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New album from Jungle which follows on from 2014's award winning and acclaimed debut album. Jungle highlighted the aspirational sound of young London at a turbulent time in the city's history. Shunning the dark, claustrophobic sound of grime, or the frenetic, inhuman electronics of (ironically) jungle or its many mutations; for a much sunnier, dare-I-say friendlier sound, indebted to soul and pop music.

Masterminded by Josh 'J' Lloyd-Watson and Tom 'T' McFarland, a production and multi-instrumentalist duo who never expected to leave their bedroom studios, far less become the core of a talent-filled seven-strong collective that morphed into a killer live outfit. "Jungle" garnered rave reviews, untold amounts of hype and a Mercury Music Prize nomination; Noel Gallagher declared the album 'fucking amazing' and it achieved half a million sales.

"For Ever" follows up with a lot of prove. Less dreamy and more direct, it's 'inspired by real life experiences of places they've always dreamed of'. Swapping Shepherds Bush for the Hollywood Hills, J and T set up camp in Los Angeles to write and record the album. Over time however, their romanticization of The Californian Dream clashed with the reality of actually living it, the feeling of being adrift on the West Coast compounded by the collapse of long-term relationships. Returning home to London, they teamed up with highly regarded young producer Inflo where they sought to create a 'post-apocalyptic radio station playing break up songs', whittling down loads of ideas this concept spawned into the core 13 tracks you have before you. "For Ever" is for real, deeper and higher, more intimate and more expansive, feel-good and, just occasionally, feel-bad. It is, then, a proper second album and solidify Jungle as a true UK talent to cherish.


STAFF COMMENTS

Barry says: It's been four long years since Jungle's debut sent you all into a frenzy, and here we get the culmination of the interim years spent honing their craft and perfecting their slightly forlorn, minor-key soul and propulsive electronic grooves. This second outing is just as addictive as the first, and the progression is clear to see.

FORMAT INFORMATION

Coloured LP Info: Limited Yellow LP.

Jónsi & Alex

All Animals

    THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

    Previously available as limited edition runs of 100, with hand painted sleeves, at the Nor_ur og Ni_ur festival, December 2017, now being made available in a run of 500 for RSD

    Alex Somers

    Untitled

      THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      Previously available as limited edition runs of 100, with hand painted sleeves, at the Nor_ur og Ni_ur festival, December 2017, now being made available in a run of 500 for RSD

      Everything Is Recorded

      Everything Is Recorded By Richard Russell

      Everything Is Recorded by Richard Russell features an eclectic international and inter-generational cast of collaborators and musicians who include (in order of appearance on the album) Sampha, Obongjayar, Kamasi Washington, Giggs, Ibeyi, Wiki, Syd, Rachel Zeffira, Infinite, Green Gartside, Peter Gabriel and Owen Pallett. The twelve track album features previous singles ‘Close But Not Quite (feat. Sampha)’, ‘Mountains Of Gold (feat. Sampha, Ibeyi, Wiki and Kamasi Washington)’ and ‘Show Love (feat. Syd and Sampha)’, which have been described as “the embodiment of pure, creative freedom” by Noisey and “a celebration of artistic freedom” by Dazed, while The New Yorker stated “Russell’s vision, it seems, is about the power of collaboration … a grand synthesis of XL’s stylistic history."

      Everything Is Recorded by Richard Russell was recorded at Russell’s west London studio, The Copper House. Over the past couple of years, the studio became a creative second home for the revolving cast of both new and established artists who passed through to write, record and share ideas, mixing traditional recording sessions with extended, uninhibited live jams that lasted long into the night. With Russell at the production helm, a spirit of soundsystem-inspired collaboration and experimentation runs through the heart of an album that is born out of some spontaneous moments of togetherness and periods of intense personal reflection for its creator, and is at once soulful, timeless and boldly modern.

      FORMAT INFORMATION

      Coloured LP Info: Yellow vinyl, independent store exclusive.

      Coloured LP includes MP3 Download Code.

      LP Info: 180 gram vinyl.

      LP includes MP3 Download Code.

      Powell

      Frankie And Jonny

        Taken from Powell’s upcoming album Sport, the Frankie/Jonny 12” contains two tracks of signature Powell style but with the added luxury of vocals from Jonnine Standish of the lauded minimal electronic duo HTRK.Powell belongs to a very small pool of dance artists whose music is a style in itself.” Resident Advisor

        “The whole thing is a giddy mess, slathered in squelchy bass synth, broken-Bontempi drumming, drunken-bumblebee arpeggios, and even gnarly hard-rock guitar riffing, just because.” Pitchfork

        “Class A wind-up merchant and new beta techno mutant, Powell bends expectations to the fullest with a remarkably emotive, hook-riddled and tumultuous debut album called Sport for the original rave mongrels at XL.” BOOMKAT


        Powell recently announced his debut album ‘Sport’ via e-mail to fans. Billboards featuring the producer’s email address appeared in London and New York and fans got in touch seeking details about his next record. Now he’s made a proper announcement.

        Emerging five years ago with little announce but an instantly strong aesthetic both musically and design-wise, Powell’s sound immediately stood out in a world of producers making techno that sound took its cues from post-punk, turning the style on its head he made post-punk that had techno ideals.

        ‘Sport’ is an album that sounds like the perfect snapshot of his eclectic DJ sets and live gigs, Melon Magic NTS shows and the Diagonal imprint he co-runs with Jamie Williams (home to the releases from the likes of EVOL, Russell Haswell and Not Waving).

        On the subject of ‘Sport’: “I called it that because I wanted it to be fun and playful, hence the games we’ve been having via these billboards,” Powell wrote in an email to one fan. “People think of my music in certain terms I think, but I don’t agree with them most of the time.

        “Also, like sport, I think of this record as being something for mind and body. I mean, you’re shit at sport if you don’t bring both things to it, so yeah, the music is physical and you can dance to it, but I also want to drag people’s brains along for the ride too.

        “It’s not a techno record, a dance album, a ‘no-wave techno’ thing, whatever the fuck that is. It’s just the sound of what goes in my head.”

        Vocals on ‘Frankie [feat. Frankie]’ are by Jonnine Standish. Jonnine is a musician and visual artist bestknown as one-half of the lauded minimal electronic duo HTRK.

        In a collage of fuzz guitars, tuning radios, pitched up soul samples, pitched down exotica records, and a whole lot of background chatter, The Avalanches return after an unprecedented 16 year wait. Created by the band’s core duo - Robbie Chater and Tony Di Blasi – "Wildflower" is nothing less than The Beach Boys’ "Smile" reimagined in the Daisy Age - a mind-bending cartoon road movie that’s best viewed with closed eyes and an open mind. Unmistakeably the work of Australia's sample kings, "Wildflower" is a Technicolor kaleidoscope of everything great and groovy about music, blessed with the warm and dreamlike aesthetic we first fell in love with on the sublime "Since I Left You". A throwback to those halcyon days when artists made albums, as opposed to a couple of radio singles and eight tracks of filler, The Avalanches sophomore LP drifts from one track to the next, taking us on a tripped out tour of downtown Melbourne in the summer time.

        Lead single "Frankie Sinatra" divided the critics on its initial release, making a marmite statement with its oddball calypso samples, oompah brass and unhinged lyrics from Danny Brown and MF DOOM. Here, nestled comfortably between the gorgeous summertime soul of "Because I'm Me" and the sampledelic disco of "Subways", the track makes perfect nonsense. The inner city synth pop of "If I Was A Folkstar" strolls through the sunshine like a laid back relative of Cut Copy's "Bright Like Neon Love", while the spectral "Colours", featuring some heavily treated vocals from Mercury Rev's Jonathan Donahue, is as dreamy and doped up as pop music gets. Elsewhere Ariel Pink, Father John Misty, Warren Ellis (Nick Cave & the Bad Seeds)  and Toro Y Moi’s Chaz Bundick make cameos, as does Biz Markie on the light-hearted, full stomached old school hip hop of "Noisy Eater". The dusty sixties soul of "Harmony" leaps out the grooves in the middle of a succession of dreamy sketches (in a day-glo Dilla style) before the triple threat of "The Wozard Of Iz", "Over The Turnstyles" and "Sunshine" form the apex of an outstanding LP. "Kaleidoscopic Lovers" and "Stepkids" serve up a pair of pastoral love songs before the driving haze-gaze of "Saturday Night Inside Out" leads us off into the sunset with the widest smile of our lives. Against all odds and expectations, The Avalanches have done the impossible, following up an instant classic with a second album which is even better than the first. If we have to wait another sixteen years for the next one, at least we'll be waiting in the company of two flawless records. 


        STAFF COMMENTS

        Patrick says: In the words of hapless Sky Sports pundit Chris Kamara - 'unbelievable Jeff'. Somehow, The Avalanches pulled off the unprecedented achievement of following up a classic debut album with something even better! The fact that it took them sixteen years surely only makes it more remarkable. As it leads us from the crowded streets of the big city to the pastoral calm of the countryside, 'Wildflower' emerges as a dreamy collage of all the warmest bits of pop music, with the day-glo silliness of ‘Since I Left You’ still alive and well. Where their debut was defined by an unprecedented quantity of samples, ‘Wildflower’ sees Robbie Chater and Tony Diblasi enlist a close knit group of collaborators and vocalists to lend their sampledelic symphony a greater sense of togetherness and community, revealing the heart and soul beneath the psychedelic haze. It’s a wonderful thing, in the truest sense of the word.

        Andy says: You might be thinking: Hey, this isn't Dad Rock! And you'd be right. But you'd also be wrong, as this reminds me of a dazzling trip in the sixties LA sunshine, with all those groovy psychedelic pop songs drifting through the air, where peace, love and melody were king, and people still believed in the power of music to TRANSFORM!

        FORMAT INFORMATION

        2xDeluxe LP Info: Deluxe quadruple gatefold sleeve, double 180g vinyl, poster.

        Vinyl comes with CD version of the album enclosed.

        Vinyl comes with CD version of the album enclosed.

        Radiohead's ninth LP proper sees them once again couple with mega-producer Nigel Godrich. Together they have created possibly the band's most coherent record of their whole career.  Some of these songs date well back in time and that coupled with the accessibility of comeback single Burn The Witch and their recent  dare-I-say fan-pleasing set-lists suggest a group finally comfortable in their own skin, embracing all that they really are.  So you do still get electronica, but less of the fractured kind. Sure, Thom still sings of alienation, doubt and paranoia, but  in the most beautiful way imaginable. These songs  build and build, swept into shape by Johnny Greenwood's London Contemporary Orchestra strings, peppered with psych-folk and even dub reggae vibes. It's heavy, (let's face it) depressive, but eminently listenable. One for diehards, but crucially, the casual listeners too. 





        STAFF COMMENTS

        Andy says: These songs build and build, swept into shape by Johnny Greenwood's London Contemporary Orchestra strings, peppered with psych-folk and even dub reggae vibes. It's heavy, (let's face it) depressive, but eminently listenable. One for diehards, but crucially, the casual listeners too. One of the last bands standing that truly matter to their people. They just don't disappoint!

        FORMAT INFORMATION

        2xIndies Exclusive LP Info: Opaque white vinyl in a gatefold sleeve with a silver foil cover. Independent stores only, one pressing.

        2xIndies Exclusive LP includes MP3 Download Code.

        2xLP Info: Standard black vinyl edition in a gatefold sleeve with a silver foil cover.

        2xLP includes MP3 Download Code.

        Kaytranada presents his highly anticipated debut album ‘99.9%’ via XL Recordings. The album finds the Haitian born, Montreal raised producer delivering on the promise of his early self-released EPs and remixes.

        Since the age of fourteen, when he first began to DJ and when his brother introduced him to music production software, his output has been relentless. He explains, “after he showed me the basics, from that day on I couldn’t stop making beats,” pumping out a handful of tracks per day for the next couple of years.

        Single releases like ‘Drive Me Crazy’ with Vic Mensa and ‘Leave Me Alone’ with Shay Lia soon spread his name like wildfire. With that release Kaytranada cemented his reputation and his sound; an undeniable swing of the drums comparable to Dilla’s, a signature soulful touch in the melodies and a healthy dose of funky basslines.

        Spread across a wide range of genres including house, bass, hip hop and R&B, '99.9% continues that tradition. The album features a wealth of guest talent, including acclaimed percussionist / producer Karriem Riggins, rising Toronto vocalist River Tiber, UKG favourite Craig David, AlunaGeorge, Badbadnotgood, Anderson .Paak, Little Dragon and many more.

        STAFF COMMENTS

        Matt says: Following ley-lines laid by Anderson.Pak and Kendrick Lamar, Kaytra takes musical genres and flips them on their head - taking the gangstas out of hip-hop and adding the raving club-goer to pop music. The result is an album both welcoming and challenging in equal measure.

        FORMAT INFORMATION

        Vinyl comes with CD version of the album enclosed.

        Southport-raised, London-based 19 year old singer, songwriter and producer Holly ‘Låpsley’ Fletcher releases her debut album ‘Long Way Home’ on XL Recordings.

        The twelve track album features new versions of her previous acclaimed releases ‘Hurt Me’, ‘Falling Short’, ‘Painter’ and ‘Station’, as well as brand new single ‘Love Is Blind’. Sitting somewhere in the intersection of the Venn diagram that includes Adele, Rosie Lowe and James Blake in the outer circles.

        ‘Long Way Home’ documents a turbulent time in Låpsley’s life - a period in which she revelled in her new-found music career as it took her from Liverpool to London to Los Angeles and back again. “It’s an autobiography of my emotions and events over the past year,” she says. “Everything that’s happened, I’ve channelled in some way into a song - whether that’s the theme of a long distance relationship, or something that he’s said, or the way that I’ve felt, or an argument. I only revisit the memories of that relationship when I go into the studio. I think it’s helped me, to be able to collect everything for those moments when I’m writing. I think that’s what’s driven this album.”

        Låpsley’s determined views on her own production have ensured her involvement in every element of these songs, a fact that in the early days seemed to confuse many of the producers she met. “They didn’t want to listen to me,” she says, “or they think a girl’s just there to add a top line, or they come to the table with ideas already. Straight away if I come in to a studio and someone says ‘I’ve written something for you’, then I’ll just walk out. I don’t care. I’m not there for that.”

        For the bulk of ‘Long Way Home’ she worked with XL’s in-house producer Rodaidh McDonald. “This album wouldn’t be how it is if it wasn’t for Rodaidh,” she says. “He’s at the top of the thank yous.” There were two tracks recorded with Paul O’Duffy, a producer she admired because “the way that he thinks is different to anybody else. He’s not tainted by a commercial idea, it’s so creative and beautiful and what I aspire to be like in the future.”

        “My last record was a break up record and if I had to label this one I would call it a make up record. I’m making up with myself. making up for lost time. making up for everything I ever did and never did.”

        So says Adele about her new long player '25'. "Highly anticipated" doesn't quite cut it, with the video for lead single 'Hello' clocking in at 404,293,556 views the last time I looked (and undoubtedly more by the time you read this). '25' might be the event record of 2015, but really it's a continuation of the sound that brought '21' 9 x platinum global sales. The intimate piano ballads, epic swelling choruses, R&B pop hints and BIG production are all present and correct on '25', along with the emotional catch in Adele's voice - the thing that lifts her head and shoulders above all the melisma-ing X-Factor wannabes. The album features co-production from Greg Kurstin, Tobias Jesso Jr ('When We Were Young'), Danger Mouse ('River Lea') and Swedish pop svengalis Max Martin & Shellback ('Send My Love (To Your New Lover)') 

        Following a BBC Sound Of 2015 nomination and signing to XL Recordings, the hotly-tipped talent Shamir comes correct with his debut album "Ratchet". The Las Vegas-based singer crept slowly into the awarenesses of music fans with a steady rise in popularity following the release of debut EP "Northtown", which was put out on the Godmode Records label. Hypnotic single "On The Regular" marked the transition to the indie label giant XL and promised an album of addictive rhythms and bold pop magic.

        Dismissing any questions of over hype straight off the bat, Shamir opens the LP with the Sylvester "I Need Somebody To Love Tonight" stylings of "Vegas", delivering the best low tempo cut of the year so far. From that point forward there's no looking back as the young gun unites Larry Levan-era house, DFA-style beats and strikingly sincere and lyrics into a ménage à trois which calls to mind the finest work of Hot Chip, Holy Ghost! and Tiga. Alongside the pure pop majesty of "Make A Scene" and "On The Regular", there's the thumping house hit of "Call It Off" and "Hot Mess" before the smooth R&B stylings of "Demon" closes the A-side. As we dive to the flip, LP standout "In For The Kill" goes woozy and wonky in an explosion of brass backed 'Arthur Russel goes house' genius. "Youth" channels Hot Chip at their dancefloor best (think of "My Piano") before "Darker" heads off on an emotive FKA Twigs-esque crank anthem. And how better to finish this glorious artistic statement off than with a high camp, high energy house slammer, which is exactly what "Head In The Clouds" is.

        "Ratchet" sees Shamir live up to the hype and reset the bar for danceable pop music - get involved.

        FORMAT INFORMATION

        LP Info: LP includes 8 page illustrated lyric booklet.

        LP includes MP3 Download Code.

        Jungle are based around a core musical duo of lifelong friends known simply as ‘J’ and ‘T’, who expand to a thrilling seven piece live, and make mesmeric, kaleidoscopic modern alt-soul-pop that’s unmistakably born in the UK but has true global appeal.

        Debuting on Chess Club 45 with ''Platoon' and 'The Heat' back in 2013, Jungle gained instant praise for their seductive sounds and equally mesmeric videos of a breakdancing child and rollerskating duo. Minus the striking visuals Jungle are just as impressive with a delicate yet immediate music that brings to mind the likes of Prince, the Bee Gees, The xx, Bon Iver, Portishead, krautrock, Curtis Mayfield, ELO, P-Funk, MGMT psychedelia, Disclosure and more, all fed into the Junglist blender creating a refreshing soul-pop smoothie. Now signed to XL Recordings the duo / septet's debut long player looks set to be the crossover album of summer 2014.


        FORMAT INFORMATION

        LP Info: Heavyweight vinyl pressing in gold-embossed gatefold sleeve.

        LP includes MP3 Download Code.

        Ltd CD Info: Limited CD with foiled O card, gold disc, black jewel case, initial run only.

        Radiohead

        The Bends

          "Fans of Radiohead's 1993 single "Creep" basically divided into two camps: those who loved it as a dynamic slice of self-loathing rock & roll, and those who just enjoyed the skrakunk-skrakunk guitar distortion before every chorus. On their later albums, Radiohead would throw their lot in with the skrakunk-skrakunk crowd, pushing the boundaries of sonic experimentation. But for one record, they demonstrated how good they could be when they stuck to guitar rock. Singer Thom Yorke explored the expressive power of moaning, while guitarist Jonny Greenwood proved equally gifted with restrained strumming and electric flare-gun solos. When critics describe bands such as Coldplay as sounding like Radiohead, they usually mean that they sound like Radiohead's brilliant second album.

          The title of The Bends refers to decompression sickness, when deep-sea divers come up too quickly — a comment on the band's sudden fame. The lyrics are filled with Yorke's unhappiness rendered as health metaphors: He makes himself a cripple who can't climb the stairs in "Bones," and with "My Iron Lung," he immobilizes himself even more completely and complains, "This is our new song/Just like the last one/A total waste of time."

          The record is filled with lovely ballads, full of longing, jealousy and critiques of consumer culture. But the best is the last: "Street Spirit (Fade Out)." Over chiming guitar arpeggios, Yorke sings a hymn to his own claustrophobia and insignificance, making them sound like exalted states of being. When he intones, "Cracked eggs, dead birds scream as they fight for life," he finds solace in the vowels, transforming them into a melody of hope. By the end of the song, with harmonies swirling around, the beauty has touched even him: The final words on an emotional, bleak album are "Immerse your soul in love." - Rolling Stone.

          Adele

          Skyfall

          SkyFall is the 23rd Bond film in the series and after much speculation its been revealed that it is by Adele. There is certainly enough here to raise levels of anticipation for fans of both Bond and Adele. It’s a far more traditional Bond theme than we have heard in recent years, a piano ballad with a dramatic chorus and those big, romantic, John Barry strings pulsing beneath while ominous horns swell.




          The Horrors make their eagerly awaited return with the release of a new album on XL Recordings. ‘Skying’, self-produced and recorded in The Horrors’ own self built studio in London’s Dalston, was mixed by Grammy Award winner Craig Silvey. It features ten brand new tracks and includes the forthcoming single ‘Still Life’, also released on 11th of July. ‘Skying’ is the band’s third long player, and follows 2009’s Mercury Prize nominated ‘Primary Colours’ and their debut ‘Strange House’ which was released in 2007.

          STAFF COMMENTS

          Andy says: Wow, these guys love their music. If last LP "Primary Colours" surprised with its celebration of dark Mancunia, here they keep that vibe but now add a moodily baggy groove and swathes of shoegazery wooziness. It's psychedelic, see? The Horrors want to take you somewhere. Self-produced and in their own studio as well, you can feel just how deeply this band are immersed in their sound; it's bold, expansive, heavy and melancholic, but also really uplifting 'cause it's such a powerful blend. There's only one track that breaks the spell ("Monica Gems") but a little playfulness was probably required. The rest are all massive, swirling and majestically beautiful. This is gonna unite nostalgic oldies and da youth, alike. I'm sure "Skying" will end up being seen as of the greatest albums of the year.

          Darryl says: A truly wonderful album that manages the impossible, and trumps 'Primary Colours'.

          FORMAT INFORMATION

          2xLtd LP Info: Deluxe 180g double vinyl pressing in silver embossed gatefold sleeve with full colour inner sleeves and five 12"x12" full colour art prints. PLEASE NOTE: postage weight for this item is equivalent to 3.5 standard LPs.

          CD Info: Housed in a jewel case the booklet features a silver embossed cover.

          About its release Adele says 'I'm very excited, nervous, eager, anxious but chuffed to announce my new album! It's taken a while and it knocked me for six when writing it. It's different from "19", it's about the same things but in a different light. I deal with things differently now. I'm more patient, more honest, more forgiving and more aware of my own flaws, habits and principles. Something that comes with age I think. So fittingly this record is called "21". The whole reason I called my first album "19" was about cataloging what happened to me then and who I was then, like a photo album you see the progression and changes in a person throughout the years.'

          Most of the album was made in Malibu with the legendary Rick Rubin (Johnny Cash, Jay Z, Red Hot Chilli Peppers) and back in Kensal Rise in London with Paul Epworth (Plan B, Bloc Party, Florence). Adele cites Wanda Jackson, Yvonne Fair, Andrew Bird, Mary J Blige, Mos Def, Elbow, Tom Waits and Kanye West amongst others as key influences on "21".

          Critically acclaimed by many of her musical contemporaries, Adele well and truly made her mark with "19". Chapter two begins here.


          "Me And The Devil" was the first officially leaked track from Gil's new  "I’m New Here" album, and I have to admit I was a bit non-plussed on first listen. When you love an artist's past work so much it's hard to get your head round new directions and new sounds, and this 'trip hop' cover version of Robert Johnson's classic didn't appeal at all at first. However, since the album's come in, and having played it every day in the shop, my head has come round: "Me And The Devil" is an amazing piece of 21st century blues from the wrong side of the tracks and I LOVE it. This 45 also includes an alternative 'NYC Orchestral Version', which sees Gil's vocal backed by a string section. Essential!!


          FORMAT INFORMATION

          7" Info: Just found one copy of this long deleted 7". First come first served.

          Gil Scott-Heron

          I'm New Here

            THE PICCADILLY RECORDS ALBUM OF THE YEAR 2011

            'I’m New Here' sees proto-rap pioneer Gil Scott-Heron still looking forward, still challenging conventions and expectations, with his first album in 13 years. Without doubt one of the most important voices in 20th century music, Gil Scott-Heron’s unfailingly sharp and ironic eye spared neither Black Power phonies or scheming presidents. In 1971 he laid out the blueprint for the whole rap genre with his slinky anthem "The Revolution Will Not Be Televised" while, throughout a career spanning five decades, his deep, soulful voice spoke of nukes, Reaganomics or apartheid, always from deep inside the tradition. "I’m New Here" sees Gil Scott-Heron sounding as vital as ever; a record that reveals something unexpected at every turn; one that sees Scott-Heron pushing, probing and testing the boundaries just as he always has. Alongside his "I’m New Here" collaborator – producer and XL Recordings head Richard Russell – Scott-Heron has made an album that eschews the cosy arrangements and retrospective leanings one might expect from an artist over forty years into their career.

            STAFF COMMENTS

            Laura says: A truly remarkable album, and an almost permanent fixture on my turntable this year. Gil's storytelling is second to none; from the melancholy of opening track, "On Coming From A Broken" home, to the raw blues-stomp of "Me And The Devil" to the dark brooding "Where Did The Night Go" he paints vivid pictures of his world. He even takes a Bill Callahan (Smog) song and makes it his own. (It's so good in fact that it gives the album its name!) Sad, witty, melancholic, uplifting and thought provoking - this is Gil on top form.

            Peaches does it again - this time producing, along with the likes of Simian Mobile Disco, Soulwax, Digitalism and Drums Of Death, her most pop sounding album to date. Far from mellowing out or taking things easy, Peaches now seems as relevant to the musical landscape as ever before. The beats remain as harsh and uncompromising as ever but with a new found melodic groove that has only been previously hinted at. A perfect example of this is opening track "Serpentine", title track "I Feel Cream" or the luscious synth-pop of "Lose You", which sees Peaches deliver one of her most delicate and graceful vocal performances yet. Of course, she still retains that lyrical bite – in "Billionaire", featuring Shunda K of Yo Majesty, she sings of how 'You do diddly-quat / No plot / You took a shot / But forgot you're the fly that I swat'.

            Tracklisting
            1. Serpentine
            2. Talk To Me
            3. Lose You
            4. More
            5. Billionaire
            6. I Feel Cream
            7. Trick Or Treat
            8. Show Stopper
            9. Mommy Complex
            10. Mud
            11. Relax
            12. Take You Out

            MIA

            Paper Planes - Inc. DFA Remix

            Taken from MIA's "Kala" album, "Paper Planes" is one of the biggest sellers we've had in 2008 here at Piccadilly Records, with the 12" version still a hot favourite six months or so after it first came out. The track loops up that drifting keyboard line from The Clash's "Straight To Hell", adding yer usual MIA rap and a clever gunshot / cash register chorus hook. This 45 also squeezes in the brilliant DFA remix (huge round these parts) which offers up slugish slo-mo electroid disco rhythms and live basslines for a different slant to the original. MIA's "Paper Planes" in a seven inch (inc. DFA remix) - can you resist? I know I can't, and I already own the 12"!

            The new album contains 10 new songs, and with the exception of last year's Grammy-nominated, digital-only single "Timebomb", "Modern Guilt" is the first new material Beck has written since the prolific stretch that produced 2005's "Guero" and 2006's universally acclaimed "The Information". "Modern Guilt" is a tightly assembled group of songs that range in lyrical tone from introspection and social commentary to off the cuff wordplay and light-hearted humour. Musically, the album's ten tracks vacillate between economy and experimentation, hybrid and pop classicism, while consistently manifesting Beck and Danger Mouse's shared interest in psych-rock, folk, electronic minimalism and orchestration.

            FORMAT INFORMATION

            LP Info: UK edition.

            Following the limited "Boyz" twelve, "Jimmy" is the first single proper to be taken from MIA's second album, "Kala". Co-produced by Switch, it's a killer disco cut sampling a fat section of uplifting strings from Bollywood film Disco Dancer track "Jimmy Jimmy Aaja Aaja". The first mix has MIA's unique rapping on it, whilst the second version is instrumental for those non-MIA fans out there. Definitely one of THE tracks of 2007!! On the flip New York's DJ Eli Escobar gives the track an 80s electro club twist.

            Dizzee Rascal returns with new album "Maths & English". On the one hand it's easily his most accessible record to date. On the other, it's as brutally honest and confrontational as anything he's done to date. Check out first single "Sirens" – with its Korn-inspired metal guitars. Or the Lyn Collins-sampling "Pussyole", which is the straightest hip hop track he's ever done. The album also features a host of special guests, including the vivacious backchat of Lily Allen on "Wanna Be", the Shy FX-produced "Da' Feelin", and the gangster rap anthem "Where's Da G's" with US legends Bun B and Pimp C (UGK). Then there's the reggae infused "Temptation" which samples Alex Turner of the Arctic Monkeys. While "Maths & English" may have been inspired by a huge number of different styles and influences, the album retains its distinctively British identity and only goes to enhance that Dizzee Rascal really is one of the country's best musical talents.

            Ratatat

            Loud Pipes

            Features "Loud Pipes" main version and outtakes version. And on the flip we have "Kennedy" E*Rock remix and "Goose" main version.

            The White Stripes

            Under Blackpool Lights

              Captured at the start of their January 2004 UK tour, this film captures The White Stripes at their incendiary live best. Filmed in classic 'D.A.Pennebaker' - style by Dick Carruthers (Oasis, Led Zeppelin, Portishead) at The Empress Ballroom in Blackpool. The set includes all the classic White Stripes originals, plus songs only ever played live by Jack & Meg - including the limited edition live single, "Jolene".

              Over the past twelve months, Dizzee has travelled the world, and been on a rollercoaster ride of new experiences. "Showtime" is a bigger-sounding album than his acclaimed debut "Boy In Da Corner" but it's equally individual. It's a force of nature; a volcanic ride of crazy wordplay, ghetto techno and bottom-heavy bass. "Boy In Da Corner" was stunning because of it's penetrating power and singular evocation of inner city life, and "Showtime" hits the spot for similar reasons – but with added bass rumble and, crucially more tunes. What Mills has dropped in neurosis he has gained in precision-guided anger.

              FORMAT INFORMATION

              2xCD Info: CD comes with bonus DVD featuring videos for "I Luv U", "Fix Up, Look Sharp", "Jus' A Rascal" and "Stand Up Tall".

              Radiohead

              I Might Be Wrong

              Live album comprising mainly of material from "Kid A" and "Amnesiac", and the featured songs here take on a new and looser life. Also featured is the long unreleased classic "True Love Waits", this is an essential accompaniment to their last two albums.


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