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Recently Added Vinyl

  • DJ Manny 'Hypnotized' Vinyl LP

    Planet Mu Records

    DJ Manny 'Hypnotized' Vinyl LP

    £21.99

    v

    Planet Mu Records

    DJ Manny 'Hypnotized' Vinyl LP

    £21.99

    DJ Manny's 'Hypnotized' is full of fresh ideas which push the footwork format of 160bpm hyper-rhythmic music in really enjoyable new directions. He builds on the romantic themes of his last album 'Signals In My Head' and evolves them with shades of blue, taking very natural sounding experimentation into new moods and musical colour while never making the album inaccessible.

    Arguably this is a fine successor to the ground broken by DJ Rashad's 'Double Cup' album, which of course Manny also worked on. 'Hypnotized' solidifies Manny's style, from relaxed r'n'b rollers to moments of romantic distress - like 'WTF Goin On' and the reflective 'You N You (ft. DJ Phil)', to more intense moments like the dubstep inflected 'Ooh Baby' from the vaults, co-produced by DJ Rashad himself.

    Other tracks like 'Want U Bad' retool Robert Hood style minimal techno
    whereas dark, nervous belters like 'Turn Me Up' sound like Paul Johnson at his most wild but welded to footwork rhythms and a pumping jump up drum & bass-line.

    There are also moments of enjoyably
    hype daftness like the acid and diva head-fuck of 'Opera' or the old school Bukem style jungle homage 'Lost In Da Jungle'. 'Hypnotized' is an album that expands footwork's template with natural ease and outstanding skill.

    Tracklisting:
    Side A
    1. Hard Drive
    2. WTF Goin On
    3. Hypnotized
    4. Ooh Baby (ft. DJ Rashad)
    5. I Can Luv U
    6. You N You (ft. DJ Phil)

    Side B:
    7. Overnight Flight
    8. Want U Bad
    9. Turn Me Up
    10. Opera
    11. Lost In Da Jungle
    12. Deep In My Mind
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  • Trampolene 'Swansea To Hornsey' (Anniversary Edition)

    Strap Originals

    Trampolene 'Swansea To Hornsey' (Anniversary Edition)

    £12.99

    ULTRA LIMITED SIGNED COPIES

    Due to unprecedented demand TRAMPOLENE (the Welsh group, not the bouncy thing spelled with an ‘
    i’!) will re-release their classic debut album ‘Swansea To Hornsey’ (Anniversary Edition) on Friday November 17th through Strap Originals.

    On the same day singer, guitar slinger and lead Tramp, Jack Jones, will publish his first novel, also entitled ‘Swansea
    To Hornsey’. Says Jack Jones: “The album and the book is ‘Swansea To Hornsey’ as it should have been. We couldn’t find anyone to publish the book the first time round. I always wanted to give fans the ultimate experience of listening to the album & reading my book. I was gob smacked when Peter (Doherty) said he loved the book so much he was gonna start a publishing company and put my book into the world…not something you hear every day. We edited it together as we drove across Europe…getting to know each other even deeper.

    It was a magical time, and now this all feels like a surreal dream. The album has been going for silly money on eBay & fans are always asking for it to be re-pressed…so we thought f**k it,
    let’s make it happen.” To celebrate the release TRAMPOLENE will be performing three special commemorative shows where they will be playing the album in its entirety.

    ‘Swansea To Hornsey’ comes in a new sleeve, or should that be old sleeve, as it was planned as the original sleeve before drummer Mr Williams went a wandering on the eve of the release, only to return to the band two years ago.  

    ‘Swansea To Hornsey’ was recorded at Ray Davies
    Konk Studios in London’s Muswell Hill (the ‘Hornsey’ of the title) and produced by Jack Jones & engineer Josh Green and mixed by Cenzo Townshend (Jamie T / Everything Everything). The album includes the singles ‘Alcohol Kiss’.

    TRAMPOLENE have released four albums - ‘Swansea
    To Hornsey’ (2017); ’Pick A Pocket or Two’ (2018); and two Official Independent Album Breakers No. 1’s and top 10 Independent Chart albums ’Love No Less Than A Queen’ (2021) and ‘Rules of Love & War’ (2023).

    Band personnel:
    Jack Jones - vocals/guitar, Wayne Thomas - bass/vocals and Mr Williams - drums/Keyboards/Violin/vocals.

    What the press said on the original release of ‘Swansea
    To Hornsey’ in October 2017:

    "Intersperses poetry with rock in a way few artists dare to do today…their reference points are as versatile as any release this year - Patti Smith, Oasis, Dylan Thomas, Peter Doherty…Jones bleeds on these songs." The Independent (’10 Best Albums of 2017’)

    " A swaggering debut that demands to be played loud.” GQ // “Beautifully crafted songwriting." **** The Sun

    "Brilliant debut from indie gutter poets…these passionate postcards from the edge demand attention."  **** Q Magazine

    LPs all 140g vinyl. CD is a Card Digi sleeve.


    Tracklisting:
    1. Artwork Of Youth
    2.Imagine Something Yesterday
    3. Alcohol Kiss
    4. Dreams So Rich, Life So Poor
    5. The Gangway
    6. Ketamine
    7. You Do Nothing For Me
    8. Primrose Hill (CD/Digital Not On Vinyl Edition)
    9. The Boy That Life Forgot
    10. Beautiful Pain
    11. Already Older Than I Dreamed I’d Be
    12. Blue Balls & A Broken Heart
    13. Storm Heaven
    14. Pound Land
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  • The Lovely Eggs 'Eggsistentialism' PRE-ORDER

    Egg Records

    The Lovely Eggs 'Eggsistentialism' PRE-ORDER

    £12.99

    Release Date: 17/05/2024

    The Lovely Eggs will release their seventh new album “Eggsistentialism” on Friday May 17th on Egg Records. Their third collaboration with Grammy Award winning producer Dave Fridmann, “Eggsistentialism” will be released on ltd edition “mind green” green 12” vinyl with more breath taking mind boggling art-work by illustrator Casey Raymond.

    “Eggsistentialism” sees The Lovely Eggs return after a 4 year break since their Number One Independent Selling Album “I am Moron”. During that time they have made their own TV show Eggs TV (featuring Ian McKaye, Stewart LeeKatie Puckrik, Maxine Peake, David Shrigley and more), dueted with Iggy Pop, played a load of sold-out gigs and festivals and fought a campaign to save Lancaster Music Co-op (a community rehearsal rooms and recording studio where they live).

    Recorded at home in Lancaster, with production advice from Dave Fridmann, the album was mixed at Tarbox Road Studios, NY with Dave Fridmann and the band.

    As the title suggests, “Eggsistentialism” explores a much more personal, introspective, and reflective side to The Lovely Eggs world and sees the Eggs explore new sounds and experiment in unventured musical territories.

    “The new album is really a reflection on what has been happening to us these last couple of years, stewing up in Eggland in our own juices,” explains Holly. “It’s about loss and strength. On this album you’ll hear us at our lowest and most vulnerable. Daily life is hard. Realising everything you grew up with and loved is never coming back, alongside the responsibilities of caring for others is sometimes hard to take. The album is about life and death. Eggsistentialism. It’s about dragging yourself through all the shit to get to the other side.”

    “It’s a bit of a ‘wilderness years’ album,” continues Holly. “We haven’t released a new record since 2020 and in the meantime, we’ve been here fighting shit and trying to defend a right to a lifestyle that we’ve enjoyed here in this town for the last 30+ years as working musicians who refuse to get a “normal” job and tow the line. It’s about believing in something and not letting go. But that unwillingness to give in ultimately takes its toll. It does start to destroy you and the album is kind of a documentation of that destruction and collapse as well as the strength we’ve got to get through it all. Ultimately, this is a hopeful record about survival.”

    Tracklisting:
    1. Death Grip Kids
    2. Nothing/Everything
    3. Meeting Friends at Night
    4. People TV
    5. My Mood Wave
    6. I Don't Fucking Know What I'm Gunna Do
    7. Memory Man
    8. Things
    9. Echo You
    10. I am Gaia

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  • Girls In Synthesis 'Sublimation' PRE-ORDER

    Own It

    Girls In Synthesis 'Sublimation' PRE-ORDER

    £7.99

    Release Date: 03/05/2024

    After two critically acclaimed albums (2020’s ‘Now Here’s An Echo From Your Future’ and 2022’s ‘The Rest Is Distraction’), and numerous mini-album, EP and single releases, London-based trio Girls In Synthesis return in May ’24 with their new statement; their third album ‘Sublimation’.

    If you thought you knew GIS, think again… they have moved on and created a dark and intense, yet melodic, collection of songs; their take on an angular pop record. Opening song ‘Lights Out’ is split into two distinct sections; the opening a Barrett-esque vocal and guitar lament to sleep deprived anxiety which morphs, via a ‘Faust Tapes’ influenced freeform noise section, into a stomping, high intensity closing blitz.

    Tracks such as ‘Deceit’, ‘We Are Here’ and ‘Picking Things Out Of The Air’ see the group at their most melodic to date, minimising some of the chaotic noise elements of their signature sound and bringing to the fore impassioned, soaring vocals and keys melodies.

    Their trademark, driving drums and bass foundation is particularly evident on songs ‘I Judge Myself’ and ‘Corrupting Memories’, but is counterbalanced by intense, early goth influenced keyboard lines, bringing influences from late 1970s/early 1980s into focus with the contemporary GIS intensity. Slow-burning tracks ‘I Was Never There’ and ‘The Prefix’ build up tension and atmosphere with sparse arrangements and circular, spiralling outros, while closer ‘A Damning Lesson’ sees the band return to their intense, bludgeoning wall of sound only to send it into a blur of echoing drum machine, reminiscent of the early work of Cabaret Voltaire.

    Lyrically, GIS prove themselves head and shoulders above their contemporaries, leaving the pastiche sloganeering and lecturing to those wishing to preach to the converted, and reach inside to bring forth poetic and challenging analysis of the anxiety and emotional turmoil of self-reflection and human relationships.

    Booked in for extensive UK/EU touring throughout May and June, the band will be adapting their white-heat live show to bring subtlety and clarity to the new songs from ‘Sublimation’, losing none of their unique and intense performance in the process. Be ready…

    Tracklisting:
    1. Lights Out
    2. Deceit
    3. Semblance of Choice
    4. We Are Here
    5. Corrupting Memories
    6. I Was Never There
    7. Picking Things Out Of The Air
    8. I Judge Myself
    9. Subtle Differences
    10. The Prefix
    11. A Damning Lesson
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  • The Lemonheads 'Fear Of Living / Seven Out' Vinyl 7

    Fire Records

    The Lemonheads 'Fear Of Living / Seven Out' Vinyl 7" PRE-ORDER

    £11.99

    Release Date 05/04/2024

    The Lemonheads’ long-awaited return, a slice of perfect pop, with a grittier Evan Dando at the helm.
     
    Playing all the instruments on the lead track, the new single was recorded and produced by Apollo Nove in São Paulo, Brazil.
     
    Evan is currently working on the first Lemonheads songs since 2006.
     
    This limited seven-inch is backed with another piece of carefully selected outsider pop, a cover of Eugene Kelly’s (Vaselines and Eugenius) bittersweet ‘Seven Out’, on which Evan is joined by Jeff Berg on bass and Erin Rae on backing vocals.

    Tracklisting:
    Side A
    Fear Of Living

    Side B
    Seven Out
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  • The Cat’s Miaow 'Skipping Stones: The Cassette Years ‘92-’93' Vinyl 2xLP PRE-ORDER

    World of Echo

    The Cat’s Miaow 'Skipping Stones: The Cassette Years ‘92-’93' Vinyl 2xLP PRE-ORDER

    £26.99

    Release Date: 03/05/2024

    The Cat’s Miaow return to World Of Echo with Skipping Stones: The Cassette Years ’92-’93, their second compilation for the imprint, and the fourth in a loosely defined series of reissues associated with the group (also including The Shapiros’ Gone By Fall: The Collected Works of The Shapiros and Hydroplane’s Selected Songs 1997-2003). It’s a smart selection of songs by one of Australia’s finest independent pop music groups, whose initial run, across the nineties, was as mysterious as it was bewitching. A generous double album featuring thirty-five songs drawn from The Cat’s Miaow’s history, Skipping Stones lets listeners in on a bunch more secrets.

    An even deeper pass through the archives of The Cat’s Miaow, Skipping Stones is a welcome follow-up to 2022’s Songs ’94-’98, which pulled together material from seven-inch singles and compilations. Diving into the four cassettes that the group released over a two-year period, Skipping Stones is full of surprises, rich with unexpected and inspired detours, while reminding everyone just how clear and distinct The Cat’s Miaow’s music was from the very start. Looking in from the outside, they always felt like a group that knew just what they were doing, but intuitive as they are, they weren’t forcing anything: these songs always sound exactly what they need to be, rough edges, playful moments and all.

    It's also a fascinating snapshot of one arm of the ‘international pop underground’. While they were clearly listening to music from the US, UK and elsewhere – there are glimpses of Galaxie 500, Spacemen 3, Beat Happening, and The Pastels in some of the songs here – The Cat’s Miaow also feel, consciously or not, part of a continuum of Australian underground pop that takes in The Particles, The Lighthouse Keepers, The Cannanes, The Honeys, Even As We Speak, and The Sugargliders (who they would cover several times). Like those before them, The Cat’s Miaow balanced opposing forces in their music: naivete and knowingness; fragility and strength; worldliness and world-weariness; play and seriousness; heartache and pleasure.

    The four cassettes that Skipping Stones draws from – Little Baby Sour Puss, Pet Sounds (both 1992), From My Window, and How Did Everything Get So Fucked Up (both 1993) – were released or assisted by Toytown, a Melbourne cassette label of rare taste, savvy and intelligence, run by Wayne Davidson. Toytown felt like the perfect early home for The Cat’s Miaow, their cassettes rubbing shoulders in the label’s catalogue with brilliant groups like Sukpatch, The Ah Club, Kitty Craft, and Land Of The Loops. The local context is just as important, too, with The Cat’s Miaow sharing their time and creative vision with friends in The Ampersands, Stinky Fire Engine, Girl Of The World, Super Falling Star, Pencil Tin and The Sugargliders. And cassettes were an important form of exchange – cheap, easy to reproduce, not too expensive to send interstate or overseas, they were the most accessible DIY format for any group starting to spread the word about their noise.

    All of this is to say, the thirty-five songs here landed in several different contexts, national and international, which goes part-way to explaining the group’s curious cosmopolitanism, the style and spirit in their sound. The Cat’s Miaow may have been bedroom dreamers, but their songs were richly informed, with the sweetest of girl-pop moves sashaying into walls of tremolo-d and distorted guitar, jangling six strings tangling with melodic bass that’s pure Peter Hook/Naomi Yang, while the gentle trickle of a drum machine or the earthy twitch of brushes on drum skins provided the spine for Kerrie’s and Bart’s lovely, unforced singing.

    There are a clutch of gorgeous songs here that would reappear in a different form on later releases, classics like “The Phoebe I Know”, “Third Floor Fire Escape View”, “Not Like I Was Doing Anything” and “You Left A Note On The Table”, but plenty of other magic too, all of it finding its way to vinyl for the first time (some tracks appeared on compact disc via the compilations A Kiss and A Cuddle [Bus Stop, 1996] and Songs For Girls to Sing [Drive-In, 1997]). Remarkably, The Cat’s Miaow have also recently released a split single with Rocketship featuring newly recorded material and returned to the stage for their second-ever gig.

    But this double LP on World Of Echo feels like the very core of the thing – some of the most heartbreakingly beautiful, effortlessly lush and deeply moving pop music you’re likely to hear.

    Tracklisting:
    Disc 1 - Side A
    How Did Everything Get So Fucked Up?
    1. Make A Wish
    2. Hollow Inside (original cassette version)
    3. Faded (original cassette version)
    4. Not Like I Was Doing Anything (original cassette version)
    5. Disappointed
    6. I Wanted None of This
    7. Fire Damage
    8. Halo

    Disc 1 - Side B
    From My Window
    1. Aurora
    2. It Might Never Happen
    3. Nothing's Ever Quite That Simple
    4. Brighter Star
    5. The Phoebe I Know (original cassette version)
    6. Little and Small
    7. Sleepyhead
    8. Dust From A Memory
    9. A 50s Ballad
    10. A Few Words
    11. From My Window

    Disc 2 - Side C
    Pet Sounds
    1. Third Floor Fire Escape View (original cassette version)
    2. You Left A Note On The Table (original cassette version)
    3. Short Sighted (original cassette version)
    4. I Hate Myself More Than You Do
    5. Talking To Trees
    6. Ice Cream
    7. Saviour For The Hurrying Man
    8. Ferry No. 6

    Disc 2 - Side D
    Little Baby Sour Puss
    1. Nothing New (original cassette version)
    2. Climb My Stairs (original cassette version)
    3. Autumn (original cassette version)
    4. I Really Don’t Know (original cassette version)
    5. Sunday
    6. Memphis ‘54
    7. Walk On By
    8. Georgie
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  • Laura J Martin 'Prepared' PRE-ORDER

    Summer Critics

    Laura J Martin 'Prepared' PRE-ORDER

    £12.99

    v

    Summer Critics

    Laura J Martin 'Prepared' PRE-ORDER

    £20.49

    Release Date: 17/05/2024

    Following the release of her 2016 album On The Never, Never, Martin knew that she wanted to take a break from writing and recording music. She moved back to Liverpool, from London, and began an apprenticeship with world renowned flute maker Willy Simmons.

    “I was now looking at an instrument I’d been playing all my life at a molecular level. The discipline and repetitiveness of learning a craft freed my mind from thinking about songs for a bit and made me focus instead on some of the toxic chemicals and blow torches used to make the flutes,” she says. “I’ve never been a particularly mindful person; I’m usually zipping from one thing to the next and this work had a pace of its own which I had to submit to. As well as making flutes, I was also repairing them, and this was the part I most enjoyed – the process of renewal. In a corny way, I experienced this renewal myself.”

    Following this period, Martin felt inspired to make music again and began setting up her own home studio. “Around this time, I’d started to listen to Joanna Brouk and the I am the Center compilation of early New Age music on Numero Group. This music was nothing like my own but seemed to extend from the Harmonia records I love and exist outside of the album, gig, tour regime. It was so inspiring and freeing, and I tentatively began to experiment in the studio, with the textures of Brouk’s song ‘Maggi’s Flute’ in mind.”

    Working closely with co-producer Iwan Morgan (Euros Childs, Cate Le Bon, Gruff Rhys, Georgia Ruth), the pair found themselves drawn to drum machines that wouldn’t stay in time, and a piano with a tuning mind of its own. “I rediscovered the sense of play which brought me into music in the first place,” says Martin. “The palette was infinite and without boundaries. Where my previous records had always operated within the instinct / lack of budget axis, I now had the possibility to sculpt sound, to remake, blend and remodel it for the first time.”

    Living next to the main 86 bus route into Liverpool City Centre prompted the idea behind ‘Outside at Night’, of parallel lives on different journeys. ’Three Days’ mines a similar theme but focuses on the hidden lives we share with others, the shift workers paradox. “It asks, do we really know what happens to our closest people when they leave the house?” explains Martin.

    Album opener ‘Prepared’ is a hymn to self-reliance but not to perfection, to working your own routes and abandoning the tape measure.  In part it’s about looking back at ways you judged yourself in past encounters and not recognising yourself: “I turned away again, was I even there?”.  Tied in counterpoint to this, closing track ‘Open Door’ works as a prism through which to view the album (copious drum machines, swelling synths).  It’s also as an answer of sorts to Martin’s search - new possibilities rage from cascading melodic and atmospheric structures, reaching some kind of midway between Harmonia’s ‘Deluxe’ and the polyrhythms of Francis Bebey’s Psychedelic Sanza.

    Across the record there are vocal and sonic contributions from co-producer Iwan Morgan. “Iwan maintains he’s not a musician but kept singing in the studio and eventually I managed to persuade him to put it on record,” says Martin.  ’Living on the Wall’ is the clearest example of this, exuberant monster truck beats, insistent pianos and vocals delivered without irony, think Wrong Way Up era John Cale and Brian Eno meets YMOs ‘Firecracker’.

    Collaborative sojourns to Marco Rea's The Barne studio in Clydebank and Mike Lindsay (Tunng, LUMP) in Margate allowed Martin to coax standout contributions from both, shaping the album as both artist and co-producer. The result is a unique fusion of folk, electronic, and experimental pop music that defies expectations and challenges the boundaries of contemporary music.

    “In a twisting but circuitous way, Prepared is my composted scrapbook of the last couple of years. I was prepared to follow where the sounds took me, the sonic train left the station and led me on its merry way,” she says. “It’s not an album about flute repairing but it wouldn’t have happened without learning the discipline of preparedness, the small movement, the tweak and the renewal from Willy Simmons.”

    About Laura J Martin

    Laura J Martin has so far released three solo albums. Her latest, On The Never Never, was recorded in Nashville with members of Lambchop, Silver Jews and Jesus Lizard. A mercurial and bewitching live performer who interweaves layers of vocals, flute, mandolin and electronics; Laura and her band have toured regularly across the UK and Europe and supported acts such as PJ Harvey, Teenage Fanclub, Cate Le Bon and performed and collaborated extensively with Euros Childs. Consistently played and supported by BBC Radio 6 Music DJs such as Marc Riley, Cerys Matthews, Lauren Laverne, Gideon Coe and Stuart Maconie; Laura's most recent release was a collaborative project 'Wyndow' written with Lavinia Blackwall of Trembling Bells and released in 2021.

    “An understated marvel” Uncut

    “Beautiful and intelligent stuff” The Quietus

    "An extremely unique sound, I love the combinations of textures she puts together"
    BBC Radio 6 Music, Lauren Laverne

    Tracklisting:

    1. Prepared
    2. Counting Time
    3. Living on the Wall (feat. Iwan Morgan)
    4. A Better Story
    5. Three Days
    6. Outside at Night
    7. The Dials
    8. Magic Mornings (feat. Iwan Morgan)
    9. Open Door
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  • Container 'Yacker' Vinyl LP - Neon Green PRE-ORDER

    Alter

    Container 'Yacker' Vinyl LP - Neon Green PRE-ORDER

    £21.99

    Release Date: 05/04/2024

    Ren Schofield’s long running electronic project Container returns with his first release since the Creamer EP in 2021. Rolling straight out of the pandemic Schofield has since played a large number of live shows all over the planet, rilling up audiences with a heady mix of method and mania. Now is the time to unleash a new studio offering. 

    Yacker presents what is undoubtedly an electronic record but one imbued with a spirit more aligned with rock music. Always hijacking the electronic music scene for his own unique and twisted path here we see a further extrapolation on his original blueprint for DIY noise techno adding a more physical and muscular edge to the standard hysterical proceedings. The drums retain an almost human, somewhat muscular feel with a sweaty and suggestive ‘real drums’ feeling.  

    Schofield cites inspiration on Yacker as the Nirvana song ‘Oh, The Guilt’, the Mindflayer album ‘It’s Always 1999’, and the Rah Bras song ‘Sooop Toe Pump Girls’. Container has always danced the absurd space between serious and stupid, with Yacker all elements are turned up to eleven as he delivers a pristine field guide to furious frenzied fun.

    Yacker strikes an even balance between heavy, relentless, joyful, silly, and sloppy. Think Lollapalooza 1996 held at Berghain 2006 and you are somewhere on the way to formulating this fresh new insanity from one of the contemporary electronic music scene's more playful pioneers.

    Tracklisting:
    1. Abrasion
    2. Eraser
    3. Spray
    4. Aerator
    5. Drooper
    6. Yacker
    7. Cone
    8. Bonkers
    9. Onion
    10. Spritzer
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  • Royal Trux 'Twin Infinitives' Vinyl 2xLP - Silver PRE-ORDER

    Fire Records

    Royal Trux 'Twin Infinitives' Vinyl 2xLP - Silver PRE-ORDER

    £28.99

    Release Date: 14/06/2024

    Originally released in 1990, Royal Trux’s ‘Twin Infinitives’ is being re-issued in all its (yet to be translated) alien glory, by Fire Records. A dismantled overture that sprawls out over two records, an avant-garde masterpiece that was the spark for Drag City Records and generations of new sound seeking musicians.

    Hailed in the same immortal breath as Beefheart’s ‘Trout Mask Replica’, the Velvets’ at their frenzied peak and Ornette Coleman at his most avant-garde, the duo of Pussy Galore’s Neil "Michael" Hagerty and Jennifer Herrema recorded ‘Twin Infinitives’ while imbibing all kinds of mind-altering substances to create an inadvertent blueprint for what the duo was building with moog’s, guitars and melodicas to name a few ingredients.

    It is the legendary second album from the masters of the genre mashup - long before “genre mashups” even existed. Arguably, the term “mashup” was coined to describe what Trux, as they subconsciously scrolled through the radio stations of their lives.

    The album’s chaotic sound and offbeat construction laid the foundations for a string of Royal Trux albums that spiralled between genres, tunings, and noise. Through the 90s they would re-invent the rock ‘n’ roll ethic, straddle alien surf music, re-align boogie rock, not to mention 80s hair metal, and confound critics by their wildly meandering and courageous rites of passage.

    Remastered as part of a career spanning catalogue deal with Fire Records. The infamous and influential duo of Jennifer Herrema and Neil Hagerty will be delving into the archive with a comprehensive reissue series, unearthing the vaults and revisiting what made them such a compelling benchmark for their contemporaries and imitators. Reawakening their prolific output within a new monochrome vinyl series covering 1988-1993, they begin with their seminal deconstructed rock masterpiece Twin Infinitives.

    “Sounding like a subway ride inside a television inside an earthquake inside the end of the world and a pounding death rhythm of apocalyptic now.”

    - Pitchfork

    Tracklisting:
    Disc One
    A1. Solid Gold Tooth
    A2. Ice Cream
    A3. Jet Pet
    A4. RTX-USA
    A5. Kool Down Wheels
    B1. Chances Are The Comets In Our Future
    B2. Yin Jim Versus The Vomit Creature
    B3. Osiris

    Disc Two
    C1. (Edge Of The) Ape Oven
    D1. Florida Avenue Theme
    D2. Lick My Boots
    D3. Glitterbust
    D4. Funky Son
    D5. Ratcreeps
    D6. New York Avenue Bridge
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  • Heavee 'Unleash' PRE-ORDER

    Hyperdub

    Heavee 'Unleash' PRE-ORDER

    £13.99

    v

    Hyperdub

    Heavee 'Unleash' PRE-ORDER

    £20.49

    Release Date: 15/03/2024

    Heavee is a Queer Chicagoan DJ & producer with a long history in footwork. His 2022 'Audio Assault' EP on Hyperdub showcased synth-driven, melodic footwork, but ‘Unleash’ goes much further into audio world-building, with a fresh, spongy and citrus-y sound palette and rich, bright chord sequences.

    It's minimal, airy, balancing light and dark, sometimes breezy and sometimes clinical. Heavee works simultaneously outside and inside the box, rebuilding footwork's framework and vibe to his own unique specification. Rhythmically, it's dance floor ready, using footwork's 160 template as a springboard for building new drum sounds to express these rhythms, and draws from R&B, rap, jazz and grime, with a sprinkling of bitter-sweet vintage Detroit techno.

    ‘Unleash’ takes footwork’s “eats all” approach to music and leads it in a fresh direction with a freedom of spirit. It's a strong addition to the footwork cannon and shows that experiments in dance music can be fun.

    Tracklisting:
    Side A
    1. StarSeeker
    2. Unlock
    3. SearchN 4 ft Babii
    4. Bang Bang
    5. Can U Feel It
    6. Bounce Dat ft PayPal & DanTOG

    Side B
    7. Unleash
    8. See the Sun
    9. Whiplash
    10. Sumthin Different
    11. Heart Fragments
    12. Work Me
    13. Make it Work
    14. Smoke Break ft Homesiick & Takuya Nakamura
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  • Astrel K 'The Foreign Department' PRE-ORDER

    Tough Love Records

    Astrel K 'The Foreign Department' PRE-ORDER

    £12.99

    v

    Tough Love Records

    Astrel K 'The Foreign Department' PRE-ORDER

    £23.99

    “But into my miserable brain, always concerned with looking for noon at two o’clock"
    - Charles Baudelaire (1869)

    The Foreign Department is the second album by Astrel K, the solo project helmed by Stockholm-based British ex-pat, Rhys Edwards. Those already familiar with Edwards’ work will likely know him for fronting the cultishly great Ulrika Spacek, and given he operates as the principal songwriter in both projects, much of the same hallmarks of his cathartic, elliptical songwriting are present in Astrel K. Nonetheless, The Foreign Department feels like a rubicon moment of sorts, and the album that Edwards has unconsciously been working towards his entire creative life.

    As a title, The Foreign Department offers an instructive guide for the listener, framing a life-in-transition/artist-in-exile document that maps two impromptu moves in twelve months for its songwriter: the first from London in pursuit of a relationship, the second between homes in Stockholm as that decade long relationship then suddenly dissolved.

    Indeed, diffusion, dissolution and reconstitution feel like appropriate touchstones for its recurring themes. Written amidst the flux of two states, at once isolated from home and then any established emotional anchor, the resulting eleven tracks came to represent a precognitive search for shifting identity and with it forming an unwittingly biographical record. It's commendable and somewhat telling that during this shake up, Edwards somehow landed upon his most realised and original work.

    With a former life stripped away, there emerged an opportunity to reinvent a sense of self through art, now not just as a writer, but a composer also. Developing the confidence to arrange songs in ways he'd previously considered off-limits, while also taking cues from the opulent string and brass arrangements of records like Mercury Rev's Deserters' Songs and Death of A Ladies Man by Leonard Cohen, Edwards enlisted a range of performers to bring to life the mini-symphonies forming in his head. Perhaps it's inevitable that an album written while facing the consequences of being alone would eventually ossify around the process of bringing people together.

    For all its troubled origins, The Foreign Department is a remarkably warm sounding collection. Edwards' lyrics are typically knotty and neurotic, dancing around the poetry of quarter-life anxiety, but the music itself is often joyous and even uplifting, the combination expressing that neat duality of melancholic euphoria.

    Edwards sings variously of crises, "torrid pieces of art", of "houses on fire" and not "having the guts for it", yet these troubling sentiments are framed by seemingly incongruous swelling strings, chirping horns or motorik percussion, creating that sense of pushing forward or floating above, of wrapping your troubles in dreams, a salve for the moments when you get a bit too much for yourself.

    Lead single, 'Darkness At Noon', likely captures this all best. Named for the French idiom "midi a quatorze heures", the maddening idea of attempting the impossible for the sake of some greater possibly pointless cause, it directly grapples with the opposing notions of wanting and not wanting, of being here and being there at the same time. The conflicting and impossible self. It’s something Edwards addresses in the song at perhaps his most open, opining, “I know I want to be seen, but I hate most of what comes out of me”. And yet here is, putting it all out in the open and on the line, the dialectics of his enlightenment up on show.

    Tracklisting:
    1. Heavy Is the Head
    2. Darkness At Noon
    3. By Depol
    4. Brighter Spells
    5. Firma
    6. Birds In Vacant Lots
    7. The Foreign Department
    8. C Ya!
    9. A Rudderless Ship
    10. Daffodil
    11. R U A Literal Child?
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  • Jlin 'Akoma' PRE-ORDER

    Planet Mu Records

    Jlin 'Akoma' PRE-ORDER

    £11.49

    v

    Planet Mu Records

    Jlin 'Akoma' PRE-ORDER

    £26.99

    Release Date: 22/03/2024

    Jlin’s detailed and meticulous exploration of rhythm’s inner and outer reaches has made her one of the most distinctive and recognisable voices within both the electronic and classical music worlds. Her compositions are consistently appealing and have an accessibility to them, yet often defy expectations. She exists within her own locus solus - no matter the collaborator, no matter where sounds ultimately lead her.

    Whatever the situation – from composing the Pulitzer Prize shortlisted ‘Perspective’ for Third Coast Percussion, to ‘Godmother’ her AI-powered collaboration with Holly Herndon, Jlin always expresses her outlook to the fullest.

    Her new album ‘Akoma’ sets a new benchmark in her personal road map, not only since the album features guest appearances from Björk, Philip Glass and Kronos Quartet but for her continued sonic persistence and resistance.

    Jlin does what Jlin does and it’s beloved across genres, across scenes and across generations. ‘Akoma’ is a new entry point into her sound and a new approach for both those who have been following diligently and those who are just now entering her world.

    So how did she get here? Here’s a rundown for those looking for the facts.

    She was both a math nerd and a steel factory worker. She got inspired by Footwork and started making tracks with mentorship assistance from RP Boo and DJ Rashad, but her music was far from typical for footwork from the get-go. In 2011, she released her first track ‘Erotic Heat’ on the Planet Mu anthology ‘Bangs & Works Vol.2.’

    Fashion designer Rick Owens heard it and invited her to soundtrack his Paris Fashion Week show. Already before an EP or an album Jlin was in new cutting-edge territory. And it hasn’t stopped since. Everyday Jlin wakes up early and clocks into her home studio working hard on new music. Her discipline and craft-like approach means that those who would try to copy her sound simply can’t get to the level she is at.

    Since ‘Erotic Heat’ she has released two bold albums, 2015’s ‘Dark Energy’ and 2017’s ‘Black Origami.’ She has also released her soundtrack to Company Wayne McGregor’s dance piece ‘Autobiography’ (2018) and most recently (2023) the mini-album ‘Perspective.’

    She’s remixed µ-Ziq, Factory Floor, Ben Frost, Max Richter, Björk, Martin Gore and others. She’s collaborated with Holly Herndon and the late SOPHIE. She’s worked with visual artists Kevin Beasley and Nick Cave. She composed a string quartet for Kronos Quartet and performed with them live in a tribute to Philip Glass. She also recently completed a tribute to Sun Ra with Kronos. ‘Perspective’, her very well received percussion work for Third Coast Percussion has further opened doors for her in classical music. She’s even thinking of one day writing an opera. She had a residency at MassMoca Museum earlier this year (2023).

    She’s performed live at Pitchfork Festival, Unsound Festival and too many others to mention. She’s also worked with Indian dancers, Company Wayne McGregor and renowned choreographer/MacArthur Fellow Kyle Abraham. There’s more but you get the picture - she’s working in contexts and in ways that few of her peers are able to. ‘Akoma’ is the next step - all these paths have led to this. We encourage you to tune in.

    Tracklisting:
    Side A
    1. Borealis (ft. Björk)
    2. Speed Of Darkness

    Side B
    4. Summon
    5. Iris
    6. Open Canvas

    Side C
    7. Challenge (To Be Continued II)
    8. Eye Am
    9. Auset

    Side D
    10. Sodalite (ft. Kronos Quartet)
    11. Grannie's Cherry Pie
    12. The Precision Of Infinity (ft. Philip Glass)
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  • The Reds, Pinks And Purples 'Unwishing Well' PRE-ORDER

    Tough Love Records

    The Reds, Pinks And Purples 'Unwishing Well' PRE-ORDER

    £12.99

    Release Date: 12/04/2024

    The cinema of the scenes as told from the heart and spirit of the omniscient narrator shines through the awe-inspiring oeuvre of Glenn Donaldson's canonical titan that is The Reds, Pinks & Purples. The storied and esoteric histories of every underserved underdog becomes immortalized in records and poignantly penned paeans that evoke the eras and underachievers that became synonymous with their own respective corresponding localized micro-movements.

    Donaldson channels that psychic spirit and journeyman earned wisdom to provide contemporary era rock operas that eulogize tales of infinitely influential rises and falls. Crystalizing the tragic self-celebrating kingdoms of fortunate failures, false heroes, music press deities of limitless deceit, hometown dive gods and humanity in the grips of all its romanticized wonder and woe — the latest sortie of the sensational and spectacular takes aim at the threads of hope and an untethered abandon into the intimacy and dualities of idolatry and isolation with Unwishing Well.
     
    Ever since its emergence from the harried late 2010s — The Reds, Pinks & Purples have become the absolute encapsulation of Donaldson's own proliferation and prestige. From a musical legacy that chronicles a long list of minor successes and major tragedies; Glenn distills the timelines of distinction from yesterday, today, tomorrow and whatever may be into a musical phenomenon that embodies something more than all of its analogous inspirations.

    Beyond the clamor about the retro cult pop artistic allusions and tropes that can be found in those spirit expanding kaleidoscope chord chimes; Donaldson takes you on a guided tour through the San Francisco underground movements that would have been, could have been or perhaps never were at all from the start. The Reds, Pinks & Purples’ coveted catalog inadvertently, consciously or unconsciously, offers an authorized and anonymous history of imperfect and ambitious debutantes, dilettantes, auteurs, et al.

    The lauded visionaries whose volition informed the big money touring stage headliners, but only enjoyed a fleeting jaunt through the glorious corporate clad carnival canopies from the touring circuit routes and tech funded festival tent tabernacles. Unwishing Well is a eulogy for the buzz bands that crashed, the wily one hit wizards, and omnipresent (and often uninspired) eternal aesthetes who work the lucrative outlets of licensing media markets.
     
    Glenn pulls no punches with the promiscuity of the pop machines and their exploited propped up brand ambassadors on the cutting "Your Worst Song is Your Greatest Hit" that tangles with the lumbering and inescapable creatives and careerist trajectories that trade in boardroom playbooks and verticals. Expressions and influencers break out into the collective commissaries of commerce exhibitionism on “Public Art”, to auditing the forums of fandom that pertain to developed affinities and the roads to rabid infatuation with the obsessive in earnest, “Learning to Love a Band”.
     
    And while the Glenn spins many yarns on the under-appreciated secret histories of DIY, Unwishing Well offers cathartic hymns of modern malaise. Sighing in lamentation of regressive trends, “What’s Going on with Ordinary People'' balks with concern over contemporary states of devolution, while “Faith in Daydreaming Youth” questions what vestiges of hope and valor can be found in the new vanguards of political bodies that govern the world’s sovereign daydream nations.

    The dustbins of dastardly discontinuity are imbued with desire and grief on the dramatist tragedy of “Dead Stars in Your Eyes”, to basking in the discarded ditches of the damned below in voids of obscurity on “Nothing Between the Lines at All”. The human addiction to languishing in anguish, misery and negativity tussles, tosses and turns on “We Only Hear the Bad Things People Say”, the penultimate ode to inherent human infallibility as Donaldson rides the audience out into the gilded sunset glow of “Goodbye Bobby”.
     
    The central set piece of Unwishing Well revolves around the title track that wrestles with wellness and wishes tempered by the sobering reality of ultra pragmatic skepticism. Donaldson shows the audience where the dream falls short, an indictment on the fickleness of wants and the life/work/art balances of making it all work. It's the group that never makes it, the idea that never gets off the ground, the recognition that never arrives, the raise that is never awarded, nor the promotion to the next ladder rung that remains laughably inaccessible. Glenn has the gift of bridging the divide between the hunger artist, their adoring cult public and the common threads that connect these local and global communities through the humanist cause of collective commiseration.
     
    As increasingly found in the continued adventures of The Reds, Pinks and Purples canon — Glenn circles the drain of surrendering to unabashed sentimentality in passions worthy of being showcased as the top headlining spot that your favorite revered then later reviled pop act never even had the chance to claim or ascend. Unwishing Well uplifts and uproots the undercurrents that carry the commonalities between the spectators and the spectacles. Donaldson pays homage in heart to everything and everyone that never got their due or to the lucky ones that made the grade, but paid an ultimate price.

    The cycle of these pop vignettes depict successes and failures in the same sentences, existing within the same stanzas, where the stories of making it and breaking it operate as events that live on different sides of the same coin. Unwishing Well is a reflection of us, the icons we adore, the Adonises we worship, the false prophets that proselytize the edicts from theses cults of personality, the fallouts, the third acts and the artistic fabrics that spool these sub-sects of artful dodgers into the stuff of legend.

    Tracklisting:
    1. What’s Going on with Ordinary people
    2. Learning to Love a Band
    3. Unwishing Well
    4. Faith in Daydreaming Youth
    5. Your Worst Song is Your Greatest Hit
    6. Dead Stars in your Eyes
    7. Nothing Between the Lines at all
    8. Public Art
    9. We Only Hear the Bad Things People Say
    10. Goodbye Bobby
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  • Jane Weaver 'Love in Constant Spectacle' PRE-ORDER

    Fire Records

    Jane Weaver 'Love in Constant Spectacle' PRE-ORDER

    £12.99

    Release Date: 05/04/2024

    Recalibrating her singular journey in the British musical landscape with her most open-hearted, direct and intimate collection of material yet. Love In Constant Spectacle evokes spectacular imagery and distills the artists’ vision in its purest form, elevating her inimitable sound and poetic vision to new heights.

    Recapturing the melancholy of her early work whilst propelling it forward, she sketches scenes as we watch new colours, shapes and languages emerge and fill the frame. Love In Constant Spectacle sees her take measured steps towards a vivid, dreamlike record, that offers resolve in the face of life’s inevitability.

    The foundations of Weaver’s sound are still evident – lush motorik drums, pulsating bass, custom modded synths and exotic fuzz pedals - but the stream is awash with scrabble piece poetry and Letraset lullabies leading to lush escapism, the free abandon that you’d associate with free jazz and the avant-garde.

    But, as determined and visionary as Weaver might be, Love In Constant Spectacle wasn’t executed without assistance. Here we find a long mooted unison with Jane’s first ever producer, John Parish (PJ Harvey, Aldous Harding), who has shared Weaver’s process in the surrounds of Rockfield Studios and Geoff Barrow’s Invada studio.

    Love In Constant Spectacle is otherworldly, it is both intimate yet distant, a surrealist interpretation of the foundations that make us human – the stories and landscapes it paints are habitats of their own. A voyage into undisclosed pastures, it’s a heartfelt manifesto from an artist that continues to boundlessly evolve with each chapter in her career.

    Tracklisting:
    Side A
    1. Perfect Storm
    2. Emotional Components
    3. Love in Constant Spectacle -
    4. Motif
    5. The Axis and The Seed

    Side B
    6. Is Metal
    7. Happiness in Proximity
    8. Romantic Worlds
    9. Univers
    10. Family of the Sun
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  • Victoria Liedtke and Jason Ringenberg 'More Than Words Can Tell' PRE-ORDER

    Judee Bop Records/TMR

    Victoria Liedtke and Jason Ringenberg 'More Than Words Can Tell' PRE-ORDER

    £12.99

    Release Date: 05/04/2024

    More Than Words Can Tell is the new duets album from Victoria Liedtke and Jason Ringenberg. The project sees the duo deep dive into the early songwriting partnership of Dolly Parton and Porter Wagoner, cherry-picking musical gems and little heard tracks from their expansive back catalogue.
     
    Coined the “Godfather of Americana” by Mojo magazine, the former Jason and The Scorchers frontman Jason Ringenberg was awarded a ‘Lifetime Achievement Award for Performance’ by the Americana Music Association in 2009 and was intrigued when Liedtke approached him with the project idea.

    As Ringenberg states, “When Victoria contacted me about being the ‘Porter’ in this project, I was super excited. The Dolly-Porter duets are some of the finest duets ever recorded in country music history. I am a huge fan of them. Once we dove into the project, I was supremely impressed by the production ethic and creative ambition that Victoria brought to the table. She didn’t slavishly copy the originals. In fact, she and her team created entirely new interpretations of those classic songs.”
     
    Victoria and Jason recorded the album at Vale Studios in Worcester, UK in the Summer of 2022 with a predominantly UK based band. The band features CJ Hillman on electric guitar and slide guitar (Billy Bragg/Yola), John Parker on double bass (Nizlopi), Lewis ‘Burner’ Pugh on acoustic guitar and Tim Protey-Jones on drums (First Time Flyers) as well as a plethora of guest musicians throughout.
     
    Originally from Oklahoma, Victoria moved to the UK eight years ago and now resides in the Yorkshire Dales.
     
    “What made this project so fun was being able to bring together these incredible UK musicians that come from the worlds of Americana, Country, Folk and Pop and inject these 50 year old classic American country songs into this musical melting pot.”
     
    Liedtke continues "Both Jason and I don’t traditionally sit in that world either, so all of that combined has resulted in a colourful and beautiful collection of songs.”
     
    The album was produced By Victoria Liedtke, co-produced by Elliot Vaughan and mixed by Liedtke & Vaughan.

    Tracklisting:
    1. Life Rides The Train
    2. More Than Words Can Tell
    3. Sounds of Nature
    4. Carolina Moonshiner
    5. The Fire That Keeps You Warm
    6. Come to Me
    7. The Pain of Loving You
    8. The Last Thing On My Mind
    9. Beneath The Sweet Magnolia Tree
    10. You
    11. Tomorrow is Forever
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  • Eye 'Dark Light' PRE-ORDER

    New Heavy Sounds

    Eye 'Dark Light' PRE-ORDER

    £8.99

    v

    New Heavy Sounds

    Eye 'Dark Light' PRE-ORDER

    £21.99

    Release Date: 19/04/2024

    EYE – the new band from Mammoth Weed Wizard Bastard (MWWB) singer-songwriter/musician Jessica Ball – has announced the arrival of their eagerly awaited debut album, 'Dark Light’.

    Triggered in part by the existential dread looming outside as well as the sudden ill health of her dear friend, MWWB guitarist Paul “Dave” Davies, then fighting for life after a Covid-related stroke. Ball took the opportunity to compose songs that were all her own – nuanced, lyrical, and hypnotically distinctive.

    Having earned a fervent fan following with MWWB, Eye are a different proposition, though no less compelling. Traversing a diverse spectrum of dark folk, dreampop, IDM and psychedelic doom, to create sometimes heavy and foreboding drones, alongside spare but still richly textured sonics. 

    ‘Dark Light’ is an intensely atmospheric fusion of emotionally charged songcraft and inspired sonic energy. The clue is in the album's paradoxical title. Chilling and even bleak melodies with arrangements daringly and deliberately stripped down and minimal. Revealing a kinship with sonic bed-fellows Mazzy Star, Chelsea Wolfe or even Portishead

    So, whilst not strictly speaking ‘Doom’ or ‘Metal’ fans of Jessica’s previous work with MWWB will not be disappointed. Along with producer Chris Fielding (MWWB, Conan) EYE have produced something otherworldly, which is at times heavy and epic, yet still deeply intimate and dark. 

    A striking debut.

    Tracklisting:
    1. Window
    2. Dark Light
    3. The Other Sees
    4. In Your Night
    5. In The Sun Eternally
    6. Respair
    7. Out Of Sight
    8. Stillness
    9. See Yourself
    10. Rescue You

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  • Fu Manchu 'Go For It Live!' PRE-ORDER

    At the Dojo

    Fu Manchu 'Go For It Live!' PRE-ORDER

    £13.99

    Release Date: 05/04/2024

    To celebrate the 20th anniversary of the band’s debut live double album, Fu Manchu is releasing the first ever repress of Go For It…Live!, which has been out of print since the original pressing.

    The 22 song release was recorded on the band’s 2002 California Crossing World Tour, which marked the debut of drummer Scott Reeder. Fu Manchu is renowned for their live performances and this set doesn’t disappoint, with incendiary renditions of fan favorites such as: “Hell On Wheels,” “Mongoose,” “King Of The Road,” “Evil Eye” and their always requested cover of “Godzilla.”

    As AllMusic.com said, “Go for It...Live! is an absolute must for those enamored by Fu Manchu's buzzy sound, and a great introduction for those curious about a band woefully ignored by radio stations and video channels.”

    This limited edition vinyl run of 2000 units has one LP pressed on Neon Yellow and the other on Neon Orange vinyl and is packaged in a gatefold sleeve with brand new artwork including never before seen photos of the band and flyers from the associated tour along with printed dust sleeves with additional new images.

    This new pressing has been specifically remastered for vinyl by Carl Saff for optimum fidelity.
    The limited edition 1000 unit CD run also features the updated art and a digital specific remaster.

    Tracklisting:
    LP 1
    1. Hell On Wheels
    2. Laserbl’ast!
    3. Asphalt Risin’
    4. Mongoose
    5. Downtown In Dogtown
    6. Boogie Van
    7. Tilt
    8. Ojo Rojo
    9. Strato-Streak
    10. King Of The Road
    11. Anodizer

    LP 2
    1. Evil Eye
    2. Hang On
    3. Wurkin’
    4. California Crossing
    5. Over The Edge
    6. Regal Begal
    7. Godzilla
    8. Superbird
    9. Weird Beard
    10. Squash That Fly
    11. Saturn III
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  • Collateral 'Should've Known Better' PRE-ORDER

    Big Shot

    Collateral 'Should've Known Better' PRE-ORDER

    £11.99

    Release Date: 24/05/2024

    British four-piece rock band Collateral are set to release their highly anticipated sophomore album Should’ve Known Better on May 24, 2024. The album is distributed worldwide by Cargo. The album will be released on CD, red vinyl, picture disc, limited edition cassette, and digital. Friday February 9th will see the release of the lead single “Glass Sky.”.

    The new single “Glass Sky” and the forthcoming album Should’ve Known Better is produced by Dan Weller (Those Damn Crows, Enter Shikari, Monster Truck, Kris Barras, Holding Absence, Bury Tomorrow).

    "I love massive riffs, massive hooks and feel-good guitar music,” says Weller.  “When Collateral sent me their demos, I jumped at chance to produce their new record. I’m proud of what we managed to create.  It’s Collateral mk2 - ambitious, daring and refined. I can’t wait for people to hear it."

    Since the band released their debut album (Top 5 UK Rock Album Chart) at the start of 2020 Collateral have spent no time standing still. Covid came only weeks after the debut album was released and forced the band to cancel their highly successful tour with Phil X (Bon Jovi) halfway through. This made the band hungry to keep the momentum. With innovative ways to produce top quality live streams, the band became special guests supporting the likes of Skid Row, H.E.A.T and Reckless Love.

    The exciting and flamboyant Kent-based rock and roll band are comprised of Angelo Tristan (lead vocals, guitar), Louis Malagodi (guitar), Jack Bentley-Smith (bass) and Ben Atkinson (drums).

    On October 21, 2022, Collateral independently released a re-mixed and re-mastered version of their debut album “Re-Wired” which featured Jeff Scott Soto, Phil X, Kee Marcello, Rudy Sarzo, Danny Vaughn, and Joel Hoekstra. The re-release saw the band in the Official UK Rock Charts at #12. 

    After the gruelling back-to-back tours with Skid Row, H.E.A.T and Reckless Love, the band ignited a spark and strengthened their already loyal fanbase leading them to win the opening slot at 2023s Stonedead Festival, leading the band to perform their biggest show.

    Collateral’s hotly tipped sophomore album looks like it will take them to the next level. A lot of people don’t know what to expect from the new album, as the band have been tight-lipped about the new songs. Collateral have created a state-of-the-art rock album that will immerse listeners in their rock music universe, enabling fans to feel the blood, sweat and glory that went into the recording of every song.

    “We felt that our debut album was lacking the production,” reflects Collateral’s frontman, Angelo Tristan. “For the sophomore album, I wanted to make sure that this time we left no room for error and so got one of the hottest producers in the music industry, Dan Weller, to help lift these songs into a new dimension. With Dan’s pioneering studio expertise, this album has massive production quality that enables you to get lost in each character-filled track. Dan really brought out the emotions we were trying to portray and has achieved it with his own unique style.”

    “We wanted this album to express where we were in our own lives since the release of our first. So much has happened since then, I mean the world shut down for what felt like a lifetime! And it was obvious that people were going to need some sort of optimism.  I hope ‘Glass Sky’ is one of those songs that gives people the belief to find themselves again.”

    “Whereas, the feel-good ‘Just One Of Those Days’ is trying to find the good side of a bad day. Me being me, couldn’t help but to write a big power ballad, ‘The Long Road’, that I wrote from a very hard and deep place, in hope that it could maybe bring some peace and comfort to people who need it. I think there’s all aspects of life running though this album and what it means to us will remain in our hearts forever.”

    “Should’ve Known Better” is an album that goes beyond specific music genres,” says Angelo. “It’s almost like a soundtrack to a beating heart.  It’s an album that will remain timeless in years to come.” 

    Tracklisting:
    1. Glass Sky
    2. Original Criminal
    3. One Of Those Days
    4. Teenage Dreams
    5. Elysium
    6. On The Long Road
    7. No Place For Love
    8. Game Changer
    9. Final Stand
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