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World Got Soul is the name of the new series from our subsidiary label Fingier Records. As the first release in this series, our Argentinian producer Kevin Fingier has created two killer bombs of Brazilian Soul, Funk and Jazz with the new singer he has signed to the label; the amazing Josi Dias.

The Brazilian singer, based in Argentina, has been singing Bossa Nova and Samba in the most prestigious Jazz clubs in Buenos Aires, and is now joining forces with Kevin Fingier to mix her traditional music with Fingier’s Soul grooves.

On the A side we have ‘Um Brilho Novo’ - a killer Brazilian Funk. You can hear the Raw Funk sound that we've become so accustomed to hearing from The Kevin Fingier Collective band while Josi’s sweet voice sings beautiful Brazilian melodies over the top. It’s like if Elis Regina had asked Dave Hamilton to produce her an early 70’s Soulful track.

And on the B side we have ‘Rua Nova Baräo’, a Jazz-Dance samba killer track. You can certainly hear the Airto Moreira and Flora Purim flavours throughout. Eddie Piller heard this one and said “If you close your eyes you can almost be in Dingwalls or The Wag Club in 1988”

Josi Dias & The Kevin Fingier Collective's new single will be out October 1st and the release is very limited, so get yours before it's too late!

Ever since the release of their acclaimed debut EP P'eau (2018) these Mechelen-based musicians have been honing their craft in songwriting and production, building a new home studio to record future material while also expanding from a three-piece to a five-piece ensemble. By adding singer/percussionist Stefan De Graef (Psychonaut) and guitarist/singer Sander Rom (L'Itch) to their ranks, HIPPOTRAKTOR have become a more versatile outfit able to employ a broader palette of sounds, taking the band's earlier instrumental prog metal sound to new heights. Taking notes from the best moments in contemporary progressive and post metal, HIPPOTRAKTOR capture the awe-inspiring power of nature_from the delicacy of the first falling leaf to the massive cosmic energy of the sun. By combining the big, catchy riffs and the rhythmical prowess of Gojira with the relentless but equally groove-loaded complexity of Meshuggah, Meridian delivers an overwhelming experience of sound, presenting the listener with sentiments that are recognisable, but with an intensity that seems larger-than-life. "Meridian finds its origin in everyday moods, taken out of context and morphed into a stylised version that re- flects the dreamer in me," explains main songwriter and guitarist Chiaran Verheyden. "It tells the story of someone who's lost in a world too massive to comprehend, and seeks answers in places where none can be found. Meridian was written as an attempt to distillate what I felt but couldn't put into words." As the main vocalist in the group, finding these words was the job of Stefan De Graef, who carried over his fascination for philosophy and religion from his other band Psychonaut. "Meridian tells the story of a solitary wanderer on the Earth in the absence of other beings," explains Stefan. "Without anyone to share knowledge and history with, the protagonist is forced to create his own truths and stories about the nature of life, consciousness and the universe. The protagonist begins to personify and deify his surroundings, assigning sentience to the trees, the mountains, the wind, the waters etc. for they are his only companions in this desolate world." Essentially, Meridian is an exploration of the evolutionary theory of naturism, which was put forth by German scholar Max Mu"ller in the 19th century, and which argues that religion finds its origin in the deification of the forces of nature by early human beings. By juxtaposing this sociological theory with seven tracks that unfailingly conjure images of the earth, sea and sky, HIPPOTRAKTOR have created an analogy that enlarges the imaginative quality of their music to (literally) epic proportions. Combining the best of prog, groove and post-metal, Meridian comprises an incredible ride for fans of soaring hooks, technical riffing and earth-shattering breakdowns. Limited bluegreen-grey single colour vinyl edition, gatefold! FOR FANS OF Meshuggah, Periphery, Cloudkicker, Intronaut, Animals As Leaders, Gojira, Skyharbor, Psychonaut

Oráculo Records joins forces with Wrong Era to release the vinyl debut of the Lithuanian young act Ton Globiter. In between techno, ebm and new beat, his sound is fresh and overwhelming, ready to fire up any dance floor. It includes remixes by Kris Baha and Synths Versus Me to complete a ballistic weapon EP.

There’s a mystique in things that appear in threes. In Greek mythology it represents harmony, wisdom and understanding: for Pythagoras it’s the smallest number needed to create a pattern, the perfect combination of brevity and rhythm, while in literature there’s no story without a beginning, middle and end or past present and future. Summed up in the Latin phrase omne trim perfectum, for Southampton based songwriter Ian Miles (Guitarist/Songwriter with UK band, Creeper) the perfect trio presents itself as Degradation, Death and Decay. Inspired by performance art of the 70s and Halloween — taking cues from the visual legacies of Robert Rauschenberg and Serbian film maker Marina Abramovic while musically drawing on bands such as Conor Oberst, Leonard Cohen, R.E.M and The Cure — this first full-length is more art horror project than album. “I never really seen this as a solo project because I’ve been writing and recording acoustic music since I was about 15. I low key released some very old songs way before Creeper started and even during,” says Miles about choosing to step out on his own. “I don’t want to be the focus of this record, it’s not about me so I have decided to hide me. I want people to solely focus on the art.” Layered with haunting vocals and a myriad of rhythmic textures, Miles sets out to explore one of natures most habitual cycles: our individual journeys though life, that life eventually coming to an end and acceptance, striving to give the listener full control over the art rather than focus on the inherently human force behind the mask.

British producer Patrick Tipler spent his formative years immersed in psychedelia as a bassist and guitarist in various bands and groups. The arrival of synthesizers –along with his move to Bristol– radically changed his vision of sound and impacted on his musical direction with the force of an asteroid. This shockwave subsequently saw the birth of Delay Grounds.

After releasing the outstanding 'Onomatopoeia' Pressure Dome, 2020 and 'Upcycling' Tropopause, 2021, Delay Grounds’ output has made it clear for all to see that Tipler’s sound design skills are second to none, and with just two releases to his name he has already transformed himself into an artist to watch very closely.

Today Patrick joins the Lapsus crew to present 'Genus', a five track EP that he says "is my most personal release to date, something I've always carried inside and wanted to produce, but had never managed to articulate before". On 'Genus', Delay Grounds preserves the essence of his sound but takes things a step further, with a form ofmaximalist electronica, sprouting powerful torrents of high-pitched and ruff-as-rock avant-techno, glitches and mutant sound elements, combined with sweet and delicate melodies in the purest IDM style. Polishing is provided by sound engineer Nick Earle, with whom Patrick has recorded and remarkably treated a kit of "deconstructed drums" especially for the occasion.

‘Genus’ is 30 minutes of astral travelling, an experience perhaps analogous to what we would feel if we opened a vault, containing music from a lost civilization.

Grains is the debut album by Numinos on Mille Plateaux. The Cologne-based producer, DJ, author and lecturer has been writing the tech-reviews in "Groove" for many years, tests equipment for various specialist magazines and teaches at the Institute for Pop Music (IFPOM) and Institute for Computer Music and Electronic Media (ICEM) of the Folkwang University.In his current creative phase, he conceptually deals with the topic of "granular synthesis".
A "grain" is thus, to a certain extent, a tiny spectral snapshot from a larger musical context - an infinitely expandable, flowing intermediate state. This is also where the connection to the cover motif is found that shows the negative of a photograph of a wild field and has been taken Bernd Adamek-Schyma: The negative as an eternal intermediate state between the motif and the developed image. And despite the fact that "Numinos" has a fully equipped studio with a wide range of instruments, the 20 Euro iPad app "Borderlands Granular" turned out to be the creative catalyst that enabled the trained pianist to implement his sound ideas with direct haptic influence.The app gives the Cologne-based sound artist the opportunity to extract tiny fragments from the sample based on their specific tonality, to recontextualize them and thus work out structures that are not audible at the original tempo.
The results are polyrhythmic sound scenes that appear harsh, artificial and strange in a moment, only to transform into contemplative, warm and familiar frequency stratification minutes later. Numinos deceives the listener in many ways. Above all with the supposed rhythm that does not exist. Because in fact almost all granular clusters within the pieces run in completely asynchronous loops. The addition of a simple kick drum then forces the brain to suddenly hear apparent triplets, quintoles or dotted eighths in these mathematically completely chaotic structures, which are purely fallacy.

"Pianist Nate Morgan (1964-2013) was a central figure on the Los Angeles jazz undergound. A core member of the circle around the legendary bandleader, pianist and community organiser Horace Tapscott, Morgan had been part of Tapscott’s U.G.M.A.A. (Union Of God’s Musicians and Artists Ascension) since he was just a teenager, and was a key member of the Pan Afrikan People’s Arkestra, known as ‘The Ark’. Through the 1980s and 1990s he kept the PAPA flame alive, organising the Ark’s sprawling songbook, running legendary jam sessions, and keeping LA’s deep jazz roots well watered. By the early 2000s he was bringing hard won knowledge to a new generation as part of the Build The Ark collective. He was a musician’s musician, at the beating heart of the radical, community-minded Los Angeles jazz network that Tapscott and his associates had first put together in the early 1960s.

Retribution, Reparation was the second of the two LPs Morgan recorded for Tom Albach’s storied Nimbus West imprint. His first, Journey Into Nigritia had been a declaration of arrival laced with energies drawn from Cecil Taylor and Coltrane. One year later, with nods to Herbie Hancock (‘One Finger Snap’) and Ellington (‘Come Sunday’), Retribution, Reparation was a confident statement of purpose. Politically charged with pan-Africanist and Black nationalist sentiments inspired by Marcus Garvey, and titled with uncompromising directness, the album focusses the sound world of the Ark into a surging, restless masterpiece of spiritualised modal jazz. With Danny Cortez on trumpet and Ark stalwart Jesse Sharps on saxophones the frontline is explosive (this set is also one of the few places the extraordinary Sharps can be heard in a small group setting), while Fritz Wise and Ark regular Joel Ector hold down the rhythm section. Morgan’s forceful, Tyner-like chords and virtuosic solos and bind the music together. From the poised drama of the opening dedication to Tapscott’s U.G.M.A.A. (‘U.G.M.A.A.GER’) to the propulsive militancy of the title track, Retribution, Reparation spreads the word: ‘Advance to Victory, Let Nigritia Be Free!’"

In the beginning, there was chaos_ A while later in the Heavens, where angels reigned, there was once held a great symposium, a glorious feast. Everyone was happy and having a great time, until Lucifer, fairest and mightiest of all the angels, brought in suspicious and strange substances, offering them freely with both hands for everyone to take. All were fooled by the Ancient Serpent, starting to misbehave and act in contradiction to the Heavenly Laws. The Almighty God, enraged upon learning about the mutiny, threw everyone down on earth to suffer eternally in hunger, ugliness and desperation. Vulnerable now to each and every temptation, they are ready to perpetuate Good and Evil, while building their new earthly Kingdom in any way they can. Angelic chants, Demon's screams, witches dancing and woeful mortal suffering are recounted in this album's songs, embellished with mesmerising hymns and sharp riffs. Chaos is always close and all that remains is the human revolution against the forces of evil. "Battlefields of Satan's servants, witch-hunt for our ways, face off reality and eat TV today. Lucifer, Forever Grey". - Bill Politis - "The Unknown Secretary" comes to further unsettle the turbulent waves of music and burn its own mark in history. Today, five years after its original release, Heavy Psych Sounds reissues this retro gem, serving it once again straight into your record case.

SHY, LOW are true masters of the exquisite craft of stark contrasts and broad dynamics, from delicate crescendos to the grandiose power of the riff_ a craft that lies at the heart of every outstanding instrumental rock record. The Richmond, Virginia based four-piece has made an absolutely incredible and epic album brimming with creativity, groove, heaviness and truly outstanding songwriting- a record that is intricate and mature, yet gloriously anthemic at the same time. The fantastic cinematic and (surprisingly, so) entirely self-produced first music video for the track ,Helioentropy", premiered at Roadburn Redux this year, was only a tastemaker for the 5th studio album and Pelagic debut, Snake Behind The Sun. Recorded, mixed and produced at Vudu Studios in Long Island, NY by Mike Watts (The Dillinger Escape Plan, GlassJaw, Hopesfall, Tides of Man), the album pulls from elements from previous eras of the band, but also pushes into new territory. The result is a slicker, more modern, layered and 3-dimensional sound. The album title is a metaphor for the notion that darkness and negativity can remain hidden even among seemingly positive forces and positive beings in one's life. As a matter of fact, the snake crawled out from behind the sun, while the band was in the studio recording the album: ,By week 3, there were talks of NY state locking down due to the rapid rise in Covid cases; with one day left before the lock down was alleged to go into effect, it became a mad dash to finish tracking the record so we could book it home to Richmond, Virginia", says bass player Drew Storcks. Though entirely instrumental, reducing the band's contemporary sound to the term ,post-rock" wouldn't do this record justice: there is much more to it than lengthy dramatic build-ups and bittersweet melodies played by delay-drenched guitars. Snake Behind the Sun is an astounding and immensely diverse record that will appeal to fans sitting on all ends of the broad spectrum of modern heavy rock music. Limited 2LP red single colour edition! FOR FANS OF PG.LOST, THIS WILL DESTROY YOU, CASPIAN, AND SO I WATCH YOU FROM AFAR, RUSSIAN CIRCLES, THRICE

After retracing the path of Lou Reed, with her tribute show
and album ‘Run Run Run’, Emily Loizeau returns in full
force, influenced by growing concerns for the challenges
of climate change and migration, and everything we’ve
been through these past years.

Writing in the thick of lockdown and recording during
quarantine in England with John Parish (producer and
musician for PJ Harvey), Loizeau had dreamt of
collaborating and creating an album in the land of her
roots long before it came to pass.

Both guitarist Csaba Palotaï, by Loizeau’s side these last
ten years, and pianist / bassist Boris Boublil, a new
addition to the team, had worked with Parish before on a
variety of musical projects. Sacha Toorop, on the drums,
also had experience recording with Parish for Dominique
A’s ‘Auguri’ album.

“Our work on the demos with Boris, Csaba and Sacha; the
songwriting for this album; the sound I was trying to
render: everything seemed to point to a return to the
United Kingdom and to Parish’s creative force, which is
raw, sensitive and powerful all at once," Loizeau says.
"The time was right!"

The album is a diary - personal fieldnotes from a
lockdown, with an eye turned towards the outer world. A
call, a deep and powerful desire to seek out the core of our
fears and anger and find there what binds each soul to the
other.

‘Icare’ is the story of the infinite within us, our desires and
our shortcomings, how we reach for beauty, for harmony,
our creative frustrations and the Promethean madness
that may precipitate our fall.

In These Silent Days, the highly anticipated new studio album from six-time Grammy Award-winning singer, songwriter, performer, producer and New York Times Best Selling author Brandi Carlile, is out October 1. Ahead of the release, the album’s first single, “Right On Time,” featuring a music video directed by Courteney Cox launched on announcement
Inspired by the mining of her own history while writing this year’s #1 New York Times Best Selling memoir Broken Horses, In These Silent Days was conceived of while Carlile was quarantined at home with longtime collaborators and bandmates Tim and Phil Hanseroth. The ten songs chronicle acceptance, faith, loss and love and channel icons like David Bowie, Freddie Mercury, Elton John and Joni Mitchell—the latter two who, by some sort of cosmic alignment of the stars, have turned out to be close friends in addition to being her biggest heroes and inspirations.
In These Silent Days follows Carlile’s 2018 breakthrough GRAMMY Award-winning album, By The Way, I Forgive You, which Rolling Stone declared, “…an Adele-meets Joni Mitchell tour de force.” In the years since—in addition to collaborative projects with The Highwomen, Tanya Tucker, Soundgarden, Alicia Keys, Dolly Parton, Barry Gibb, Leslie Jordan, Brandy Clark and more—she has earned six Grammy Awards recognizing her work as a performer, songwriter and producer, was awarded Billboard’s Women In Music “Trailblazer Award,” CMT’s Next Women of Country “Impact Award” and received multiple recognitions from the Americana Music Association Honors & Awards including 2020’s Album of the Year (Highwomen), Group of the Year (The Highwomen) and Song of the Year (“Crowded Table”) and 2019’s Artist of the Year. Carlile was also once again nominated for Artist of the Year and Group of the Year (The Highwomen) at the 2021 ceremony.

Melbourne's finest Katie Drover and Just Jack join forces for a split ep on We R The Aliens 003.

The newest aliens deliver 6 sweltering cuts ranging from delicate minimal tapestries to wonky breakbeat floor fillers and even a dnb jammer for good measure. Lock in and stay hip to the sweeping terrestrial frequencies of the underground from down under.

During the production of two singles (This being the first) unfortunately William Stuckey passed away, below are some words from my partner in the project Brian Sears regarding our work with him pm his LP.

Brian Sears - I'm not one that likes to write but I wanted to say a few things about William Stuckey. William Stuckey passed away last in August 2021 at age 73, and is an artist that I've been working with since last summer. He was a key fixture in the Little Rock music scene and most notably was one of the driving forces behind the legendary True Soul label. Lee Anthony, the owner of True Soul Records, once told me that William Stuckey was the most talented musician he had ever worked with, and if you know anything about that label or Lee Anthony, that's quite a compliment.


When I reached out to William last summer about re-releasing his material, he ignored my calls and messages. Fortunately, I was able to reach his son, Erreyon who was kind enough to listen to me. I've worked a lot of terrible sales gigs in my past and "getting to the point" is sometimes a hard thing to achieve, especially when you're trying to talk about the music business and music that's 50 years old. But the point was simple, his music matters and deserved to be preserved. This resonated with William and Erreyon and they gave Euan Fryer and myself a chance.There was a memorable handoff of the master tapes in a parking lot and from that point forward I knew William Stuckey trusted me. Trust is something he had to do a lot in his life due to the fact that he was visually impaired and I'm thankful he trusted us. As I wrote before, there was a long process of transferring the tapes, but it was successful, and the album has never sounded so good. William had incredible hearing and was able to pick out details most might not detect. He was gifted and that shined through his own playing and voice through copious recordings. Speaking with him after he finally heard the newly remastered album, the way he had intended for it to sound, is something I'll never forget. Moments like that are really the reason why I feel so compelled to work with older musicians that didn't get a fair shake the first time.

Meeting William Stuckey face to face earlier this summer was one of the highlights of my year. We laughed and hung out at his place where he had lived for the past 50 years. I told him his music was internationally known and the re-release was well received. He was humble and felt like a long lost friend that I hadn't seen in a long time. I'll never forget that. I told him I wanted to take some photos, and I'm so glad I did.We had a good time and it was a beautiful summer night and as I left his place his neighbours noticed me walking to my car and wanted to chat, so we talked briefly and it ultimately lead to one of them getting into their car and cranking "The First Time" on the stereo system in their driveway. I wasn't sure if Stuckey could hear it from his house, but part of me knew he probably could and hearing his song echo in the background as I drove off and thinking about Stuckey and the time we shared and his music being appreciated by so many, even in that moment, is a wonderful memory. I'd like to think he was smiling.His music and legacy will live on forever.
Rest in peace to a great one.

o B05 Stormy Scream (Iori Yagami [Stormy Saxaphone 4])





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[o] B05 Stormy Scream (Iori Yagami [Stormy Saxaphone 4])





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Session Victim and Erobique join forces once again for a beautiful cover version of Mark- Almond's "The City", starring Jamie Lloyd's enticing vocals and featuring Linnart Ebel's subtle rhythm guitar. Ever since Hauke Freer stumbled over Mark- Almond's final studio album Other People's Rooms at Montreal record store Death Of Vinyl a few years ago, the pair would regularily finish DJ nights with this 1978 recording of their hit single "The City" - and since then, the idea of recording their own rendition had been tossed around frequently. Carsten "Erobique" Meyer was not the first but really the duo's only choice to see this through and well, just listen to the impeccable Rhodes/Clavinet combination he came up with. However, it is Sydney's Jamie Lloyd who steals the show and takes the song into his realm, putting his very own stamp and character on this certified classic. Long time collaborator Linnart Ebel complete's the band with his ever subtle rhythm guitar. The two, three, four, five man house, not house band branches out for all the right reasons and this is the result.

Midway through his long, earnest and often very, very
funny essay on the role playing game ‘Dungeons &
Dragons’ in the September 2006 issue of The Believer,
writer Paul La Farge proposes that ‘Dungeons & Dragons’
is not a game at all but rather a ritual. La Farge notes the
marked difference between game and ritual. Whereas a
game seeks to demonstrate how unequal or distinct
players / teams are from one another, rituals seek to do
the very opposite.
 And so, across the 25-year history of Jagjaguwar - an
independent record label curiously named using a
‘Dungeons & Dragons’ name generator - we find this idea
of ritual as a conjoining practice. We see it early on when
Jagjaguwar join forces with a midwestern label called
Secretly Canadian for a powerful fusion. We see it in
familial relationships and collaboration among Jagjaguwar
artists and the ways those artists’ most treasured
collaborators make their ways to the Jagjaguwar game
board.
 ‘Join The Ritual’, a piece of Jagjaguwar’s 25th Anniversary
celebrations, looks to pay homage to the labels and artists
that, whether they know it or not, invited Jagjaguwar to the
table, to this wild, dark magic ritual of music. We’re talking
about independent titans like Drag City, Too Pure, K
Records and Touch & Go. We’re talking about heroes like
R.E.M., Slint, Stereolab and Tracy Chapman. These songs
captured the imaginations of founders Darius Van Arman
and Chris Swanson - and ultimately, opened up worlds to
them.

On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project. One of the creative forces was APP long-time guitarist Ian Bairnson. The concept of the album revolves around the history of airborne exploration.

The theme of “Too Close to the Sun” is escaping the labyrinth of the Minotaur. “Brother Up In Heaven” is an emotionally driven song, about the unfortunate death of Ian Bairnson’s cousin. “One Day To Fly” is a song about Leonardo da Vinci’s search to design a flying machine.

A who’s-who of lead vocalists are featured on this album; Christopher Cross, Eric Stewart, Neil Lockwood, Steve Overland and Graham Dye. The amazing looking artwork was recreated for this vinyl edition by none other than Peter Curzon of Storm Studios. Although On Air might be the most underrated Alan Parsons albums, many consider this as one of his best albums. The package includes an insert with lyrics and pictures.

Black Country Communion the rock supergroup comprised of vocalist/bassist Glenn Hughes (Deep Purple Black Sabbath, Trapeze), drummer Jason Bonham (Led Zeppelin, Foreigner), Derek Sherinian (Dream Theater, Billy Idol, Alice Cooper) and blues rock guitarist Joe Bonamassa.

Their second album, simply called "2" was originally released by Mascot Records in Europe in 2011. Three Black Country Communion albums will be re-issued as part of the Black Country Communion Glow In The Dark Vinyl Series: On September 24, "Black Country Communion" and "2", and on October 22, 2021 their latest studio album "BCCIV".

Producer Kevin Shirley explains "On '2', you can hear the band own their music, own their sound, and it is an astonishing musical group unlike any other and they are absolutely the kings of their genre." He continues sstating, "I wanted to explore more of the Bonham sound and more importantly each member of the band gets a unique opportunity to shine, but the music always has the distinct sound that is BCC." Black Country Communion initially came to fruition when Kevin Shirley saw Glenn Hughes and Joe Bonamassa join forces on stage in Los Angeles in November 2009 for an explosive performance at Guitar Center’s King of the Blues event. Shirley then recruited powerhouse drummer Jason Bonham and keyboardist Derek Sherinian. The band is named after the industrial area in the British Midlands where both Hughes and Bonham were born and raised.

Black Country Communion the rock supergroup comprised of vocalist/bassist Glenn Hughes (Deep Purple Black Sabbath, Trapeze), drummer Jason Bonham (Led Zeppelin, Foreigner), Derek Sherinian (Dream Theater, Billy Idol, Alice Cooper) and blues rock guitarist Joe Bonamassa.

Their debut album “Black Country Communion” was originally released by Mascot Records in Europe in 2010. Three Black Country Communion albums will be re-issued as part of the Black Country Communion Glow In The Dark Vinyl Series: On September 24, "Black Country Communion" and "2", and on October 22, 2021 their latest studio album "BCCIV".

On "Black Country Communion" most songs are sung by Glenn Hughes, with the exception of 'Song Of Yesterday' and 'The Revolution In Me' which are both sung by Joe Bonamassa. Hughes and Bonamassa share lead vocals on the songs 'Sista Jane' and 'Too Late For The Sun'. Also included on the album is a new version of Medusa, the classic rock song that Hughes originally recorded with his first band Trapeze. Black Country Communion initially came to fruition when Kevin Shirley saw Glenn Hughes and Joe Bonamassa join forces on stage in Los Angeles in November 2009 for an explosive performance at Guitar Center’s King of the Blues event. Shirley then recruited powerhouse drummer Jason Bonham and keyboardist Derek Sherinian. The band is named after the industrial area in the British Midlands where both Hughes and Bonham were born and raised.

Effortlessly hopscotching between vintage acid and 80s Rn’B, insouciant Francophone pop and twinkling electro house, Lou Hayter has delivered something at once utterly unique and defiantly timeless with her much anticipated debut solo LP, released on Skint Records. It has been a long time coming for London native Hayter, who first made her mark professionally as keyboardist for New Young Pony Club, one of THE bands at the epicentre of the white hot day-glo nu rave scene alongside the likes of the Klaxons and Test Icicles in 2006. But, to fully place her debut album in context, it is necessary to rewind a little bit – to the very beginning in fact, with Hayter growing up on a diet of Bowie, Prince, Human League and Jellybean-era Madonna while concomitantly learning classical piano from the age of five. The flames of this deliciously varied musical palette were further stoked by trips to record shops in Soho with her brother (Soul Jazz was a particular obsession), but it was while studying in Cambridge that the match was well and truly struck – she used her student grant to buy a set of Technics and started putting on club nights, before moving to London and working at Trevor Jackson’s seminal Output Recordings, placing Hayter smack bang in the middle of all the action, with disco punk fever hitting full force and bands like the Rapture and LCD Soundsystem first breaking out.

The hugely successful, Mercury-nominated New Young Pony Club followed shortly after, but it’s through her subsequent output that she started to distil and refine her idiosyncratic tastes. And certainly, you can hear hints of both the New Sins, the 80’s New Wave duo she formed with Nick Phillips, and Tomorrow’s World, the swooning Gallic pop act she fronts alongside Air’s JB Dunckel, in her remarkable debut. Full to bursting with evocative electro-soul love letters to her home town of London alongside addictive disco torch ballads, it’s like Kylie meeting Mr Fingers or, Jam & Lewis producing Jane Birkin – something beautiful and melancholic yet sharply modern and new. From the warm, woozy, lysergic harmonies of opener “Cherry on Top”, which sound like a beloved old cassette unravelling, to the fizzy, infectious “Cold Feet”, which calls to mind Lisa Lisa & Cult Jam at their most heartworn, taken in toto the album perfectly nails the essence of gorgeously nostalgic synth-pop with a twist; crisp, stylish and sophisticated music which heralds the next chapter of Lou Hayter quite nicely, actually. Her retro-futuristic results will give 2021 the pop fix it so desperately needs.