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Das erste Album des britischen Produzenten und Songwriters seit "Rennen" von 2017 wird am 4. November 2022 auf Vinyl und CD veröffentlicht. Nachdem er zuvor längere Zeit in Wien und Los Angeles gelebt hat, wohnt der in London geborene SOHN nun in den Pinienwäldern von Katalonien, Spanien, und es ist diese neue Umgebung, die ihn zur aktuellen Single "Segre" inspiriert hat. "Trust" markiert für den Solokünstler eine seismische Verschiebung in der Wahrnehmung und Ausrichtung und spiegelt SOHNs neue Verantwortung als Vater von drei Kindern wider. Der Umzug von Los Angeles in die Ruhe Kataloniens und die Erfahrung der Elternschaft veränderten seine Einstellung und auch seine Arbeitsweise: "Ich spürte eine Offenheit, die ich vorher nicht kannte, und mir wurde klar, dass ich es nicht mehr allein schaffen konnte - mir fehlten Gemeinschaft und Freundschaft im Leben und im kreativen Prozess", sagt SOHN. Zum ersten Mal in seiner jahrzehntelangen Karriere lud der Produzent andere ein, ihm bei der Verwirklichung eines neuen Albums zu helfen, und kehrte nach LA zurück (wo er "Rennen" aufgenommen hatte), um mit Yakob, Mike Sonier, Chris Tabron, Jesse Boykins III, Ryan Linvill, Noah Le Gros und Emile Mosseri zu arbeiten. Gemeinschaft, Intimität, Familie und Offenheit sind die Schlüsselthemen auf "Trust", wenn der britische Produzent über sein vergangenes Leben (Wien in 'Figureskating, Neusiedlersee') und seine gegenwärtige Realität ('Montardit', 'Segre') reflektiert. Indem er seinen kreativen Prozess für andere öffnet, lädt Toph Taylor den Hörer dazu ein, sein bisher intimstes und persönlichstes Werk zu erleben. "Auf dem Debütalbum "Tremors" war es so, als wäre ich hinter Glas, aber auf "Trust" fühlt es sich an, als könnte man in diesem Raum sitzen, und nicht nur alleine, man sitzt mit mir, einigen Musikern, einigen Freunden in einem Zimmer."

‘Stumpwork’ is the follow-up to 2021’s ‘New Long Leg’. The
South London-based group’s first studio album, recorded in
just two weeks with producer John Parish at the iconic
Rockfield Studios, became a huge critical and commercial
success reaching #4 in the UK Album Charts and featuring in
Best Of 2021 polls across the board. Buoyed by its success,
Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard
(bass) and Florence Shaw (vocals) returned to rural Wales in
late 2021, partnering once more with Parish and engineer
Joe Jones. Working from a position of trust in the same
studio and with the same team, imposter syndrome and
anxiety was replaced by a fresh freedom and openness to
explore beyond an already rangy sonic palette, a newfound
confidence in their creative vision. A longer period in the
studio afforded the time to experiment, improvise, play,
sharpen their table tennis skills.
‘Stumpwork’ was inspired by a plethora of events, concepts,
and political debacles, be they represented in the icy mess of
ambient elements reflecting a certain existential despair, or
the surprising warmth in celebrating the lives of loved ones
lost through the previous year. Surrealist lyrics are as ever at
the forefront - but there is a sensitivity now to the themes of
family, money, politics, self-deprecation, and sensuality.
Furious alt-rock anthems combine across the record with
jangle pop and ambient noise, demonstrating the wealth of
influences the band feed off and their deep musicality. With
the pressure of their debut album behind them, Dry Cleaning
have crafted an ambitious and deeply rewarding new work
that marks them out as one of the most intelligent and
exciting acts to come out of the UK.
LP pressed on white vinyl.

‘Stumpwork’ is the follow-up to 2021’s ‘New Long Leg’. The
South London-based group’s first studio album, recorded in
just two weeks with producer John Parish at the iconic
Rockfield Studios, became a huge critical and commercial
success reaching #4 in the UK Album Charts and featuring in
Best Of 2021 polls across the board. Buoyed by its success,
Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard
(bass) and Florence Shaw (vocals) returned to rural Wales in
late 2021, partnering once more with Parish and engineer
Joe Jones. Working from a position of trust in the same
studio and with the same team, imposter syndrome and
anxiety was replaced by a fresh freedom and openness to
explore beyond an already rangy sonic palette, a newfound
confidence in their creative vision. A longer period in the
studio afforded the time to experiment, improvise, play,
sharpen their table tennis skills.
‘Stumpwork’ was inspired by a plethora of events, concepts,
and political debacles, be they represented in the icy mess of
ambient elements reflecting a certain existential despair, or
the surprising warmth in celebrating the lives of loved ones
lost through the previous year. Surrealist lyrics are as ever at
the forefront - but there is a sensitivity now to the themes of
family, money, politics, self-deprecation, and sensuality.
Furious alt-rock anthems combine across the record with
jangle pop and ambient noise, demonstrating the wealth of
influences the band feed off and their deep musicality. With
the pressure of their debut album behind them, Dry Cleaning
have crafted an ambitious and deeply rewarding new work
that marks them out as one of the most intelligent and
exciting acts to come out of the UK.
LP pressed on white vinyl.

* = Vinyl only track

Washington DC resident Bartees Leon Cox Jr. aka Bartees
Strange, announces his new album and 4AD debut, ‘Farm To
Table’, which also includes recent single ‘Heavy Heart’. Where
his 2020 debut record, ‘Live Forever’, introduced the
experiences and places that shaped Bartees (Flagey Brussels,
Mustang Oklahoma), ‘Farm To Table’ zeros in on the people -
specifically his family - and those closest to him on his journey
so far.
 With his career firmly on the ascent, ‘Farm To Table’ examines
Bartees’ constantly shapeshifting relationship with life post-‘Live
Forever’. It also speaks to a deeper lore that says, don’t forget
where you came from, and this album is why. Always
remembering where he came from, across 10 songs Bartees is
celebrating the past, moving towards the future, and fully
appreciating the present.
 An unapologetic and braggadocious indie-trap banger, new
single ‘Cosigns’ celebrates Bartees’ peers, collaborators and
friends; name-checking the likes of Bon Iver, Phoebe Bridgers,
Courtney Barnett and Lucy Dacus, through a genre-defying
outpouring somewhere between swaggering hip-hop and
euphoric alt rock. The song ends on a poem he wrote in his
early 20s, “I don’t know how to be full, it’s the hardest to know, I
keep consuming I can’t give it up, It’s never enough.” ‘Cosigns’
is also a moment for Bartees to acknowledge himself, giving
himself credence and unashamedly basking in that glow. Its
accompanying official video was directed by Pooneh Ghana.
 Born in Ipswich, England, to a military father and opera-singer
mother, Bartees had a peripatetic early childhood before
eventually settling in Mustang, Oklahoma. Later, Bartees cut his
teeth playing in hardcore bands in Washington DC and Brooklyn
whilst working in the Barack Obama administration and
(eventually) the environmental movement. Since charting a path
as a solo artist, Bartees Strange has released two records in
quick succession: an EP reimagining songs by The National
(‘Say Goodbye To Pretty Boy’, 2020) and his debut album
proper, ‘Live Forever’.

Geboren in Ipswich, England, als Sohn eines Vaters, der beim Militär war, und einer Opernsängerin, verbrachte Bartees Leon Cox Jr. eine bewegte Kindheit, bevor er sich schließlich in Mustang, Oklahoma, niederließ. Bartees spielte in diversen Hardcore-Bands in Washington D.C. und Brooklyn, während er in der Regierung von Barack Obama und später in der Umweltbewegung arbeitete. Seitdem er seinen Weg als Solokünstler eingeschlagen hat, hat Bartees Strange zwei hochgelobte Platten in kurzer Folge veröffentlicht: eine EP, die Songs von The National neu interpretiert ("Say Goodbye To Pretty Boy", 2020) und sein Debütalbum "Live Forever" (2020). Während sein Debütalbum sich als persönliche Landkarte der Orte, die den Musiker geprägt haben (Flagey Brussels, Mustang Oklahoma) darstellte, stehen dieses Mal die Personen im Fokus, die Bartees am nächsten stehen und seine Reise bis hier hin mit ihm bestritten haben. Gleichzeitig hinterfragt sich der aufstrebende Musiker darauf stetig, um nicht seine eigene Herkunft zu vergessen. Somit zelebriert er auf 10 Songs die eigene Vergangenheit, richtet sich gen verheißungsvolle Zukunft und genießt den Augenblick.

Geboren in Ipswich, England, als Sohn eines Vaters, der beim Militär war, und einer Opernsängerin, verbrachte Bartees Leon Cox Jr. eine bewegte Kindheit, bevor er sich schließlich in Mustang, Oklahoma, niederließ. Bartees spielte in diversen Hardcore-Bands in Washington D.C. und Brooklyn, während er in der Regierung von Barack Obama und später in der Umweltbewegung arbeitete. Seitdem er seinen Weg als Solokünstler eingeschlagen hat, hat Bartees Strange zwei hochgelobte Platten in kurzer Folge veröffentlicht: eine EP, die Songs von The National neu interpretiert ("Say Goodbye To Pretty Boy", 2020) und sein Debütalbum "Live Forever" (2020). Während sein Debütalbum sich als persönliche Landkarte der Orte, die den Musiker geprägt haben (Flagey Brussels, Mustang Oklahoma) darstellte, stehen dieses Mal die Personen im Fokus, die Bartees am nächsten stehen und seine Reise bis hier hin mit ihm bestritten haben. Gleichzeitig hinterfragt sich der aufstrebende Musiker darauf stetig, um nicht seine eigene Herkunft zu vergessen. Somit zelebriert er auf 10 Songs die eigene Vergangenheit, richtet sich gen verheißungsvolle Zukunft und genießt den Augenblick.

Spencer Miles Abraham Allen, wie er mit vollen Namen heißt, stammt aus Rochester im State New York. Schon mit seinem Mittelnamen Miles, natürlich angelehnt an den großen Miles Davis, gaben seine Eltern ihm eine Musikkarriere gleich mit in die Wiege. Während die künstlerische Laufbahn langsam ins Laufen kam, blieben diese dennoch skeptisch. Als Spencer. das College nämlich für die Musik verließ, um an seiner Karriere zu arbeiten, waren seine Eltern alles andere als glücklich darüber. Er gab ihnen das Versprechen, wenn es mit der Musik nicht klappen sollte, binnen eines Jahres zurück im Hörsaal zu sein. Zu diesem Zeitpunkt hatte er dann aber ein paar Millionen Streams bei Spotify und einen Plattenvertrag bei 4AD in der Tasche - sein Platz im College bleibt wohl vorerst leer und auch seine Eltern können wieder ruhig schlafen. Von Fader und Pitchfork als einer der Acts für 2021 proklamiert, kann Spencer. selbstbewusst vorausschauen. Mit seiner Single "Automatic" hatte er 2019 bereits einen kleinen Underground-Hit gelandet…

‘Dragon New Warm Mountain I Believe In You’ is a sprawling album exploring the deepest elements and possibilities of Big Thief. To truly dig into all that the music of Adrianne Lenker, Max Oleartchik, Buck Meek and James Krivchenia desired in 2020, the band decided to write and record a rambling account of growth as individuals, musicians and chosen family over four distinct recording sessions.

 In Upstate New York, Topanga Canyon, The Rocky Mountains, and Tucson, Arizona, Big Thief spent five months in creation and came out with 45 completed songs. The most resonant of this material was edited down into the 20 tracks that make up ‘Dragon New Warm Mountain I Believe In You’, a fluid and adventurous listen.

 The album was produced by drummer James Krivchenia, who initially pitched the recording concept for ‘Dragon New Warm Mountain I Believe In You’ back in late 2019 with the goal of encapsulating the many different aspects of Adrianne’s songwriting and the band onto a single record.

 The attempt to capture something deeper, wider and full of mystery points to the inherent spirit of Big Thief. Traces of this open-hearted, non-dogmatic faith can be felt through previous albums but here on ‘Dragon New Warm Mountain I Believe In You’ lives the strongest testament to its existence.

Aldous Harding announces details of a new studio album, the follow-up to 2019’s acclaimed ‘Designer’.

For ‘Warm Chris’, the New Zealand musician reunited with producer John Parish, continuing a professional partnership that began in 2017 and has forged pivotal bodies of work (2017’s ‘Party’ and the aforementioned ‘Designer’). The album was recorded at Rockfield Studios and includes contributions from H. Hawkline, Seb Rochford, Gavin Fitzjohn, John and Hopey Parish and Jason Williamson (Sleaford Mods).

Norwegian musician and novelist Jenny Hval
announces her new album, ‘Classic Objects’.
 ‘Classic Objects’ is a map of places; past places,
like the old empty Melbourne pubs Hval’s band
used to play in, public places Hval missed
throughout lockdown, imagined, future places, and
impossible places where dreams, hallucinations,
death and art can take you. It is interested in
combining heavenly things and plain things.
 ‘Classic Objects’ is Hval’s version of a pop album.
Every song has a verse and a chorus. There are
interchangeable moments of complexity,
interesting melodies throughout, and a feeling of
elevation and clarity in the choruses. Heba Kadry
mixed it to sound as though it’s played through “a
stereo in a mysterious room.”
 Since 2019’s ‘The Practice of Love’, Hval
published the English translation of her third novel,
‘Girls Against God’, and released an album under
the name Lost Girls.
 Hval will play London’s EartH venue on 11th April,
2022.

When Roberto Carlos Lange, the musician known
as Helado Negro, began writing ‘Far In’
immediately following the release of his acclaimed
2019 ‘This is How You Smile’, he could not have
predicted that we would soon need to learn how to
stay at home and be the stars of our domestic
dancefloors with intimate and online communities.
The titular pair in ‘Gemini and Leo’ stay indoors to
discover each other anew with music recalling
Lange’s youth growing up in South Florida
listening to 80s club songs, and their return
sampled in 90s hip-hop.
Visions past and future meet in a euphoria of
uptempo drums, Jen Wasner’s (Flock of Dimes)
funky bassline, and Opal Hoyt’s (Zenizen) galactic
swirl of warm and steely synths and bright backing
vocals.
What was a prophesying rehearsal for the
musician will, we can hope, soon be our fresh
start, a choice to bring that energy home, or go out
to meet it.

ARIA & BET nominated rapper and artist Tkay Maidza has announced the highly anticipated follow-up to 2020's Last Year Was Weird, Vol. 2 (The Needle Drop's #1 EP of the Year). Last Year Was Weird, Vol. 3 is the final act of Tkay's EP trilogy. Featuring eight new songs produced by long-time collaborator Dan Farber. To coincide, Tkay has dropped the new single 'Cashmere' and its dreamy, pollen-filled video directed by Jasper Soloff (Tinashe, DJ Khaled) today. 'Cashmere' and its smooth R&B is a satisfying counterbalance to its bombastic predecessors 'Kim' and 'Syrup'.

Trompe Le Monde bookended a golden run of landmark records - a mini-album followed by four albums, released in quick succession - that cemented Pixies as one of the best for a generation. Translated from French to mean "fool the world", Trompe Le Monde showed the band still restless to push their sound forward. Recorded between Burbank, Paris and London, with producer Gil Norton again at the controls, their fourth album is arguably their most playful with Black Francis's lyrics on UFOs and conspiracy theories keeping things weird while power pop creeps in to amplify the space rock established on predecessor Bossanova. Featuring singles 'Planet of Sound', 'Alec Eiff el', 'Letter to Memphis' and a fl awless cover of The Jesus and Mary Chain's 'Head On', Trompe Le Monde goes full throttle with 15 tracks coming in a quickfi re 40-minute salvo. Receiving critical praise at the time and being supported by a huge tour that included playing stadiums with U2, it also proved to be the end of act one for the band with them taking over a decade before returning to stage together. A brilliant record, Trompe Le Monde sounds just as fresh 30 years on with outlets such as Pitchfork concurring, retrospectively scoring it 9.3, they called it "more aggressive than anything in their catalog but also more confi dent. They can handle this now, and they do."

For its 30th Anniversary, Pixies’ 1991 album ‘Trompe
Le Monde’ is reissued on marbled green vinyl.
 ‘Trompe Le Monde’ bookended a golden run of
landmark records - a mini-album followed by four
albums, released in quick succession - that cemented
Pixies as one of the best for a generation.
 Translated from French to mean ‘fool the world’,
‘Trompe Le Monde’ showed the band still restless to
push their sound forward. Recorded between Burbank,
Paris and London, with producer Gil Norton again at
the controls, their fourth album is arguably their most
playful, with Black Francis’s lyrics on UFOs and
conspiracy theories keeping things weird while power
pop creeps in to amplify the space rock established on
predecessor ‘Bossanova’.
 Featuring singles ‘Planet of Sound’, ‘Alec Eiffel’, ‘Letter
to Memphis’ and a flawless cover of The Jesus and
Mary Chain’s ‘Head On’, ‘Trompe Le Monde’ goes full
throttle with 15 tracks coming in a quickfire 40-minute
salvo. Receiving critical praise at the time and being
supported by a huge tour that included playing
stadiums with U2, it also proved to be the end of Act
One for the band, with them taking over a decade
before returning to the stage together.

In 2020, 4AD turned 40. Never one to be on time for a party, the label is
commemorating that landmark this year with the release of ‘Bills & Aches & Blues’.
The compilation features 18 of its current artists covering a song of their
choosing from 4AD’s past: a creative experiment rooted in the spirit of
collaboration and a snapshot of 4AD, 41 years after its inception.
‘Bills & Aches & Blues’ will be released on double CD and double LP. The
first 12 months’ profits from ‘Bills & Aches & Blues’ will be donated to The
Harmony Project, a Los Angeles-based after-school programme for children
from communities and schools that lack equitable access to studying the arts
or music.
‘Bills & Aches & Blues’’ 18 recordings contain fascinating connections
between artist and track. The earliest song chosen (by U.S. Girls) is The
Birthday Party’s ‘Junkyard’, from 1981; the most recent are the two Grimes
covers (‘Genesis’ and ‘Oblivion’, respectively by Spencer. and Dry Cleaning)
from 2012. Suitably, for the one band that bridges 4AD past and present, The
Breeders are all over ‘Bills And Aches And Blues. They’re covered three
times - ‘Cannonball’ by Tune-Yards, ‘Mountain Battles’ by Bradford Cox of
Deerhunter and ‘Off You’ by Big Thief, whilst The Breeders cover ‘The Dirt
Eaters’ by their ‘90s contemporaries His Name Is Alive.
Landmark songs such as ‘Cannonball’, ‘Song To The Siren’ and Pixies’
‘Where is My Mind?’ will feel comfortable to casual fans, however by
contrast, much joy can be found in the album’s surprise choices, such as Air
Miami’s ‘Seabird’ and the Lush B-side ‘Sunbathing’, covered respectively by
new signings Maria Somerville and Jenny Hval.
‘Bills & Aches & Blues’ is named, arguably (as Elizabeth Fraser never
published the lyrics), after the opening line of Cocteau Twins ‘CherryColoured Funk’. Perhaps too unique and uncoverable in their own right, their
legendary take on Tim Buckley’s ‘Song To The Siren’, under the name This
Mortal Coil (along with Buckley’s pre-Starsailor acoustic version) informs
SOHN’s cover.
Some tracks unearth hitherto hidden shared DNA, such as Future Islands’
and Colourbox’s ‘The Moon Is Blue’; other tracks are more akin to
reinvention. Aldous Harding distils the melodic essence of Deerhunter’s
‘Revival’ and recasts it in her own uncanny image. U.S. Girls’ future-disco
‘Junkyard’ and Bing & Ruth’s neo-classical instrumental ‘Gigantic’ are even
more radical interpretations. Leading off the album, Tkay Maidza brings both
her Art Rap and R&B game, but also an unexpected ‘80s synth pop template,
to Pixies’ ‘Where Is My Mind?’, a perfect title for these chaotic times.

Feste sollte man feiern, wie sie fallen...oder eben dann, wenn es passt! 2020 feierte 4AD, Label-Zuhause von Acts wie The National, Beirut, The Breeders und vielen mehr, den 40. Geburtstag...und da es in 2020 eh nicht viel zu feiern gab, erscheint nun eben etwas verspätet ein passendes Geburtstagsgeschenk in Form einer einmaligen Compilation mit 18 Cover-Versionen aus dem reichhaltigen 4AD-Katalog, neu interpretiert von aktuellen Label-Acts! So zu sagen: back to the future! "Bills & Aches & Blues" bietet damit einen Querschnitt aus der Vergangenheit, präsentiert von der Gegenwart. Darunter alte Lieblingssongs wie "Junkyard" von The Birthday Party aus dem Jahr 1981 (interpretiert von U.S. Girls), bis zu zwei Grimes-Songs aus 2012, die von Spencer. und Dry Cleaning gecovert wurden. Die Ikonen von The Breeders sind allgegenwärtig, in Form von drei Covern ihrer Songs "Cannonball" (von Tune-Yards), "Mountain Battles" (Bradford Cox von Deerhunter) und "Off You" (Big Thief), während sie sich selbst dem Song "The Dirt Eaters" von His Name Is Alive annehmen. Und mit den beiden neuen Signings Maria Somerville und Jenny Hval ist auch ein kleiner Ausblick auf die Zukunft des Labels vertreten!

Quietschbunte Indie-Pop-Tunes Nachdem das letzte Tune-Yards-Album "I can feel you creep into my private life" 2018 auf 12 Songs Themen wie Geschlechterteilung, Politik, Feminismus und die nach wie vor um sich greifende Umweltverschmutzung behandelte, hinterfragen sich Merrill Garbus und ihr langjähriger Mitstreiter Nate Brenner auf dem fünften Studioalbum "sketchy." selbst. "We had really been non-stop hustling," reflektiert Merrill, die zwischen 2009 und 2018 vier hoch gelobte Alben als Tune-Yards veröffentlicht hat, durchgängig auf Tour war und zusätzlich noch den Score zum surrealistischen Boots Riley-Film "Sorry To Bother You" kreierte. Ihre eigene Rolle in den von ihr so verhassten, eingefahrenen Systemen, lähmte Merrill, ohne Idee, wie sie nun weitermachen sollte. Inspiriert vom Buch der Beastie Boys und von Questloves "Creative Quest" machte sich das Duo daran täglich für mehrere Stunden in ihrem Proberaum zu jammen, um sich ähnlich wie Athleten vor einem Wettkampf zu trainieren. Dabei tauschten sie Computer-Samples gegen Live-Instrumente ein (Merrill an den Drums, Nate am Bass) und schon nach kurzer Zeit entstanden die ersten neuen Songs. Das Ergebnis ist ein farbenfrohes und fröhliches Album mit Lyrics, die es in sich haben.

Dry Cleanings fiebriger Post-Punk klingt wie kein anderer Sound zurzeit. Bassist Lewis Maynard, Drummer Nick Buxton und Gitarrist Tom Dowse kennen sich schon eine kleine Ewigkeit und hatten schon diverse gemeinsame Bandprojekte zusammen. Die neue Band der Londoner entstand 2017 nach einem Karoke-Abend, bei dem sie Florence Shaw kennenlernten. Shaw, die vorher nie gesungen hatte, wurde zur Stimme der Band. Binnen weniger Monate entstanden die ersten Songs; die Texte handeln von Neurosen, seltsamen YouTube-Kommentaren und den normalen Dingen des Lebens. Shaw ist eine gute Beobachterin und eine Archäologin des Alltags. Der ungeschminkte Sound von Dry Cleaning bietet Shaws Geschichten dabei eine berauschende Klangkulisse. 2020 waren nach zwei EP-Veröffentlichungen und Touren durch englische Clubs Konzerte in den USA und Europa geplant, aber wegen der Pandemie saß die Band stattdessen im britischen Lockdown. Die Zeit nutzte man, um weitere Songs zu schreiben und das Debütalbum mit John Parish als Produzent in dessen Rockfield Studios aufzunehmen. "New Long Leg" wird die Musikwelt im Sturm erobern.

Tkay Maidza is a tour de force on her new EP ‘Last
Year Was Weird, Vol. 2’.
Her sonic versatility takes centre stage on eight
tracks that include spitfire summer anthem and
lead single ‘Shook’, smooth boy-bye manifesto
‘Don’t Call Again (feat. Kari Faux)’ and trap-infused
‘Awake (feat. JPEGMAFIA)’, which was nominated
for a 2019 ARIA award and earned a best of the
decade nod from The Needle Drop, as well as
praise from Pitchfork, The FADER, Dazed,
Complex, and others.
The EP follows 2018’s ‘Last Year Was Weird, Vol.
1’, which established her as an exciting voice in
the new guard of hip-hop.

Quietschbunte Indie-Pop-Tunes Nachdem das letzte Tune-Yards-Album "I can feel you creep into my private life" 2018 auf 12 Songs Themen wie Geschlechterteilung, Politik, Feminismus und die nach wie vor um sich greifende Umweltverschmutzung behandelte, hinterfragen sich Merrill Garbus und ihr langjähriger Mitstreiter Nate Brenner auf dem fünften Studioalbum "sketchy." selbst. "We had really been non-stop hustling," reflektiert Merrill, die zwischen 2009 und 2018 vier hoch gelobte Alben als Tune-Yards veröffentlicht hat, durchgängig auf Tour war und zusätzlich noch den Score zum surrealistischen Boots Riley-Film "Sorry To Bother You" kreierte. Ihre eigene Rolle in den von ihr so verhassten, eingefahrenen Systemen, lähmte Merrill, ohne Idee, wie sie nun weitermachen sollte. Inspiriert vom Buch der Beastie Boys und von Questloves "Creative Quest" machte sich das Duo daran täglich für mehrere Stunden in ihrem Proberaum zu jammen, um sich ähnlich wie Athleten vor einem Wettkampf zu trainieren. Dabei tauschten sie Computer-Samples gegen Live-Instrumente ein (Merrill an den Drums, Nate am Bass) und schon nach kurzer Zeit entstanden die ersten neuen Songs. Das Ergebnis ist ein farbenfrohes und fröhliches Album mit Lyrics, die es in sich haben

The National’s second album, Sad Songs For Dirty Lovers (2003) proved a leap forward from 2001’s eponymous debut, showing a band adept at delivering warm embraces and gut punches in equal measure. With word of mouth now spreading on the band, critics proved equally enthusiastic... Pitchfork in their glowing review called it a “Gorgeous train wreck” that “Lives up to its blunt title (with) Matt Berninger’s self-eff acing barbs matched by the band’s equally potent hooks,” while Uncut also became early champions saying the album was “A genuine treasure... Livid as a bruise, this is brave, desperate, beautiful music.” No longer a secret among those that know, Sad Songs For Dirty Lovers is an important record in The National’s discography with this new remaster showing that it’s more than standing the test of time.

Released a year before The National broke through with their third album Alligator, 2004’s Cherry Tree EP is a thrilling record which - thanks to ist collection of delicate ballads and anthemic crowd-pleasers - sums up what they do best in under 30 minutes. Now a fi rm fan-favourite, among Cherry Tree’s seven tracks are now National classics ‘About Today’ and ‘All The Wine’, plus a thrilling live version of ‘Murder Me Rachael’ that reminds of the band’s fearsome early live performances. Cherry Tree can be seen as the record that marks the moment when The National had truly found themselves, a bridge from what went before to a band ready to conquer the World. And with this new master, it’s never sounded better too.

COLOURED EDITION

Also known as the band with the funny dancing man, Future Islands will forever be stuck in heads because of *that* Letterman performance. This is their second album since Singles, the album off the back of the exposure. It shows the band still pursuing their retro synth pop sound but with one main alteration - they now have an actual human drummer in tow.

2020 marks the 30th Anniversary of ‘Bossanova’, the third studio album by Pixies.

The band continued to work with Gil Norton after collaborating to such success on their platinumselling second album ‘Doolittle’; this time choosing to record in Los Angeles over their native Boston
(the track ‘Blown Away’, however, was recorded at the Hansa Tonstudio in Berlin during a European tour in 1989).

Their third album in as many years, 1990 was a particularly fertile time for the band with Kim Deal also having success with The Breeders, who released their debut album ‘Pod’ just a few months prior.

Featuring the singles ‘Allison’ (a tribute to jazz and blues pianist Mose Allison), ‘Dig For Fire’ and ‘Velouria’, plus the first cover to feature on one of their albums, ‘Cecilia Ann’ (originally by The Surftones), ‘Bossanova’ showed a less primal side to the band, with surf and space rock rising to the fore. Lyrically, Black Francis is even more cryptic with a recurring sci-fi theme running throughout, which in turn influenced Vaughan Oliver’s classic planet design for the sleeve.

To celebrate ‘Bossanova’ hitting its third decade, 4AD are releasing a special red vinyl edition with the original 16-page booklet being reinserted, having previously only been available with the initial UK LP pressing.

Bing & Ruth, the ever-evolving project helmed by New York composer David Moore, has announced details of a new album, scheduled for release this summer. Entitled Species, the 7-track, 49-min record will be released via 4AD.

While on a surface level, Species is an exploration of the sonic possibilities of the Farfisa organ, aided only
by a clarinet and double bass (played respectively by
founding members Jeremy Viner and Jeff Ratner), the
title Species is a nod to both humanity and humility –
a devotion to the godly intuition with which we are all
endowed, and the humbleness required of us to
perceive it. It’s also about suspended time and trance;
not just a steady movement from A to B, but as
something that flows, meanders and eddies, like
water.

Species, and the transcendental state it embodies,
was inspired by two recent loves of Moore’s: the
desert and long-distance running. Briefly relocating
from his New York base to Point Dume, between the
Pacific Ocean and the desert, Moore was able to
indulge in both passions, which in turn provided
stimulus for new work. He says, “I’d found myself in
places unfamiliar enough that I could easily lose all
sense of direction, size and, more than anything, all
sense of time. The music I was making became a kind
of reflection of these intentional detachments - and a
place to mirror that feeling of trance that had pushed
them out in the first place.”

‘Garlands’ was the Cocteau Twins’ debut album, released in the early autumn of 1982. It was the only album they made with original bassist Will Heggie. Describing it as “haunting,” “spellbound,” “diaphanous” and discerning a “frosting of sweetness,” the critics wore out their adjectives; this was rock music - just - but it was conjured in the unlikeliest environment from the strangest of material.

This is ‘Garlands’ first vinyl pressing in over ten years, remastered from the original analogue tapes, pressed on 140g black vinyl and includes a digital download code. ‘Victorialand’, Cocteau Twins’
fourth album, was released in spring 1986. The largely acoustic, nonpercussive album was made with Elizabeth and Robin, while Simon was working on This Mortal Coil’s second album.

Dif Juz labelmate Richard Thomas guested on tabla and saxophone. The Guardian said “It’s not quite ambient, but it’s definitely not rock’n’roll even by the Cocteaus’ standards, building on the moments of guitar shimmer from the previous years’ EPs, while also stripping back at points to where it’s nothing but a Guthrie guitar line and Fraser’s voice.

‘Victorialand’ is remastered from the original analogue tapes,
pressed on 140g black vinyl and includes a download code.

Nach mehr als fünf Jahren sind Purity Ring zurückgekehrt, um ihr drittes Album anzukündigen. WOMB wurde vollständig vom Duo Megan James und Corin Roddick produziert und aufgenommen und wird am 3. April über 4AD veröffentlicht. Das neue Purity Ring-Album ist dabei eine Chronik der Suche nach Trost, der Suche nach einem Ruheplatz in einer Welt, in der so vieles außerhalb unserer Kontrolle liegt. Die auffallende Verletzlichkeit des Openers "rubyinsides" zeichnet einen Weg auf, der sowohl sehr persönlich als auch tief mit den uns nahestehenden Menschen verbunden ist - unseren Verwandten, ob sie nun von Natur aus oder aus dem Umfeld kommen. Während sich der Boden unter ihren Füßen verschiebt, helfen sich die Figuren auf dem Album gegenseitig, dem Tod, der Verzweiflung und anderen Veränderungen mit Widerstandskraft und Anmut zu begegnen. Die Suche gipfelt in "stardew", einer glitzernden, transzendenten Einladung, "einfach da zu sein, wo du bist" - die Art von kraftvollem Frieden zu erleben, die nur durch ein wirkliches Heimkommen gefunden werden kann. WOMB folgt auf das international gefeierte und höchst einflussreiche Debüt von Purity Ring im Jahr 2012 und Another Eternity im Jahr 2015. Damals lobte die New York Times die Songs als "nur wenige Schritte von den Radiohits von Sängerinnen wie Ariana Grande und Ellie Goulding entfernt", während Rolling Stone sie als "glänzenden Synthie-Pop plus kavernösem Hip-Hop" bezeichnete, und der New Yorker lobte das Duo für "kreativen Elektro-Pop, der ebenso warm und menschlich wie kalt und fremd ist, eine berauschende Kombination, die sich kühn futuristisch anfühlt".

Grimes releases her long awaited new album “Miss Anthropocene” on 21 Feb 2020 on 4AD. Includes the singles” So Heavy I Fell Through the Earth” & “Violence” and featuring collaborations with 潘PAN & i_o.

On the eve of a post-Thatcherite Britain, the Pale Saints, alongside the likes of Lush, Ride and Slowdive, were ushering in a new wave of British indie. And in 4AD, they found a perfect home for their music - an exciting & undeniable meld of noise and dream-pop.

Their debut album, The Comforts of Madness, didn’t disappoint, now standing as one of the best of its era. Pitchfork placed it in their Best 50 Shoegaze Albums Of All Time saying, “There’s a restless urgency, particularly when the volume swells and the rhythms intensify. That energy not only keeps (it) vital, it emphasizes Pale Saints’ inventiveness, how they channelled softness and rage into something distinctive.”

Nearly 30 years on and The Comforts of Madness is finally getting the reissue treatment. Having been remastered, a faithful LP repress on black vinyl is being released as well as double CD and double clear vinyl editions, both of which come with a bonus disc of previously unreleased demos and the band’s only John Peel Session, recorded in 1989.

Mit brachialen Tempowechseln und sägenden Gitarrenriffs sowie klebrig-süßen Arrangements und ungestümen Ausbrüchen zwischen Hardcore, Punk und Alternative stiegen die Pixies gegen Ende der Achtziger zu Independent-Superstars auf. 1987 nahmen Frank Black & Co. bei einer dreitägigen Session 17 Songs für das Demo "The Purple Tape" auf. Eines dieser lila Bänder fiel Ivo Watts-Russel in die Hände, der die Pixies schließlich bei 4AD unter Vertrag nahm. Acht der Demo-Stücke landeten auf der EP "Come On Pilgrim", der ersten Veröffentlichung der Band. Im Jahr 1988 entstand das Debütalbum der Pixies, "Surfer Rosa", produziert von Steve Albini. Wieder hielt sich das Quartett nicht lange im Studio auf, in vierzehn Tagen war alles im Kasten. "Surfer Rosa" enthält "Where Is My Mind?" und damit den sicherlich berühmtesten Song der Band. Das Debüt begeisterte die Kritiker, "Melody Maker" und "Sounds" zeichneten es als "Album des Jahres" aus. Auch rückblickend gilt die Platte als eines der wichtigsten Rockalben jener Zeit. Zum 30-jährigen Veröffentlichungsjubiläum bringt 4AD die beiden Meilensteine zusammen mit dem 1986 mitgeschnittenen Radiokonzert "Live From The Fallout Shelter" noch einmal als Triple-Album heraus.

Zwei Jahre nach seinem hochgelobtem Debütalbum Tremors legt der ehemalige Wahlösterreicher sein
zweites Album vor. Mittlerweile lebt SOHN in Los Angeles und dem neuen Album hört man die Wärme seiner
neuen Heimat durchaus an. Erneut hat er das Album in reinen Nachtschichten erarbeitet - dieses Mal in
einem Studio im Norden Kaliforniens. Die 10 Songs sind zuversichtlich, direkt und fokussiert. Vorsichtig
lockert er die Beschränkungen auf und baut in jeden Track neue musikalische Elemente ein, durch die
Gesang, Melodien und Rhythmen noch besser zur Geltung kommen.

FIRST EVER VINYL PRESSING OF JOHANN'S 2006 ALBUM - DELUXE GATEFOLD SLEEVE, 2 x CLEAR LP - TWO BONUS TRACKS, DOWNLOAD CODE INCLUDED

Never before pressed on vinyl, IBM 1401, A User's Manual, is one of Jóhann Jóhannsson's most loved works. Released in 2006, the decade since its release has seen Jóhann establish himself as one of the most important composers in the World today, most notably scoring movies such as Arrival, Sicario and The Theory of Everything.
Inspired by the work his father did in the sixties when chief maintenance engineer of one of Iceland's first computers, Jóhann originally wrote IBM 1401, A User's Manual to accompany a dance piece by long-standing collaborator and friend, Erna Ómarsdóttir. For this album release, he rewrote it for a sixty-piece string orchestra, with a new final movement (built around a poem by Dorothy Parker) and incorporating both electronics, and reel-to-reel recordings made by his father and friends in 1971 of an enormous IBM 1401 mainframe computer singing the hymn Ísland Ögrum Skorið by Sigvaldi Kaldalóns as it was being decommissioned.
The first ever pressing of IBM 1401, A User's Manual comes in a deluxe gatefold sleeve, having been reworked by Chris Bigg (v23) from his original design. Pressed on clear vinyl, two album tracks recorded in 2010 with the City of Prague Philharmonic Orchestra at the Rudolfinum, Dvorák Hall in Prague have also been added and are exclusive to this release.

Officially now a duo, Merrill Garbus is joined by long-time collaborator Nate Brenner. Their new album, 'I can feel you creep into my private life', tackles race, politics, intersectional feminism and environmental prophecies head on. In the billows of intense subject matter the album is their most immediate and upbeat yet - this is Tune-Yards' music to dance to. The follow-up to 2014's acclaimed album, 'Nikki Nack', much of 'I can feel you creep into my private life' was recorded at John Vanderslice's new Tiny Telephone studio in their hometown of Oakland, CA.
To help finish this stunning record, they enlisted mixer Mikaelin 'Blue' Bluespruce (Solange, Skepta, Kendrick Lamar) and mastered it in Harlem, NY with Dave Kutch (Jay-Z, Chance The Rapper). LP format includes poster and digital download card.