Pop & Rock Vinyl New Releases - News

Recorded on
10th March 1980 (Tracks 1, 3, 8, 9, 10)
16th March 1980 (Tracks 1, 2)
1st April 1980 (Tracks 2, 4, 5, 7, 9)

Produced: B.C. Gilbert : G. Lewis

Engineer: Eric Radcliffe.
Asst. Engineer: John Fryer
Recorded at Blackwing Studio

B.C. Gilbert: Voices, Guitars, Bass, Percussion, Tapes, Drums
G. Lewis: Voices, Guitars, Bass, Percussion, Tapes, Synthesiser
A.M.C.: Voice: Cruel When Complete

Floating-point re-master by Russell Haswell, August 2011
Cut at Dubplates & Mastering by Rashad Becker, August 2011

New artwork and layout: Dave Coppenhall

With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of "using the studio as a compositional tool" and recorded and released three Dome albums on their own label in the space of 12 months: DOME (July 1980), DOME 2 (October 1980) and DOME 3 (October 1981). A final fourth album, WILL YOU SPEAK THIS WORD: DOME IV was released on the Norwegian Uniton label in May 1983.

These albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.

Previously issued in the out of print DOME 1-4+5 box set in 2011. Now available as standalone LP with download card.

'Bobbie Gentry's The Delta Sweete Revisited' is
Mercury Rev's committed and affectionate
resurrection of an album that anticipated by three
decades their own pivotal expedition through
transcendental America, 1998's 'Deserter's Songs'.
From their recording lair in New York's Catskill
Mountains, the founding core of Jonathan
Donahue and Grasshopper with Jesse Chandler
(previously in the Texas group Midlake) honour
Gentry's foresight and creative triumph with
spacious invention and hallucinatory flair.
Gentry's stories and original resolve are brought to
new vocal life and empowerment by a vocal cast
from across modern rock and its alternative paths:
among them, Mazzy Star's Hope Sandoval; Laetitia
Sadier, formerly of Stereolab; Marissa Nadler;
Margo Price, the fiery new country star with a
punk rock heart; and Norway's Susanne Sundfør,
who cuts through 'Tobacco Road' with arctic-Nico
poise. Phoebe Bridgers, whose first record was a
softly stunning 2015 single for Ryan Adams' PAX
AM label, hovers through the acid-western
suspense of Gentry's 'Jessye Lisabeth' with floating
calm, like a comforting angel.

Fifth album on Columbia Records from Kentucky (now UK based) indie/alt/rock six piece. A 13 track album available on vinyl and CD. Radio support for lead single "Ready To Let Go" across R1, Beats 1, 6Music, Radio X, Virgin, Absolute, ILR. Streaming support across all platforms. Ads, features, interviews and reviews across all press. Online/social media activity. UK tour dates in June. Poster campaign and database mailout.

Fémina channels blissed out, harmony-soaked soul music with a purpose. Lyrically poignant with hip hop and Latin influences, 'Perlas & Conchas' is the group's third album proper and unlike previous long players, is primarily an electronic statement, recorded and produced by British producer and musician Quantic - the first ever creation at his Selva Studios in New York - and features Iggy Pop.
 
Made up of Clara Miglioli and the two Trucco sisters, Sofia and Clara, the group's roots are in San Martín de los Andes in the Patagonian mountains, where they grew up together sharing a love of '90s hip-hop imported from the US - as well as the occasional Spanish-speaking rapper from Mexico or Spain. They took a musical side-step when Clara Trucco joined, and began drawing more from vocal harmonies and playing live instruments - a process that led them toward their unique style: a combination of soul, hip-hop and traditional Latin American music.
 The title 'Perlas & Conchas' translates to 'Pearls and Shells', a reference to the process through which a pearl is created: a speck of dirt, encased in a shell, turned into an object of wonder. They want to do the same thing with their music: to take dark, difficult situations and tun them into positivity.

By popular demand, Analog Africa is repressing a high quality LTD edition of 1000 copies of Rob's first legendary 'Funky Rob way' album - comes in a gatefold cover and a 60x30cm poster !

Rob "Roy" Raindorf, born on the 13th of May 1949 in Accra, is definitely one of the most enigmatic artists to come out of Ghana. He appeared from nowhere with a unique and twisted sound. An admirer of American artists Otis Reading, James Brown, Wilson Pickett and Ray Charles, Rob began his trade by learning the piano at a music school in Cotonou, Benin. One off pressing - tip!!

When his education ended, he ventured out to make what money he could by getting gigs with the movers and shakers of the Beninese music scene, namely Orchestre Poly-Rythmo as well as the Black Santiagos. Absorbing and learning the intricacies of music composition, Rob returned to Ghana where he began to write his own songs and eventually sought the backing of a band, specifically one which possessed horns.

In 1977, a young Rob travelled to the city of Takoradi in western Ghana to approach an army band named Mag-2 whom he had seen perform in Accra. Mag-2 had an entire section of its ensemble dedicated to horns and some of the sophisticated music equipment available in Ghana at the time - Hofner guitars, Yamaha keyboards and the like.

Belonging to the "magnificient" second battalion of the Takoradi-based army unit, original founder Amponsah Rockson decided to aptly name the band "Mag-2." Joining the army during the 1970s was often an easy decision, particularly for musicians, since the army provided not only good music equipment but basic services such as food and medical care.

Mag-2 was essentially filled with the best elements of "The Parrots," a highlife band in which Amponsah was the lead guitarist. Their primary task was to entertain soldiers and with the army tour bus, perform from town to town as well as in reputable venues in the captial. Enticed by the style of music Rob had proposed, Mag-2 backed the Ghanaian sensation on two of his most astonishing records - his first and second albums -"Funky Rob Way" and "Make it Fast, Make it Slow," both of which were recorded at Essiebons studios in Accra.

Despite Rob's training and musical education, Amponsah was responsible for the vast majority of the compositions, such as building the chord progression and arranging the horns that Rob craved. Rob would even wait for the Mag-2 maestro's cue to begin singing. Despite early successes, a once-unflinching interest in Afrobeat began to wane by the early 1980s and Disco Boogie rapidly became the vogue style around which label owners and music producers sought to capitalize upon. The style Rob had shaped his career around was in decline and an adequate income consequently became a major concern, forcing him to travel to Hamburg, Germany in search of a financial backer.

Formed in Los Angeles in 2013, Andy Frasco & the U.N. consists of Frasco (lead vocals, piano), Andee Avila (drums), Shawn Eckels (Guitar), Ernie Chang (Saxophone), and Chris Lorentz (Bass). Their sound has been described as 'rock fueled by reckless abandonment and a disregard for the rules.'

To date, Andy Frasco & the U.N. has released a number of studio albums including Half a Man (2014), and Happy Bastards (2016). Last year, they released their first live album (CD and DVD) entitled "Songs From The Road" which was recorded in August 2016 at the Tucher Blues and Jazz Festival in Bamberg, Germany.

Formed in Los Angeles in 2013, Andy Frasco & the U.N. consists of Frasco (lead vocals, piano), Andee Avila (drums), Shawn Eckels (Guitar), Ernie Chang (Saxophone), and Chris Lorentz (Bass). Their sound has been described as 'rock fueled by reckless abandonment and a disregard for the rules.'

To date, Andy Frasco & the U.N. has released a number of studio albums including Half a Man (2014), and Happy Bastards (2016). Last year, they released their first live album (CD and DVD) entitled "Songs From The Road" which was recorded in August 2016 at the Tucher Blues and Jazz Festival in Bamberg, Germany.

Du Blonde may sound like a band, but in fact it is, and always has been, the work of just one person. Beth Jeans Houghton.Her new album Lung Bread For Daddy delves even deeper into self sufficiency, seeing Beth take the reigns on production, instrumentation, album artwork and direction of music videos. This project is entirely her own. 'I know exactly what I want my record to sound like and apart from drums, I have the ability to play all the instruments, so I did' Houghton states.True to form, the first peak of the new album is the self directed video (Houghton has also made videos for Ezra Furman, Red Hot Chilli Peppers and LUMP) for lead single 'Buddy' which also stars a bathtub, 3 bottles of vegetable oil and 37 packets of spaghetti.

Du Blonde may sound like a band, but in fact it is, and always has been, the work of just one person. Beth Jeans Houghton.Her new album Lung Bread For Daddy delves even deeper into self sufficiency, seeing Beth take the reigns on production, instrumentation, album artwork and direction of music videos. This project is entirely her own. 'I know exactly what I want my record to sound like and apart from drums, I have the ability to play all the instruments, so I did' Houghton states.True to form, the first peak of the new album is the self directed video (Houghton has also made videos for Ezra Furman, Red Hot Chilli Peppers and LUMP) for lead single 'Buddy' which also stars a bathtub, 3 bottles of vegetable oil and 37 packets of spaghetti.

'...shouldn't have said I was special at all.'

Emilie Kahn was raised on the outskirts of Montreal. Her parents met in a parking lot.

As a musical act, Xeno & Oaklander (Sean McBride and Liz Wendelbo) conflate a rich love of analog synths, melody, and mythology with eloquent nuance and a nod to the heritage they draw from. While that construct is the duo's immediate kiss and crush, there's a deeper importance to their collaboration which began in 2004. As evidenced in their debut Vigils (2004), McBride and Wendelbo's artistic dynamic is more than just a mutual love for electronics but a contrast between architectural precision and painterly expression. From the film scores to the traditional albums they've recorded in their Brooklyn studio, they've both spurred and fostered the global synth wave revival through a commitment to analog-only production and performance as well as a strident respect for the medium.

On their latest album Hypnos and first for the Dais imprint, the duo leveraged the talents of visual artist and live sound engineer Egan Frantz to mix the album. It's a touch that adds both punch and balance, allowing their inherent conceptual voices to converge into a collage with defined edges and warm, synapses of frequency and beat.

'Musically, Hypnos is a return to polyphony after several years of using strictly monophonic synthesizers,' McBride says about the album's ethos. 'This has brought dense harmonies and a more complex counterpoint to the composition. Staying with the same equipment and processes without the inveterate compulsion to update and refashion allows for a clearly perceivable genealogy with our previous work.'

'I felt the desire to tell mythical stories, I also wanted my voice to sit strongly in the mix,' Wendelbo explains. 'I channeled the spirits of 60s French Pop chanteuse Françoise Hardy and 80s New Wave New York icon Tina Weymouth.' Her intentions are best evidenced on the tracks 'Angelique,'and 'Insomnia,' the former a spry track sung in French, against a springy rhythm. Laden with expanding and contrasting frequency and a penchant for strategic rhythm, Hypnos juxtaposes dance with distance, creating an immersive oeuvre that exudes contrast and control.









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As a musical act, Xeno & Oaklander (Sean McBride and Liz Wendelbo) conflate a rich love of analog synths, melody, and mythology with eloquent nuance and a nod to the heritage they draw from. While that construct is the duo's immediate kiss and crush, there's a deeper importance to their collaboration which began in 2004. As evidenced in their debut Vigils (2004), McBride and Wendelbo's artistic dynamic is more than just a mutual love for electronics but a contrast between architectural precision and painterly expression. From the film scores to the traditional albums they've recorded in their Brooklyn studio, they've both spurred and fostered the global synth wave revival through a commitment to analog-only production and performance as well as a strident respect for the medium.

On their latest album Hypnos and first for the Dais imprint, the duo leveraged the talents of visual artist and live sound engineer Egan Frantz to mix the album. It's a touch that adds both punch and balance, allowing their inherent conceptual voices to converge into a collage with defined edges and warm, synapses of frequency and beat.

'Musically, Hypnos is a return to polyphony after several years of using strictly monophonic synthesizers,' McBride says about the album's ethos. 'This has brought dense harmonies and a more complex counterpoint to the composition. Staying with the same equipment and processes without the inveterate compulsion to update and refashion allows for a clearly perceivable genealogy with our previous work.'

'I felt the desire to tell mythical stories, I also wanted my voice to sit strongly in the mix,' Wendelbo explains. 'I channeled the spirits of 60s French Pop chanteuse Françoise Hardy and 80s New Wave New York icon Tina Weymouth.' Her intentions are best evidenced on the tracks 'Angelique,'and 'Insomnia,' the former a spry track sung in French, against a springy rhythm. Laden with expanding and contrasting frequency and a penchant for strategic rhythm, Hypnos juxtaposes dance with distance, creating an immersive oeuvre that exudes contrast and control.

Wrapped in soul, blending poetry and polyrhythms, the music of Hiatus Kaiyote is in a lane all by itself. The Grammy-nominated four-piece band is set to return to stereos with their new album Choose Your Weapon.The 18-track, 70-minute odyssey from the Melbourne, Australia-based band takes listeners on a journey through the group's self-created ecosystem, populated with songs each embodying its own mini-cinematic sonic soundscape.

Wrapped in soul, blending poetry and polyrhythms, the music of Hiatus Kaiyote is in a lane all by itself. The Grammy-nominated four-piece band returns to stereos worldwide with their new album Choose Your Weapon.

The 18-track, 70-minute odyssey from the Melbourne, Australia-based band takes listeners on a journey through the group's self-created ecosystem, populated with songs each embodying its own mini-cinematic sonic soundscape. The album is the hotly anticipated follow-up to their celebrated 2013 debut album Tawk Tomahawk [MOVLP923]. Look for the band to tour across the globe in 2015.

Fans have already gotten a taste of what's to come on Choose Your Weapon by way of their December 2014 EP, By Fire, which featured three of the album's 18 tracks. ""By Fire" is a burial song," says frontwoman Nai Palm, about the personal track. "It discusses the creative and destructive forces of fire and uses this element as a reference point to express about my father passing away in a house fire."

Produced By Tim Green (the Former Guitarist Of Punk Iconoclasts
Nation Of Ulysses, Who Has Worked With Sleater-kinney, Bikini Kill,
Joanna Newsom And Jawbreaker, Among Others), 'post Earth' Is A
Call To Arms, Interspersed With Frustration And Hope.
'it Wasn't Intentional To Write A Politically Charged Record,' Says
Bassist Amy Allen, Who Constitutes Feels With Laena Geronimo
(guitar/vocals), Shannon Lay (guitar/vocals) And Michael Perry
Rudes (drums). 'but The Way The World Is Functioning Right Now
Made It Impossible To Write About Anything Else. We All Need To
Figure It Out; We're Running Out Of Time. The Golden Age Is Over.'
Maybe Feels Did Not Start Their Second Album With A Conceptual
Agenda But They Definitely Intended To Speak Out: 'if You Have Any
Kind Of Platform, You Should Use It For Good,' Lay States. Geronimo
Continues, 'if Our Wildest Dreams Came True, The Album Would
Sound Exciting To People While Also Inspiring Awareness And Action
Against Hate, Prejudice, Greed, The Destruction Of Our
Environment... Apathy's Not Cool And Toppling Oppression Could Be
Fun If We Do It Together!'
With A Steadfast Proportion Of Heavy And Light, Post Earth Never
Completely Wallows In Despair: Disillusionment Is Met With A Heady
Helping Of Defiance; Hard Work Battles Against Apathy; And There
Are Even References To The Simpsons, Courtesy Of Superfan Lay.
Feels Also Strike A Perfect Balance Musically Between Noise And
Energy, Breath And Space With A Mix Of Angular, Interweaving
Guitars, Lush Vocal Harmonies, Heavy Bass And Pummeling Drums -
At Times Hearty And Loud And At Others Stunningly Harmonic And
Calm. These Newly Emphasized Dynamics Highlight The Subtler,
Weirder, And Sonically Interesting Elements Of 'post Earth' And
Allowed The Four Friends (who Have Played Intermittently In Bands
Together Since High School) Room For Experimentation.
Lp Includes Digital Download Code.

James Yorkston releases his new album 'The Route To The
Harmonium'. The album was almost entirely recorded by James
himself, in the small Scottish fishing village of Cellardyke, where
he lives. Yorkston's studio is a ramshackle old loft space,
originally used to repair fisherman's nets and now stuffed full
with the antique instruments James has collected throughout
his life as a musician.
Having created hours of recordings, James called up his old
collaborator David Wrench - the mixer and producer who has
worked with the likes of Caribou, Four Tet, Frank Ocean, FKA
Twigs and David Byrne - to help make sense of the sessions.
'The Route To The Harmonium' (or, 'the search for peace') is
the sound of home, of undisturbed craftmanship. Listen closely
and you can imagine him putting it together.
Friends and family past and present swim all over his songs.
Remembering them - and those you've shared life with - is the
strongest thread running through these affecting, extraordinary
songs. 'When a friend jumps ship it's always a haymaker to the
gut, you know And this album is about them, but it's more
about us, us who are left behind...' he says.
CD in mini gatefold jacket with booklet.
LP pressed on heavyweight black vinyl with digital download
card.
'Masterful understatement. Delicate, inventive and deeply,
deeply touching' - Mojo (4*)

The second full-length album from Julia Jacklin, 'Crushing',
embodies every possible meaning of its title. It's an album formed
from sheer intensity of feeling, an in-the-moment narrative of
heartbreak and infatuation. And with her storytelling centred on
bodies and crossed boundaries and smothering closeness,
'Crushing' reveals how our physical experience of the world shapes
and sometimes distorts our inner lives.
The follow-up to her critically acclaimed 2016 debut 'Don't Let The
Kids Win', 'Crushing' finds Jacklin continually acknowledging what's
expected of her, then gracefully rejecting those expectations. As a
result, the album invites self-examination and a possible shift in
the listener's way of getting around the world - an effect that has
everything to do with Jacklin's openness about her own
experience.
Produced by Burke Reid (Courtney Barnett, Liam Finn) and
recorded at The Grove Studios, 'Crushing' sets Jacklin's
understated defiance against a raw yet luminous sonic backdrop.
'In all the songs, you can hear every sound from every
instrument; you can hear my throat and hear me breathing,' she
says. 'It was really important to me that you can hear everything
for the whole record, without any studio tricks getting in the way.'
Whilst a moving and complex listen, 'Crushing' unfolds with an
ease that echoes Jacklin's newfound self-reliance as an artist.
'With the first album I was so nervous and didn't quite see myself
as a musician yet, but after touring for two years, I've come to
feel like I deserve to be in that space,' she says.
Throughout 'Crushing' that sense of confidence manifests in one of
the most essential elements of the album: the captivating strength
of Jacklin's lyrics. Not only proof of her ingenuity and artistic
generosity, Jacklin's uncompromising specificity and infinitely
unpredictable turns of phrase ultimately spring from a certain self
possession in the songwriting process.
LP pressed on green vinyl with digital download code included.

Japanese producer The Future Eve - known for his minimalist, synthesised pieces under the moniker Tomo Akikawabaya such as The Castle (1984), reissued alongside other works on New York's Minimal Wave Records as The Invitation of The Dead in 2015 - has announced a landmark collaboration spanning continents and planes of existence. Going under the new name of The Future Eve, he has worked together with the legendary Robert Wyatt to create an electronic journey of sound.

'02.03' is a prototype of 'Tom Hay's Fox' on Robert Wyatt's 2003 album Cuckooland.
the album mastered by Taylor Dupree (12K).
the limited double vinyl edition has printed artwork on insert and innersleeve,
outer sleeve with gloss UV varnish include download code.
also including '02.02' for vinyl only track.

Pom Poko are Ragnhild (lead vocals), Ola (Drums), Jonas
(Bass) and Martin (Guitar). The four met whilst all
studying at the Trondheim Music Conservatory in Norway
and quickly garnered interest from a wider audience as
they began playing and writing together.
The group cite a range of influences for their unique
sound, including '(West)-African music like Oumou
Sangaré and Ali Farka Touré; indie bands like Vulfpeck,
Palm and KNOWER; noisy high-energy bands such as Hella
and Death Grips; and music with interesting lyrics such as
Jenny Hval and Nick Drake.' One would struggle to pin
them down to one or two forebears however, given their
resistance to anything resembling a prescriptive approach.
Speaking about the origin of their name, which taken from
one of the more vigorously outré films by Japanese
animation visionaries Studio Ghibli, the band explain, 'The
Pom Poko film captures a lot of what we'd like our
concerts to be: high energy, fast pace, lots of stimulus for
eyes and ears - and most importantly, really crazy and fun.
The movie is basically the time of your life for two hours,
and afterwards you're in some state of exhausted ecstasy.
Plus the raccoons in the movie, and raccoons in general,
are really badass.'
Between the quartet's sweetly punky melodies and disco
fried art-rock eruptions, a spirit of free-firing, balls-out
individuality courses through this exhilarating debut.
LP includes digital download code.

Rock Action announce the first release on the label
by Rev Magnetic.
Combining elements of dream pop, R&B, shoegaze
and post rock, Rev Magnetic revolves around the
core of musician and author Luke Sutherland, a
long-time Mogwai collaborator on stage and on
record.
'Gloaming', with its celestial tale of disappearing
love, provides a snapshot of the band's
forthcoming debut album which, with a cosmos of
transformative sound references ranging from My
Bloody Valentine to Teebs, Lemmy-era Hawkwind
to ABBA and Vaughan Williams to Stravinsky, is
due for release later in the year.

'South Of Reality', The Claypool Lennon Delirium's
epic sophomore album, might be just the antidote
this sick world needs.
Music so potent it could repel an asteroid impact
from space, these seasoned warriors of
psychedelia have crafted timeless songs that may
as well be chiselled in stone.
The monolithic dream team's new record was
produced by Les Claypool and Sean Lennon
themselves and engineered and mixed by Les
Claypool at his own Rancho Relaxo studio in
Sonoma County, California.
Grab your goggles and a month's supply of Kool
Aid because The Claypool Lennon Delirium are
about to take you for a ride on a rock 'n' roll rocket
ship and frankly you may never come back.

'What The World Needs Now...', originally released September 4th 2015, was the 10th studio album from legends Public Image Ltd (PiL). - now re-issued on blue vinyl.

Within the opening bars of SWMRS second LP comes a sea change. You think you're in familiar rock territory with the Oakland-formed quartet when suddenly an electronic beat kicks in that throws you for a loop. The same thing happens throughout the ten tracks that make up Berkeley's On Fire - the band's most urgent, electrifying and groundbreaking record to date. 'We started having conversations about how to make something brand new within the genre of rock,' says co-frontman and songwriter Cole Becker. 'That's what we talked about every single day.' One of rock music's biggest challenges is overcoming the understanding that it's a genre heavily indebted to its own sense of history. 'Berkeley's On Fire' is the bands first album through Fueled By Ramen after their self-funded and self-released debut.

Cole, alongside bandmates Max Becker (guitar, vocals), Joey Armstrong (drums) and Seb Mueller (bass), found that in fragmenting and deconstructing that history, there is new territory to be won and something brand new to be carved. 'We have such a deep love for rock music,' says Max. When the Becker brothers were growing up and first heard the Ramones and The Clash they heard authenticity and rawness. 'It had so much potential to change the way people think and feel.' Over the past decade, rock has become a dirty word for a variety of reasons, conjuring images of out of touch, unoriginal nostalgia. SWMRS want to reclaim the word, make it cool again.

"On The Corner Where You Live" is the latest album from Australian band The Paper Kites, a follow up to "On The Train Ride Home" which was released earlier this year. Produced by Peter Katis (The National, Interpol, Middle Kids) the album builds upon the romantic, dusky mood the band perfected on twelvefour (No. 1 debut on the ARIA chart) and includes standout tracks 'When It Hurts You" and "Deep Burn Blue".

Unknown Instructors are an all-star outfit featuring the former rhythm section of Minutemen and Firehose, bassist Mike Watt and drummer George Hurley, with poet Dan McGuire. Dinosaur Junior guitarist J Mascis was recruited for their fourth effort, Unwilling To Explain. The album is the group's first recording which was not entirely improvised. They seamlessly blend flavors of jazz, punk rock, spoken word, noise, and art rock for a truly unique listening experience. Unwilling To Explain was mastered by Dave Gardner at Infrasonic Mastering.

Swedish punk quartet Millencolin return with their new album, SOS. It's clear the band members are just as unified as they were when they formed Millencolin, roughly 26 years, eight albums and 2,000 live shows ago. 'We're a band truly formed from respect and understanding for each other and our passion for rock music,' explains vocalist/bassist Nikola Sarcevic. 'If you ask us, this is the best job in the world!'

Swedish Punk Quartet Millencolin Return With Their New Album, Sos. It's Clear The Band Members Are Just As Unified As They Were When They Formed Millencolin, Roughly 26 Years, Eight Albums And 2,000 Live Shows Ago. 'we're A Band Truly Formed From Respect And Understanding For Each Other And Our Passion For Rock Music,' Explains Vocalist/bassist Nikola Sarcevic. 'if You Ask Us, This Is The Best Job In The World!'

Float Proudly Welcomes Their Second Artist Into The Fold. Uk
Electronic Artist And Szun Waves Band Member Luke Abbott, Presents
A Special 10-track Album To Celebrate Piano Day 2019 - An
International Event Series Initiated By Nils Frahm Which Acts As A Platform For Piano-related Projects. it's A Very Self-contained Body Of Work, I Haven't Ever Made Music With This Kind Of Sound Pallet Before - Luke Abbott 'music From The Edge Of An Island' Sees Abbott Divert From His Typically Experimental Electronic Style To Explore A More Compositional Approach Centred Around Vst Instruments. Rather Than The Usual Themes Of Synthesis And Improvisation, The Album Is Lead By Piano Motifs, Structured Around Emotive Melodies And Sparkling Arrangements. The Record Began As A Part Of A Soundtrack Commission By Producer / Actor Jessica Hynes For Her Film 'the Fight' And Ultimately Became A Fully-realised Album. The Film Script Had A Coastal Setting That Created The Record's Thematic Idea: i Had This Idea About Being On The Edge Of England, Almost Ready To Fall Off A Cliff Into The Sea But Keeping Your Balance On The Edge.
The Idea Of Writing For The Piano Had Been Ruminating For Some Months As Abbott Found Himself Spending An Increasing Amount Of Time Playing On The Instrument. Without A Piano Of His Own Though, He Found A Strangely Enchanting Way To Fulfil His Creative Impulse. i Used To Have An Upright Piano, But I'd Given It Away When I Last Moved House, So I Ended Up Using A Piano Vst In The Computer, Which I Actually Really Enjoyed. Writing The Music Became A Bit Of A Weird Fantasy Process, I Was In An Odd Headspace
For A Few Days. The Writing Process Was Remarkably Quick, Resulting In Simple Yet Inspired Pieces That Subtly Blur The Lines Between Midi Computer Music And Live Performance. 'music From The Edge Of An Island' Can Be Seen As A Collection Of Gentle Reveries That Sway Between The Twilight Hours, Marked By Moments Of Soft, Contemplative Ballads And More Active And Expansive Motions. Opening Track 'sea' Begins With A Mysterious Piano Waltz Before Unnerving Synth Drones Take Over. 'island Continues With Piano Triplet Figures Plus Added Orchestration Of Cello Strokes And Airy Glass Pads, efore Heading Into The Melancholic 'tree', Bringing In More Strings And dded Pathos Heard In The Restless Piano Motif. Quieter Passages Are ontrasted With The Gamelan-esque 'moments' And The Uplifting 'on Rope', hilst More Lyrical Moments On The Album Can Be Found In Tracks Such As 'adjustment' And Closing Track 'a Different Tree'. 'music From The Edge Of An Island' Will Be Released On Piano Day, March 29th On Lp, Ltd Edition Lp And Digital Via Float. Every Record Will Contain A 'how To Take Care Of Your Piano Guide' Which Has Been Specially Commissioned For The Release. The Guide Is Informative As Well As Lighthearted And Follows The 'how To Take Care Of Your Vinyl Guide', That Accompanied Float's First Record Release. Luke Abbott Will Also Perform With Jack Wyllie On Float's Piano Day Event Alongside A Lineup That Includes Reeps One And Float Artist Andrea Belfi At The Town Hall Hotel In Bethnal Green.

Pete 'Bassman' Bain, one of the founding members of the UK cult psych rock band Spacemen 3, formed Alpha Stone after Spacemen 3 and his other band The Darkside split up in the mid-nineties. In 1996 the band recorded the album 'Stereophonic Pop Art Music' and it was released on Bomp! Records on Compact Disc. The album hasn't had a 'proper' vinyl release until now, 2018, when Hoga Nord Rekords continues their collaboration with Pete Bassman by releasing the album.

You can clearly hear that Pete Bassman was the driving force behind Alpha Stone; fuzz, synthesiser -sweeps, programmed drums and processed vocals are the cornerstones in Alpha Stone's sound. Raga-like mantras, heard in Farmer C, lies track to track with more percussion driven grooves and psychedelic pop oriented songs. The album's sound has obviously survived the 20+ years shelved in obscurity and proves the 'Drugby' sound still vital!

It's always hard to sum up a bands particular sound in a few words, but you could say that if you put guitar and bass, synthesisers, a drum machine, and Julian Copes record collection in the hands of an alien, you've got Alpha Stone!

Anathema's phenomenal live album with the Plovdiv Philharmonic Orchestra reissued on vinyl.

'A band that have mastered the art of aural seduction'- Metal Hammer

In May 2012 Anathema released 'Weather Systems', which became the most acclaimed and successful album of the band's celebrated career. The album

scored high in numerous critics end of year polls around the world and cemented the band's reputation as one of the most exciting and progressive

band around. Following the release of the album the band embarked on a lengthy tour. The European leg opened with a triumphant one-off show at the ancient Roman

theatre of Philippopolis with the Plovdiv Philharmonic Orchestra in September 2012. This incredible show was recorded, and the results were later released in

2013 on Kscope as 'Untouchable'. It is now reissued on double vinyl in a wide spine sleeve. The release of 'Untouchable' follows an extensive worldwide headline tour,

including performances at Download Festival, ArcTanGent and Wembley Arena with Opeth in support of their 2017 studio album 'The Optimist'. The release

won the Album of the Year at the Progressive Music Awards '17, reached the top 10 in the Polish charts, top 20 in Germany, top 40 in the UK, and has 6

million track streams on Spotify. This built on the success of their previous Kscope material, which also won at the Progressive Music Awards, including

Album of the Year, Live Event of the Year & Multimedia Package of the Year for 2010's 'We're Here Because We're Here', 2012's 'Weather Systems' and 2013's 'Universal'.

'A beautiful bit of live magic' - Kerrang

'Sumptuous live recording of a band at their zenith' - Prog

Elena Setién is an artist defined by her vivid songwriting and
nuanced compositions. Her music exudes the bold individualism
and sense of empathy associated with her homeland of Spain's
Basque region. Setién is a skilled multi-instrumentalist and
performed nearly every part on the record save for a few select
guitar parts by Steve Gunn. While Elena's recordings are
decidedly pop, she has considerable experience as an
improviser. 'Another Kind Of Revolution', Elena Setién's Thrill
Jockey debut, is a work of entrancing, effortless beauty.
Setién grew up during a period of political upheaval in Spain, in
the Basque region. The turmoil of the post-dictatorship period
of the 1980s and the intensive civic actions left her with a
sense of duty to fight for progress. Her lyrics throughout
'Another Kind Of Revolution' describe the beauty of everyday
life and nature and promote the forces of change, not as a
burden but as the very source of hope to draw from.
'Another Kind Of Revolution' tells its stories through an
expansive sonic palette. Pianos and Wurlitzer take on various
timbres for each song, trickling in and out of the foreground
with Setién's distinguished voice gently gliding overtop. Careful
attention to specific recording techniques and allowing for the
slight imperfections in the instruments and amplifiers, bring a
depth to the recordings that is both direct and organic. Elena
Setién's work is elemental and bold. Her music bends simple,
familiar sounds and compositional forms into thoroughly unique
songs. With 'Another Kind Of Revolution', Elena Setién
continues to defy convention with songs as gorgeous as they
are auspicious.
CD in 4 panel mini-LP style gatefold package.
LP pressed on virgin vinyl with an inner sleeve and free
download card. Also available pressed on red coloured vinyl.

Elena Setién is an artist defined by her vivid songwriting and
nuanced compositions. Her music exudes the bold individualism
and sense of empathy associated with her homeland of Spain's
Basque region. Setién is a skilled multi-instrumentalist and
performed nearly every part on the record save for a few select
guitar parts by Steve Gunn. While Elena's recordings are
decidedly pop, she has considerable experience as an
improviser. 'Another Kind Of Revolution', Elena Setién's Thrill
Jockey debut, is a work of entrancing, effortless beauty.
Setién grew up during a period of political upheaval in Spain, in
the Basque region. The turmoil of the post-dictatorship period
of the 1980s and the intensive civic actions left her with a
sense of duty to fight for progress. Her lyrics throughout
'Another Kind Of Revolution' describe the beauty of everyday
life and nature and promote the forces of change, not as a
burden but as the very source of hope to draw from.
'Another Kind Of Revolution' tells its stories through an
expansive sonic palette. Pianos and Wurlitzer take on various
timbres for each song, trickling in and out of the foreground
with Setién's distinguished voice gently gliding overtop. Careful
attention to specific recording techniques and allowing for the
slight imperfections in the instruments and amplifiers, bring a
depth to the recordings that is both direct and organic. Elena
Setién's work is elemental and bold. Her music bends simple,
familiar sounds and compositional forms into thoroughly unique
songs. With 'Another Kind Of Revolution', Elena Setién
continues to defy convention with songs as gorgeous as they
are auspicious.
CD in 4 panel mini-LP style gatefold package.
LP pressed on virgin vinyl with an inner sleeve and free
download card. Also available pressed on red coloured vinyl.

The last single to be taken from 'from when i wake
the want is', Kathryn's second album, released last
Summer, features an exclusive new track on the B
side.
Kathryn's album has been chosen as one of the
best albums of 2018 from publications including
Uncut and The Skinny as well as author Ian Rankin
and Vic Galloway's top albums on BBC Radio
Scotland.

Sometime in 2016, just as the Polish singer and producer Tobiasz Bilinski
began to find success through the dim and fractured electropop of Coldair,
he knew it was time for a radical change. The songs on 'The Provider',
Coldair's much-lauded second album, had been an exorcism of sorts. Laced
with songs about early death, chronic disappointment and clouded minds,
the record was, as he puts it now, his earnest attempt to 'get all this old
shit out.' That mission accomplished, he needed something new, a restart -
the unabashedly radiant and unapologetically complex pop of Perfect Son,
delivered in 10 perfect shots on Bilinski's Sub Pop debut, 'Cast'.
In the past, Bilinski's music has flirted with and explored the darkness, first
in a sort of Transatlantic freak-folk and then with the gothic refractions of
Coldair. However, on 'Cast', Perfect Son steps boldly into the light without
sloughing off emotional weight or depth. With powerful, sweeping
production that recalls the best pop beats of Matthew Dear and arcing
melodies that conjure the majesty of Shearwater, Perfect Son animates
sensations of lust, belonging and newfound trust with tumescent electronic
arrangements that threaten the safety of any sound system.
Bilinski sings about falls throughout Cast but also about picking yourself
back up, about pressing on despite or perhaps because of the bruises. In
the process, he is lifted by music that feels unabashedly motivational, built
to remind us that the best times are hopefully to come.
Perfect Son, it should be said, is Sub Pop's first Polish artist, the result of an
extended interest in Bilinski's work and the country itself from label co
founder Jonathan Poneman. Several years ago, Bilinski applied to play at
South By Southwest as Coldair. Poneman saw his performance and was
impressed. The two stayed in touch, with Poneman eventually signing
Coldair to a publishing deal. 'I bugged him about releasing my stuff
constantly,' Bilinski admits with a laugh. 'And I guess he admired my
persistence.' When 'Cast' was finally finished, Poneman didn't need more
convincing. These songs, after all, are magnetic, with the searching
harmonies and deep drums of 'Promises' and the rhythmic intricacy and
serial synths of 'Wax' pulling you close on first listen and holding you there
for the foreseeable future.
These songs and this story are about the power of human perseverance and
deliberate reinvention, of knowing that you can confront and come to terms
with the darkest angels of your being. Cast is a testament to the possibilities
of the future, brilliantly disguised as 10 grandiose and undeniable pop
anthems.

'Skylight' is the follow up to 2016's widely-acclaimed
breakthrough album, 'Cardinal'.
The 2CD and 2LP formats come with an entire bonus
album, 'Skylight II' (the album performed acoustically).
In 2017, Pinegrove moved into a rural farmhouse in
upstate New York to make their new album 'Skylight',
living, working and recording together. This DIY ethos
solidifies Pinegrove's position at the epicentre of a creative
community, where they've adopted a 'friends first' policy
when cycling through the band's touring iteration.
'Skylight' is 'an album about happiness, figuring out how
to be optimistic and realistic. To be effectively optimistic,
you have to establish relationships with darkness and
disappointment. The position of optimism is earned.'
Frontman Evan Stephens Hall's 'classic American
melodies' and emotionally direct lyrics blend seamlessly
with alt-country instrumentation and experimental rhythms
of drummer Zack Levine.
The band are confident in their idiosyncrasy, dropping pop
structures when they no longer fit. The songs swing
between wider extremes - whisper to full-belt and back
again, treading mid-air - and Pinegrove more exactly, more
full-throatedly say what they've been trying to say.
'Divine moments... each slight note has a defined voice' -
Pitchfork
'Explodes just as far as you can see the universe' - NPR
'Wrapped up in a shimmering, light country twang... raw,
honest and velvety' - NME
2CD in gatefold die-cut. Coloured double vinyl LP in
gatefold die-cut. Cassette.

From four individual parts, with distinct musical pasts but also
overlapping histories, a new unified chapter begins with Piroshka and
the quartet's thrilling debut album 'Brickbat'.
The album is named after the word for a missile, which nails the
record's heavyweight lyrics if not the music's gorgeous, bittersweet
and euphoric pop. Think of 'Brickbat' as a wolf in sheep's clothing -
which suits the name Piroshka, the Hungarian take on the wolf
terrorised fairytale hero Little Red Riding Hood - a subtle nod, too, to
a certain red hairdo that stood out in the 1990s Brit-guitar-pop
scene...
The four band members are former Lush vocalist / guitarist (and
former redhead) Miki Berenyi, former Moose guitarist KJ 'Moose'
McKillop, Modern English bassist Mick Conroy and former Elastica
drummer Justin Welch. The connections between them are a
veritably tangled family tree. Before they lived together and raised a
family, Miki and Moose were notable figures on the so-called
shoegaze scene, while Elastica were Britpop peers. After post-punk
pioneers Modern English split for a second time, Mick became a
latterday member of Moose, while Justin joined the reformed Lush in
2015. And when Lush required a bassist for what proved to be their
final show (in Manchester) in November 2016, Mick stepped in.
It was the rehearsals for that Manchester show that laid the
foundations for Piroshka. 'We sounded great!' says Justin. 'Like a
proper punk band. Mick brings a huge amount of enthusiasm and
livens up the room, and I thought, this is the kind of band I want to
be in again.' Mick agreed. 'I'd seen Lush so many times, it was like
playing with old friends. Miki agreed it was good fun too. And with
Moose available, we thought, let's all have a bash, see what
happens.'
Though 'Brickbat' kicks off with a squeal of feedback, the album is far
from a proper punk record, with as much sublime delicacy as physical
force, with guitars to the fore but also electronic flourishes in all
manner of spaces. Combined, they drive the nuggety melodic bombs
long associated with Miki's songwriting
LP format includes digital download code.

London dance band Stats announce the release of their debut
album 'Other People's Lives', released through Memphis
Industries.
Recorded at London's prestigious RAK Studios, band founder
and front man Ed Seed and his full live band spent time
tracking the live jams that would form the bones of this newest
single and the rest of Other People's Lives.
Ricocheting between 1970s art rock, 80s synth grooves and
cosmic disco-pop, the band have already gained plaudits from
Lauren Laverne at BBC Radio 6 Music, Elton John at Beats 1
and high praise from The Guardian, The Sunday Times, i-D,
DIY Mag and Q, to name but a few early supporters.
The aim at RAK was to ditch structure and embrace
spontaneity. 'This way you can capture the moment of
inspiration,' Seed says. 'The special energy of six people losing
themselves in what they're doing, and somehow synchronising
into something none of them could have planned.'
The sessions produced funk-tinged pieces of electronic-pop that
now accompany Ed Seed's compelling storytelling of humanity,
domesticity, routine, love, loss and new fatherhood. Other
People's Lives investigates the gaps in the stories we tell about
our lives. Seed explains: 'This album is about recognising that
my life story is full of holes. The world encourages me to
experience my life as a narrative: a story in which I am the lead
character, going on a journey, moving towards the discovery
and realisation of an authentic self. Other people's lives are
presented to me as coherent, relatable stories, full of passion
and travel and wonder.'
Stats are a refreshing, modern band with a debut album that
captures the now, the fleeting, the fickle and the forgotten -
like that perfect moment lost on the dancefloor - yet it presents
it in a musical way that avoids being trapped to a time and
place.
LP format includes digital download code.

This remastered edition of 'Someone Here is Missing' is released on 180g heavyweight vinyl in single packaging complete with printed inner bags.

'Elements of Rush, Muse and Porcupine Tree meld in a blast of how prog should sound in 2010' Classic Rock

The Pineapple Thief reissue their 2010 album, 'Someone Here is Missing', newly remastered by Steve Kitch at Audiomaster, following their recent success with

two studio albums featuring King Crimson drummer Gavin Harrison. August 2018's 'Dissolution' saw the band reach #1 in the UK Rock & Metal chart, #36

in the UK album chart, #22 in Germany, #4 in Platomania Netherlands and #14 in Finland's physical chart, and took them on two headline European tours

including their biggest ever booking at London's Shepherd's Bush Empire. 'Someone here is Missing' marked a significant step forward for the band,

as frontman Bruce Soord honed and perfected his songwriting and which he describes as 'a record of dark edges, full of love and regret.' The artwork was

designed by the legendary Storm Thorgerson, famous for creating some of the most recognisable artwork of the last 30 years, including albums by Pink Floyd

(Dark Side Of The Moon, Division Bell), Muse, Led Zeppelin and many more. #3 Classic Rock Prog Albums of 2010 & #3 Critic's Choice

'The Bends-era Radiohead... with Porcupine Tree's love of sinister sci-fi soundscapes... gives Matt Bellamy a run for his money' - Guitarist

'Unmistakably progressive, but not - a much needed modern slant on a classic genre... nothing short of phenomenal' - Fireworks

adjective: outer, outside; external. 'the outer layer of the brain can bruise easily'
synonyms: outside, outermost, outward, exterior, external, surface 'the outer layer' further from the center or inside.
synonyms: outlying, distant, remote, faraway, furthest, peripheral; suburban 'outer areas of the city enduce less anxiety for some'
antonyms: innerobjective or physical; not subjective.
peace pe¯s
noun
1. freedom from disturbance; quiet and tranquility. 'music can be a protest of peace'
synonyms: tranquility, calm, restfulness, peace and quiet, peacefulness, quiet, quietness; More
2. freedom from or the cessation of war or violence. 'my only time of peace is in my car before work'
synonyms: law and order, lawfulness, order, peacefulness, peaceableness, harmony, nonviolence; formal concord 'searching for peace is hard when technol- ogy does that for you'
exclamation
1. used as a greeting.
2. used as an order to remain silent. 'Nice meeting you. Peace :) -Chaz'

The lives we lead can feel like a simulation as the line between our reality and augmented futures continues to blur. Following the ever-emotive Boo Boo, Toro Y Moi's new album Outer Peace is a time capsule that captures our relationship to contemporary culture into one comprehensive, sonic package.
Shortly after the release of his 2015 record What For, Toro Y Moi (also known as Chaz Bear) packed up his belongings, leaving the comfort of his Oakland base for the relative solitude of Portland to write Boo Boo. Apart from the familiarity of his surroundings, Bear focused on what would become his next sonic statement. In doing so, he was struck by the reign that technology holds over our day to day lives and its ability to obscure the consumption of creativity. His change of envi- ronment resulted in freedom from disturbances and, in those quiet and tranquil spaces, the creation of music acted as a protest in favor of peace.
Having now moved back to Oakland, Bear's new record Outer Peace is a response to the lessons gleaned while making Boo Boo — a response to the expendable state of art that is a product of instant grati cation. Bear's ingenuity reveals a multifaceted expression of his universe on this record. It's the space be- tween the accessible and unconventional where he invites us to experience Outer Peace, which is rooted in nding peace in antithetical conditions: being stuck in traf c, hustling for your next check as a freelancer and all other chaotic moments in life that require digging beneath the surface to nd solace.
As both a producer and designer, Bear utilizes abstract sound pairings with recognizable samples for his most pop in uenced record to date. This is no de- parture from his funk and disco roots, which can be heard on 'Ordinary Pleasure', later fusing into variations of house with tracks like 'Freelance' and 'Laws of the Universe.' Smooth interludes melt into fast paced beats, paralleling the feeling
of driving through the Bay Area, where Bear spent most of his time writing the album.
Outer Peace is duality. It embodies whatever form you choose to inhabit in the moment. Listen and let your imagination become the universe.
OUTER PEACE
Vinyl includes free digital download

Yann Tiersen announces details of a brand new album, 'ALL'. 'ALL' is
the first album to be recorded at Tiersen's new studio, venue and
community centre, The Eskal, built in an abandoned discotheque on
Ushant, a small island positioned in the Celtic sea between Brittany
and Cornwall, Tiersen's home for the past 15 years.
The album, mixed and produced by Tiersen and Gareth Jones,
continues the themes of environment and a connection to nature
explored across many of his albums but especially on 2016's 'EUSA'.
Incorporating field recordings from Brittany as well as from a forest
of redwood trees in Devon (on 'Koad', recorded at Schumacher
College, part of the Dartington Hall Trust) and at the
decommissioned Tempelhof airport in Berlin ('Tempelhof').
For 'Usal Road' Tiersen returned to a particularly significant spot in
California (Usal Road, situated on the Lost Coast) to record violin.
This place holds symbolic meaning to Tiersen after he was chased by
a mountain lion there in 2014, an event which triggered a renewed
and deeper connection to nature and specifically our humble place
within it.
Predominately sung in Breton, the album features several guest
vocalists: Anna von Hausswolff ('Koad'), Ólavur Jákupsson ('Erc'h')
and Breton singer-songwriters Denez Prigent('Gwennilied'), Emilie
Tiersen and Gaëlle Kerrien.
Yann Tiersen's last album release, 'EUSA', was preceded by two sold
out dates at the Barbican in London and Yann Tiersen has continued
to perform in some of the world's most prestigious venues and
festivals, including the Edinburgh International Festival, the Berlin
Philharmonic, Officine Grandi Riparazioni in Turin, Teatro Principal in
Zaragoza, Odeon of Herodes Atticus in Athens, Sydney Opera House
and the Grand Hall of the Philharmonia in St Petersburg. His
upcoming London dates will see him return to the UK for the first
time since his performance at the Royal Albert Hall in 2017.
2LP format pressed on heavyweight black vinyl with 'etched' side D
plus digital download code.

Over the past decade, Cass McCombs has established himself as one of our premier songwriters. It's a career that's twisted and turned, from style to subject, both between records and within them. McCombs has never made two albums that sound the same. His new one, Tip of the Sphere, is particularly unique. Tip of the Sphere is McCombs' 9th studio album and while many of his records have been comprised of songs recorded in different studios and pieced together over time, this one was recorded quickly in one location with a strong sense of purpose, resulting in his most consistent record to date. This approach brings a raw immediacy to his songs, which are some of his best yet as he finds the perfect balance of compassion and experimentation. The rock songs rock harder, the ballads are more beautiful, the experiments more confident; with the sounds of jazz and latin music creeping in through the back window. This is an artist trying to make sense of it all through a relentless, ever searching creative process.