibrant beneath the gray, I don’t know if that’s a lovely sensation or a terrible sensation. It’s both,” says Menuck.

TRACK LISTING

Rats And Roses
Tremble Pour Light
No More Apocalypse Father
Uncloudy Days
Dangling Blanket From A Balcony (White Phosphorous)
(Goodnight) White Phosphorous

In celebration of Weezer’s innovative SZNZ project - a collection of four EPs matching each season that have been made and released in real time throughout 2022 - the band is thrilled to share the final instalment, ‘SZNZ: Winter’.

Like SZNZ: Spring, SZNZ: Summer and SZNZ: Autumn before, the seasonal equinox on December 21 will arrive alongside a new Weezer EP. A stripped back, acoustic-leaning body of work, SZNZ: Winter encompasses the harrowing sadness that can so easily pair with the winter months.

SZNZ: Winter, the final part in Weezer’s four-EP song cycle, continues the narrative started on SZNZ: Autumn, SZNZ: Spring and SZNZ: Summer bringing Pagan myths, Shakespeare, Catholic rituals, Vivaldi’s Four Seasons, and more to life. Each SZNZ EP offers its own palette of colors, creatures, and emotions to explore. They were all created in real time, made in tandem with the season themselves. Once they’ve all been released on December 21, the EPs will create an incredible collection of some of Weezer’s best songs yet, no small feat for a band that never leaves the Zeitgeist.

TRACK LISTING

I Want A Dog
Iambic Pentameter
Basketball
Sheraton Commander
Dark Enough To See The Stars
The One That Got Away
The Deep And Dreamless Sleep

Autobiography of one of rock music’s ‘Enfant Terrible’...from the mod beat of the mid 60s, Psychedelic Pop of the late 60s glam rock of the mid seventies punk rock of the late seventies. Andy Ellison fronted many cult bands like John’s Children (with Marc Bolan) Jet with members of Sparks and Roxy Music, The Radio Stars, all of which would see Andy performing hanging from Lighting rigs atop of speaker stacks, starting a riot on The Who’s tour of Germany and getting thrown off said tour, leaping into audiences from the stage and subsequently damaging himself in most performances...but aside from all that the real stories start to come through...of which they appear to be relentless like a machine gun each one more incredulous than the other. The book is liberally sprinkled with many photographs all the way through not clumped into two or three batches like most books and boasts a foreword by the one and only Simon Napier-Bell. Andy has some of THE Best stories of anyone from the music industry...and they’re in this book! 

Talking about the single, Bob Stanley said:

We love Christmas, as you probably know, and it feels like it's been a while since our last really Christmassy Christmas record. But I think Pete has done a properly beautiful, icy, frosted, festive job on 'Her Winter Coat’. Alasdair's film for it is the icing on the yule log. I hope you love it as much as I do. We're really looking forward to playing it live!

Pete Wiggs added:

To complement 'Her Winter Coat', Sarah and Gus Bousfield have come up with the incredibly catchy 'A Kiss Like This', laden with swirling hibernal synths, and for a touch of Cold War frost we have the brooding melancholy instrumental 'Lillehammer' to complete the package. Hope you love 'em all!

TRACK LISTING

1. Her Winter Coat (edit)
2. Lillehammer
3. A Kiss Like This
4. Her Winter Coat 

The power of a Winter song is hard to describe, like how the delicate world building of a good book can be more compelling than real life. There's a make-believe, fairy tale surrealism that sets Winter's blend of shoegaze and psychedelia apart while existing in the same universe as the ethereal dream pop of Cocteau Twins and Melody's Echo Chamber.

Samira Winter grew up in Curitiba, Brazil, where her Brazilian mother filled their home with the gentle melodies of MPB (música popular brasileira), and her father introduced her to the distorted sounds of American punk. At 18, she moved to Boston where she first released music as Winter, eventually moving to LA's Echo Park. Winter has built a cult following with a stream of bilingual releases and national tours supporting Boogarins, Broncho and Cherry Glazerr, not to mention dates in Mexico, South America and Europe.

“Winter’s breathy voice is pretty magical.” Brooklyn Vegan. 

“Winter makes cosmic dream-pop fit for stargazing. The languid motion of their soaring tunes are filtered through fuzzy sounds of slowly writhing guitar work.” AudioTree.

TRACK LISTING

Between You & I
Endless Space (Between You & I)
Here I Am Existing
Healing
In The Z Plan
Say
Bem No Fundo (feat. Dinho Almeida)
Constellation
Memoria Colorida
Wherever You Are
Pure Magician

Blackwater Holylight, as the name suggests, is all about contrasts. It’s a fluid convergence of sound that’s heavy, psychedelic, melodic, terrifying and beautiful all at once.

As a heavy band, their songs aren’t anchored to riffs, but rather riffs come and go in waves that surface throughout the band’s meditative, entrancing songs. It’s a hypnotic sound, with orchestral structures that often build tension and intrigue before turning the song on its head — not by simply getting louder or heavier, nor by just layering elements. They expertly subvert the implied heaviness of a part, dissecting it and splaying the song's guts out to seep across the sonic spectrum.

Now, having toured together extensively following the band’s wildly-successful breakout self-titled debut in 2018, Blackwater Holylight has honed their sound and identity to a powerfully captivating beast. Their live set is all about the slow build, seeming to combine the melodic tension of early Sonic Youth crossed with the laconic fever-dream blues of the first Black Sabbath album, and wiry experimentation of post-punk and krautrock.

The lineup on this album is Allison (Sunny) Faris (bass/vocals), Laura Hopkins (guitar/vocals) and Sarah McKenna (synths), with new guitarist Mikayla Mayhew and drummer Eliese Dorsay fleshing out their sound in exciting ways.

“The process of this album was vastly different from our first record,” says Faris. “One, because we recorded it over the course of a few weeks, whereas the first record was over the course of about a year. And two, this album was a true collaboration between the five of us. Each of us had extremely equal parts in writing and producing, we all bounced ideas off each together, and we all had a say in what was going on during every part of the process.”

“One of our favorite things about this album is that because it was so collaborative, we didn't compartmentalize ourselves into one vibe.” She continues. “It’s heavy, psychedelic, pop, shoegaze, doom, grunge, melodic and more. The whole process was extremely organic and natural for us, we were just being ourselves.”

Veils of Winter opens with fuzzed-drenched, drop-tuned bass and baritone guitar leading a dirge riff on “Seeping Secrets.” Faris’ lilting and funereal vocals drop in, adding to the mournful atmosphere until a short turnaround progression hints at changes to come, as Faris and Hopkins harmonize eerily and the tune suddenly turns into a krautrock charge. “Motorcycle” kicks off deceptively with a heavy grunge riff building up for about 40-seconds before the song abruptly shifts gears into a synth-led post-punk harmony, sounding something like Lush meets Syd Barrett era Pink Floyd. “Death Realms” is perhaps the poppiest track, based around soaring shoegaze guitars and interwoven light vocal harmonies. Soft piano notes, occasional woozy whammy bar dives and a driving tom-tom beat solidify its hooks. “Spiders” is a creepy-crawly guitar riff and counterpoint keys, while “Moonlit” explores prog-structures with a shredding guitar solo crescendo. The penultimate track, “Lullaby” is exactly that, a lulling, expansive tune exemplifying Blackwater Holylight’s genre smashing sound as it subtly moves across a vast sonic landscape atop a hypnotic 6/8 beat and repetitive 3-note motif. Throughout the album, their songs shirk traditional verse-chorus-verse structure in favor of fluid, serpentine compositions that move with commanding grace.

TRACK LISTING

Seeping Secrets
Motorcycle
The Protector
Daylight
Death Realms
Spiders
Lullaby
Moonlit

Davey Woodward has been a prolific songwriter with his bands The Brilliant Corners and The Experimental Pop Band. An indie pop legend to some, obscure outsider to most. He approaches his fourth decade making alternative music with the same enthusiasm and single mindedness as he did in the first. Julian (guitar) had not been in a studio for over a decade. Steve (drums) was playing in a million other bands but found time. Steve knew Mark who was a guitarist. Davey said well he can play bass and piano then! Davey played them the songs. The band said they liked the songs. They told Davey the songs sounded very personal, were they? They said it reminded them of English Folk, Courtney Barnett, The Velvets, The Band and Johnny Cash. 

Pantha du Prince's new EP 'The Winter Hymn' features the titular album cut along with the exclusive track “Post Human Palisades (feat. Bendik & Kassian)” and an extended mix of the album track “Dream Yourself Awake".

Brilliant new Ltd 7" single taken from their third album "Get To Heavern" which charted Top 5. The follow up to "Distant Past" & "Regret", this single is set to follow onto radio playlists across all major networks, plus ad campaign. Backed with exclusive track "Live Intro".

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

EXCLUSIVE WHITE VINYL RSD FORMAT HAND NUMBERED!

Limited to 250 copies.

The debut album from London's Sam Willis, one half of Kompakt's visionary electronic duo Walls, sees the light of day on CD - with a bonus disc of remixes and exclusive versions from an eclectic collection of like-minded individuals.

Walls, who have released two critically acclaimed and adored albums on Kompakt, have created quite a reputation in house / techno circles in recent years, and Sam's solo work builds on that, resulting in an expansive and uplifting album that stands up next to classic artists in the field of electronic music while bearing comparison with contemporaries such as Blondes, Four Tet and Nathan Fake.

A masterwork of minimalism, 'Winter Lady' - Alicia Merz's sophomore solo effort as Birds Of Passage sees an return to the desolate and melancholic soundcscapes of her highly acclaimed debut, 'Without The World'. With 'Winter Lady', Alicia presents us with an endearing invitation into her fragile world, a captivating through the landscapes of her emotional euphoria and agony, a further commitment to musical experimentation, a worthy addition to the oeuvre of Birds Of Passage. The cold minimalist-drones, distorted field recordings, and sparse instrumentation, illustrate an icy, desolate and dark. It's as if we are listening to the sound of winter itself; an audio exposure to the unforgiving elements of winter. With allusions to dark-pop and classic broken-folk, the reverb drenched instrumentation, metaphorical fairytale lyrics, and anti-climactic compositionsi remind us that Alicia Merz is a singer songwriter for people who don't like singer songwriters. With 'Winter Lady', Alicia re-establishes herself as a true musical maverick - who is able to capture the imaginations of audiences as diverse as those of Sigur Ros, Grouper and Zola Jesus. In short, Birds Of Passage's ''Winter Lady' is an album of authentic experimentation, masterful minimalism, immense tragedy, and glacial beauty. It is not surprising that already after the first album Nils Frahm and Peter Broderick (Efterklang) belonged to the fanbase of Birds Of Passage.

TRACK LISTING

1. Fatal Melody
2. Highwaymen In Midnight Masks
3. Away With The Night
4. Disaster Of Dreams
5. Hollow
6. The Monster Inside You
7. Waltz While We Sleep

Cats For Peru's latest EP "We Had This Problem Last Winter" follows on from their debut album "Attack of the Pitching Machine" released at the end of 2009. The EP feature 4 news songs full of texture and emotion.

Speaking about the new EP, Ad from the band said: "Since the album, guitars have given me terrible nightmares; so I bought a synth and played that instead. This meant we had even more scope to, not to change direction as such, but to spout off like a musical tree."

TRACK LISTING

1. Open House
2. Duck In The Oven
3. Sleeping On Tightropes
4. Fear Of Better Things

PE Hewitt was just 16 years old when he recorded and released his debut album "Jawbones", in a run of just 50 copies. By the time he sold out of the 100 press of his third album, "Winter Winds", he was approaching the ripe-old age of 20. The three albums he and his group of young compatriots wrote, recorded, pressed and - in a sense - distributed are some of the very best late 60s / early 70s jazz records you could hope to hear. That’s why, despite a 40 year gap and the tiniest of private presses couldn’t suppress their re-emergence. Rather than offer us just an anthology Now-Again decided to give us all three albums as they were made, out of respect for Hewitt’s monstrous achievements. The label have recreated the albums as they were released, down to the hand-painted covers. Also included is a 44-page booklet which includes the original liner notes, an essay on Hewitt and his career, an interview with him and never-seen-before photos.

TRACK LISTING

Disc One – Jawbones
1. Free
2. Ihadmyheadoverthechickensouppot
3. Mary
4. Don’t Judge Your Brother
5. Cat House Blues
6. The Ones Left Behind
7. Betrayed
8. Bullheads In My Shoes Blues
9. Karen

Disc Two – Since Washington
1. Alone And Watching
2. Sad Sunday
3. Now Is Here
4. Donna
5. 3am
6. It Doesn’t Matter…Yes It Does…But I Can’t Stop
7. Tender Morning

Disc Three – Winter Winds
1. I’m Wondering Why
2. More Than Anything
3. It’s Got Two Names And That’s Alright
4. Ill Love Song
5. Oma Rakas
6. Bada Que Bash
7. Tuija

Nils Frahm, born in 1982, had an early introduction to music. During his childhood he was taught to play piano by Nahum Brodski – a student of the last scholar of Tschaikowski. It was through this that Nils began to immerse himself in the styles of the classical pianists before him as well as contemporary composers. Today Nils Frahm works as an accomplished composer and producer in Berlin. In early 2008 he founded Durton Studio, where he has worked with Peter Broderick and Dustin O' Halloran amongst other fellow musicians. The three instrumentals, which make up his debut release "Wintermusik" are piano led pieces, coloured with occasional celeste and reed organ parts. The record’s equal measures of sorrowful refrains and uplifting passages, combined with a real intimacy that makes for an album you'll want to return to again and again. The songs were originally intended as a Christmas present for friends and family, hence its winter release via London-based cinematic music label Erased Tapes.

"Everything Last Winter" is the debut album from Fields, and it features re-recorded versions of their singles "If You Fail We All Fail" and "Song For The Fields". It also contains some of the most visually arresting artwork to grace a musical release in recent times. In keeping with the tone of the rest of their work the band have eschewed hiding behind computer trickery and all other mod cons and chosen to work with a real human being, a pen and a pad of paper.

"Gadzooks!" is the first album by new 6-piece experimental group The Broken Blackbird Ensemble. It features James and David from Big Eyes, but there the comparison ends. TBBE feature players previously and currently immersed in noise / sound experimentation, klezmer, folk, classical and acid-rock, but this, their first album, contains nothing that could be specifically classified under any of these categories. The album was recorded and improvised in one day (in September 2004), with some tracks from the vaguest principle, others conceived from scratch. Theirs is the sound of creaking wood, gothic ragas, horrored drones, a choir of pipes and oh-so hushed melody. Is free-folk the right term? Who knows, but there is definitely some music common ground between the New Weird America artists and TBBE.

James Green is a member of the Manchester / Leeds / Sheffield ensemble Big Eyes who've previously released stuff on Pickled Egg. "Tempers" is James' first solo outing and comprises of 14 delicate instrumental guitar pieces. All are first or second take and are either solo guitar or two tracks maximum. The CD is limited to 250 copies, and comes beautifully packaged in a lino-print sleeve. A must for fans of John Fahey, Bert Jansch, Jack Rose and The Dirty Three.

She's been described by Q magazine as 'West Country's first lady of noirsh guitar blues', and who are we to argue with that!!!

This Canadian outfit might be named after a Thomas Hardy novel, but they are a very long way from genteel. Their searing full length debut is a dissonant, driving, metal edged nightmare cut through with moments of dark, fragile and subtle beauty - ever changing riffs, crunching rhythms and a vocal style that ranges from entrancing, discordant harmony to visceral, desperate, spastic screaming. For fans of Converge and Cave In, and anyone else who gets off on intensity.

The moody NYC angst-pop duo Parker & Lily compose simple melanchic indie rock melodies, similar to Galaxie 500 and Stephen Merritt's Magnetic Fields, with dreamy atmospheric woozy instrumentation. Comparisons have been made to both Tindersticks and Mazzy Star's noir-ish pop and Arab Strap or Broadcast's smoky minimalism.

When you get a line-up of guitar bands like this at one benefit concert then it is self evident that they would all try to out solo each other. This is a phenomenal 2CD set of Gov't Mule, Cry of Love, Derek Trucks Band and others on top form at the 11th Annual Warren Haynes Christmas Jam in North Carolina Dec 22, 1999. Allen Woody's last show before he died.