{"title":"Dinked Editions","description":"Super limited edition variants on vinyl from Dinked. https:\/\/dinkededition.co.uk\/","products":[{"product_id":"field-music-flat-white-moon","title":"Field Music - Flat White Moon","description":"\u003cp\u003eReleased 23rd April.\u003c\/p\u003e\n\u003cp\u003e\"We want to make people feel good about things that we feel terrible about.\" says David Brewis, who has co-led the band Field Music with his brother Peter since 2004. It's a statement which seems particularly fitting to their latest album, Flat White Moon released on 23 April via Memphis Industries.\u003c\/p\u003e\n\u003cp\u003eSporadic sessions for the album began in late 2019 at the pair's studio in Sunderland, slotted between rehearsals and touring. The initial recordings pushed a looser performance aspect to the fore, inspired by some of their very first musical loves; Free, Fleetwood Mac, Led Zeppelin and The Beatles; old tapes and LPs pilfered from their parents' shelves. 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For the most part, the album has fewer explicitly political themes than previous records, though there is No Pressure, about a political class who feel no obligation to take responsibility if they can finagle a narrative instead. And there's I'm The One Who Wants To Be With You which skirts its way around toxic masculinity through teenage renditions of soft-rock balladry.\u003c\/p\u003e\n\u003cp\u003eOn Flat White Moon Field Music take on the challenge of representing negative emotions in a way that doesn't dilute or obscure them but which can still uplift. 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Named after Dylan’s “Visions of Johanna”, Samuels grew up on the classic songwriters of yesteryear (George Harrison, Tom Petty, Neil Young) and after a healthy dose of Elliott Smith and Jon Brion, has spent the best part of the last decade honing her craft.\u003c\/p\u003e\n\u003cp\u003eExcelsior! was recorded in a small cabin in West Shokan in NY State, in the middle of the winter with her band and producer Sam Evian but its songs are full of West Coast sunshine. It's Evian's first full album production at his own Flying Cloud Studios.\u003c\/p\u003e\n\u003cp\u003eRecorded mostly to tape, the album is as a gorgeous combination of vintage instrumentation, strong melodic hooks, killer harmonies and Samuels’ elegant voice. Samuels seeks those answers through companionship, exploring the depths of her relationships and then calling upon a handful of womxn to provide the album’s backing vocals - a task she’d always performed herself until now. As such, Excelsior! makes a space for the voices of Courtney Marie Andrews, Hannah Cohen, Lomelda’s Hannah Read, A.O. Gerber, Louise Florence and Olivia Kaplan. The album takes its name from the signature that Samuels’ grandpa would use before he sadly passed away last December. “He was a very important person to me and he helped raise me,” Johanna explains. “He signed all of his letters and emails ‘Excelsior!’, including the exclamation point. It means ‘ever upward’ and that’s what I wish for everyone: to grow from listening with more empathy and from hearing each other out. 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Despite its serious subject matter, Miracle is far from austere in sound, marrying the cinematic, dreamlike quality of Francis’s earlier music with the\u003cbr\u003epared-back charm of great singer-songwriters like Judee Sill, Jeff Tweedy and Elliott Smith.\u003c\/p\u003e\n\u003cp\u003eThe album opens with ‘Bad Hair Day’, a relentlessly catchy—and deceptively upbeat—ode to hangovers and missed connections. “I’ve been calling on you all night \/But I never get through, I just get in the way” Francis laments; “I am a cloud in the sun’s\u003cbr\u003elight\/Whatever I do, whatever I say.” Elsewhere, the title track finds him pondering the fickle nature of the music industry: “I think of [Miracle] as acknowledging and even encouraging the feelings we’re not supposed to succumb to - giving up, giving in - just because it can be comforting to hear it from someone else. ‘Why am I climbing these social ladders and jumping through the hoops of this creative industry? 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It follows their outstanding self-titled debut released back in 2018 when the world that surrounded the Brighton fourpiece looked and felt like a very different place. Black Honey however are still the bad-ass, truly original band they have always been, they’ve just graduated from the intriguingly anomalous newcomers to becoming one of UK indie’s most singular outfits. They've travelled the world and released a Top 40 album; graced the cover of the NME and become the faces and soundtrack of Roberto Cavalli's Milan Fashion Week show; smashed Glastonbury and supported Queens of the Stone Age, all without compromising a shred of the wild, wicked vision they first set out with.\u003cbr\u003e\u003cbr\u003eIt's now time for the next instalment of their story – ‘Written \u0026amp; Directed” – which see’s Black Honey deliver one, very singular, message – a 10 track mission statement that aims to unashamedly plant a flag in the ground for strong, world-conquering women. For fierce frontwoman and album protagonist Izzy B. Phillips – it’s the most important message she could send to inspire her cult-like fanbase and fill the female-shaped gap that she felt so acutely when she was growing up and discovering rock music for the first time. \u003cbr\u003e\u003cbr\u003eWritten throughout 2019 and recorded in fits and spurts between touring, ‘Written \u0026amp; Directed’ is drenched with a hedonistic, anything-goes attitude. It’s also the most full-throttle collection of music that Black Honey have ever-written – egged-on by their run of shows supporting long-term friends and collaborators Royal Blood. 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We are really sorry about the horrendous manufacturing delays in getting this product made and delivered to you, so thanks for your patience. Due to international vinyl shortages, the delays were out of our control and there was nothing we could do to get these lps made any earlier, but the good news is that the record is finally ready and due to be delivered to you for 18th March! We hope you like the Vinyl package. \u003c\/span\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003e\u003cspan face=\"arial narrow, sans-serif\" style=\"font-family: 'arial narrow', sans-serif;\"\u003e\u003ci\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003eOne more piece of news we wanted to make you aware of is that unfortunately the manufacturing plant ran out of specific colour pellets for the marble effect on the last few copies of C\/D side of the record. The people at Dinked made an executive decision and decided that rather than delay further, they would send out the LPs as soon as possible, therefore there are a few copies randomly in amongst the 500 pressing that have a marble effect A\/B Side and Cream coloured C\/D side. In effect these copies are even more limited edition - ’Super Limited'! However, they are getting some additional Marble Effect C\/D side vinyl made (due in around 8 weeks) as possible replacements so you can either hold on to your ’Super Limited' pressing, or if you would rather swap the C\/D side for a Marble Effect when it is pressed then please contact \u003c\/span\u003e\u003ca href=\"mailto:info@moshimoshimusic.com\" target=\"_blank\"\u003einfo@moshimoshimusic.com \u003c\/a\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003eand they will happily send you a new C\/D side in the post to make you happy, once the repress is completed. \u003c\/span\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003e\u003cspan face=\"arial narrow, sans-serif\" style=\"font-family: 'arial narrow', sans-serif;\"\u003e\u003ci\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003eOnce again sorry it has been such a wait and thanks for all your support, and also supporting Indie retail.\u003cbr\u003eThanks, and Love from The Surfing Magazines”\u003c\/span\u003e\u003cu\u003e\u003c\/u\u003e \u003c\/i\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003cspan style=\"font-weight: 400;\"\u003eConsisting of one half of Slow Club and two thirds of The Wave Pictures, The Surfing Magazines’ primary influences are Bob Dylan, The Velvet Underground and all the great surf guitar music of the 1960s. They burst onto the scene with their eponymous debut album in 2017, a lauded LP described by Record Collector Mag as \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e“a vintage-yet-modern rock’n’roll classic”\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e.\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMixing the noir surf textures of 1960s garage rock along with westcoast sun beaten harmony pop, the 17-track \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBadgers of Wymeswold\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e follows the acclaimed debut and is to be released July this year. The London based foursome recorded the album at Ranscomb Studio in Rochester in February last year before the start of the first UK lockdown.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePushing their sound forward, the band utilise their garage rock ethic and have both Drummer Dominic Brider and Rhythm guitar player Charles Watson lead on vocals across multiple tracks. The album sees a return of free form saxophone parts, eerie violins and piano all appear, notably on tracks ‘Nostaw Boogie’ and ‘I’m Going Out Tonight To Play Some Pool’. The title track is drawn from David Tattersall’s nightmare vision about his home town's population of self governing people, the album artwork was also made by Tattersall and depicts a collage of his referenced dreams. The extensive LP showcases their characteristic sound at their brightest, from softer ballads such as ‘Poppies’ and ‘Silver Breasts’, surf guitar rock anthem ‘Locomotive Cheer’, and to the six bar blues ‘Pink Ice Cream’.\u003c\/span\u003e\u003c\/p\u003e","brand":"The Surfing Magazines","offers":[{"title":"CD","offer_id":39429487263930,"sku":"MOSHICD112","price":10.99,"currency_code":"GBP","in_stock":true},{"title":"Red\/Cream 2LP","offer_id":39429487329466,"sku":"MOSHILP112X","price":21.99,"currency_code":"GBP","in_stock":true},{"title":"Dinked Edition LP - SOLD OUT","offer_id":39429487362234,"sku":"MOSHILP112DX","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/BadgersofWymeswoldPackshot.jpg?v=1616783661"},{"product_id":"willy-mason-already-dead","title":"Willy Mason - Already Dead","description":"\u003cp\u003eReleased 6th August 2021.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMagic, miracles, ghosts, world leaders; these days it seems there is little left to believe in. Lies outweigh truth and even truth can be dangerous. Raising everyone’s spirits Already Dead – the fourth album and the first for nine years from Willy Mason - explores honesty and deception, anonymity in the digital age, good intentions with unexpected consequences, freedom, colonialism, love, god, and purpose because, its storyteller says, now is the time to restore some much-needed faith.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Already Dead is a spiritual state to aspire to; it is freedom from the trappings and inhibitions of one’s ego, culture, and mythology. It is freedom and love and freedom to love in the face of death,” tells Willy of the philosophy behind the writing. “It’s about the necessary destruction of one’s mythology; mythology of species, sex, race, nation, self. It’s about the pain and tragedy that comes with such destruction, but also about the freedom, possibility and opportunity for reconciliation; reconciliation with the natural world and with each other.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSparkling opener and first single ‘Youth On A Spit’ is one of Willy’s heaviest tracks to date; “I feel no pain I’ve already bled \/ You can’t kill me I’m already dead,” he taunts, through double-sided declaration of invincibility before embarking upon a biting, bold, and caring tour through the purgatory of life in 21\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003est\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e century North America. Voyaging across the cracks of a bleak and crumbling landscape, beauty begins to blossom as Already Dead casts new shades of meaning when applied to a society and culture teetering on the edge between reinvention and dissolution.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlready Dead arrives at a time when certain words must be said. 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The songs were composed in large part as a correspondence, through a back-and-forth of notebook pages, voice-recordings and WhatsApp-messages, at a time when lockdowns made meeting in person impossible. The first eight songs were recorded in an off-grid cottage deep in a Hampshire forest, with the sounds of chainsaws felling trees drifting in through the windows along with the birdsong. The\u003cbr\u003eresult is an album at once urgent and ancient, which fuses poetry, landscape, myth and music into something unique. These are songs that ring with hope, love and sadness –– and one need not know anything about The Epic of Gilgamesh to be touched by them. \u003c\/p\u003e\n\u003cp\u003eThe first single, to be released on March 31st 2021, is called ‘Gods and Monsters’. 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Arguing that through experimenting with the form of the song lyric (our most widely disseminated form of creative writing) we can build more nuanced popular discourse around the implicit forms of bias that ail us, WASTELAND presents complex characters changing their minds–along with their bodies and places in spacetime. Set in an unearthly liminal space populated by shape-shifters, time-travellers, talking genitalia and ectoplasmic spectres, the prose text evolves as the characters do: warping into cut-ups, soliloquies and even plays.Created over two years, the album draws from LICE’s rise in ‘the punk world’ (sharing stages with IDLES, The Fall, Squid, Fat White Family, Girl Band etc.) and eventual disillusionment with the limits of its prevailing ideas.\u003c\/p\u003e\n\u003cp\u003eWASTELAND is a concept album structured as an experimental short story, taking cues from Brian Catling, William Burroughs and Kurt Vonnegut Jr. Its core argument is that, through reworking the prevailing forms of satirical song lyrics, we can build more nuanced popular discourse around the implicit forms of bias that ail us–the song lyric being the most widely disseminated and commonly ‘engaged with’ form of creative writing there is. In this allegory for crises in society and art (from commodification to ideological state apparatuses), the moral, physical and temporal transformations of its characters are paired with the text’s transformation: breaking from prose into cut-ups, soliloquies and even plays. In the wild, liminal space of the Wasteland, this story follows The Conveyor as here lates the schemes of the shadowy RDC and flamboyant Dr Coehn to engineer the human race’s self-annihilation:introducing us to a cast of time-travellers, shape-shifters, talking genitalia and ectoplasmic spectres.As well as WASTELAND’s manifesto, this text features notes directing the curious reader to sources, figures or narratives behind the story’s various arguments.\u003c\/p\u003e\n\u003cp\u003e Musically, the album features a ‘noise intoner’ hand-built by LICE, based on the ‘Intonarumori’ of Luigi Russolo and his early 20th century circle of revolutionaries The Italian Futurists (whose vicious writings and manifestos about the art-world formed source material for the album). WASTELAND sees LICE draw influence from Bristol’s vital experimental scene, with the album principally written at community hub The Old England. 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It is a document of how the very process of music creation in a group can be of huge therapeutic benefit to people. The three members of Virginia Wing have explored the depths of their creative and artistic inspirations within performance, production and composition, and have made a candid and brash pop record that speaks clearly about hope, desperation, impulse, addiction, urge and shame.\u003cbr\u003e \u003cbr\u003e More tumultuous than its predecessor, private LIFE knocks hard. The evolution of Virginia Wing’s sound continues to build on the broad creative flow of the last album whilst being another audacious contribution to contemporary pop. The drums are huge and playfully unquantized. Edits are both assured and heavy handed, the instrumentation lightly mediates the two and finds itself on the edge of collapse alongside them. The icy facade of Merida Richards’ words are still front and centre, but are contrasted by dense, multilayered improvisations, vying for attention throughout the record. Over ‘I’m Holding Out For Something’s relentless juggernaut of 90’s R’n’B beats, Richards examines the relentless hope and desperation glued to modern consciousness, and speaks of how we often find the answer, or the route through, right at the breaking point. Subsequently, ‘St Francis Fountain’ compounds the issue, observing that often our own coping mechanisms can grow into full blown traumas of their own. Virginia Wing’s last record opened its arms into euphoric light, private LIFE invites you through a door and closes it. It examines what we’re doing at night, on our own, after work. What we do to enjoy ourselves, to cope, to be together, to be alone. 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His new album In The Furrow Of Common Place is a deeper plunge inside himself to offer up more of his voice to accompany his profoundly unique and moving compositions. “There were things I was seeing around me and being affected by in my daily life,” he says. “Socially and politically I saw defiance but also hopelessness. I wanted to be honest with the frustration and turmoil I was experiencing.”\u003cbr\u003e\u003cbr\u003eThe decision to include more of Ghedi’s vocals was a conscious one and driven by a need to say something. However, this isn’t a brash raging political polemic. As is now customary with Ghedi’s work, it is rich in nuance, history, poetry and allegory. Musically, the album is equally locked into this ongoing sense of evolution. Ghedi’s intricate yet deft guitar playing still twists and flows its way through the core, weaving in and out of gliding double bass, sweeping violin, gentle percussion and vocals that shift from tender solos to overlapping harmonies. \u003cbr\u003e\u003cbr\u003eAs with much of Ghedi’s work, there’s a rich connection between the past and the current. Musically, he continues to sit in a singular position of sounding distinctly contemporary yet also with a touch of traditional flair. This expands itself into the lyrical terrain here too. “I've been exploring contemporary issues and in that process discovering sources that correlate with similar issues in the past,” he says. “Which proves that these issues throughout history - environmental destruction, working class poverty etc - are ongoing.” \u003cbr\u003e\u003cbr\u003eFor all the socio-political and historical backdrop to the record it is not one that feels overwhelmed by it. Much like Ghedi’s work when it was largely instrumental - and some of it still is here - it flows and unfurls thoughtfully, with space still being utilised masterfully, creating room to pause and reflect. 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Only a year ago, band members Noah and Sabine were playing in the dream-pop group Barrie, who broke out following a string of buzz-making singles, but Charismatic Megafauna proves that Psymon Spine are on a different journey, exploring sounds ranging from disco to early techno and motorik’s incessant pulse. Psymon Spine put their own addictive stamp on the sounds of the past, with surprises at every turn and the type of lush synth work that could only come from brilliant students of dance music. Reflecting optimism and catharsis, Charismatic Megafauna is a heady trip through left-field pop that packs its own emotional wallop.\u003c\/p\u003e","brand":"Psymon Spine","offers":[{"title":"LP","offer_id":39505415471290,"sku":"LPNS129","price":23.99,"currency_code":"GBP","in_stock":false},{"title":"Dinked Edition LP - SOLD OUT","offer_id":39505415504058,"sku":"LPNS129X","price":23.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/Psymon.jpg?v=1617973301"},{"product_id":"claud-super-monster","title":"Claud - Super Monster","description":"\u003cp\u003eReleased 12th February 2021.\u003c\/p\u003e\n\u003cp\u003eWhen Claud Mintz’s mother finally heard the 13 songs on her kid’s magnetic first album, Super Monster, she asked a concerned question: Just how many people had her 21-year-old dated? From beginning to end, these sparkling pop tunes capture the assorted stages of a relationship’s delight and dejection—the giddy sensation of a first kiss during the beaming “Overnight,” the heartsick longing of a pending rejection during the yearning “Jordan,” the reluctant call for a requisite breakup during the smoldering “Ana.” Claud, though, replied that these songs detailed the phases of only two or three relationships, simply written during them or at various points after they were over.\u003c\/p\u003e\n\u003cp\u003eThe debut release on Phoebe Bridgers’ Saddest Factory Records, Super Monster is a vertiginous but joyous coming-of-age reckoning with such young love. Claud sees relationships as games of endless wonder, intrigue, and second-guesses, a roller-coaster thrilling you even when it’s terrifying. If “Gold” turns the tension and indecision of a bad match into an undeniable bit of lithe disco, “That’s Mr. Bitch To You” uses a spurt of righteous indignation to fuse a little soul and emo into one breathless hook. Super Monster is like a compulsive compilation that Claud culled from a lifetime of musical enthusiasms—the arcing alt-rock of ’90s airwaves, the rapturous pop of ’00s chart-toppers, the diligent genre-hopping of modern online life. Claud emerges as the chameleonic mastermind of this mélange, channeling all of love’s emotions into songs so sharp they make even the hardest times feel fun.\u003c\/p\u003e\n\u003cp\u003ePerhaps you are in the throes of one of these romantic moments yourself right now, resentful of a frustrating paramour like Claud during “Pepsi” or indulging in lust like “In or In Between.” Or maybe these songs recall those wild days and tough situations. Incisive, instant, and addictive Super Monster works on either level—to remind us of love’s wild ups and downs or to help us deal with them in real time. 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It soon inspired them to begin work on music of their own. \u003cbr\u003e \u003cbr\u003e“We didn’t want to be a psych band,” explains Katie, \"discovering that music gave us both energy and focus. We’ve spent so many years developing these songs, because I think it was important we waited until White Flowers became its own defined thing.\"\u003cbr\u003e \u003cbr\u003eThe pair found that by using equipment they barely understood, they produced their most innovative work. Beginning on GarageBand, they crafted loops that turned into songs, and by the time they’d worked out how to use it, they’d graduated to a drum machine.\u003cbr\u003e \u003cbr\u003eNow very much in control, and with a clear and determined focus, the pair began producing music that, whilst leaning into the North’s post-punk past, possessed a vision and depth informed by their own post-industrial Preston experiences. Creating all of their artwork, visuals and overall aesthetic, they began building a world that stretched beyond the music alone – in an unusual circular fashion, this auteurist-like approach became a way of translating their environment and experiences into a form of escapism from the very place that inspired them. \u003cbr\u003e \u003cbr\u003e“We’ve always taken care to control every aspect of the White Flowers ‘world’, and because we’ve developed this over time, it feels to us like there’s a separate realm for White Flowers music to exist in,” observes Joey. “More than anything, the isolation that a place like Preston provides means that what we do is very much its own, separate thing”.\u003cbr\u003e \u003cbr\u003eThat ‘thing’ is the sound of the North at night; the unglamorous North, caught in the hinterlands that divide the main cities, a monochrome psychedelia formed in Preston and the imposing Lancashire hills that envelop them. As if always waiting there for them, in returning to their roots, White Flowers found themselves.\u003cbr\u003e \u003cbr\u003eNonetheless, it was shortly before leaving London that another creative breakthrough occurred. While performing a small show as a support act, a fan in the audience, impressed by the wall of noise that would frequently extend for minutes at the end of tracks, suggested they work with a like-minded friend. Within weeks, the pair were recording at the Manchester studio of Jez Williams, erstwhile member of Doves. \u003cbr\u003e \u003cbr\u003eWilliams and Manchester immediately made sense, and it’s that industrial gothic that White Flowers were able to tap into as they built the album during on-off sessions across two years – sometimes leaving the studio for a couple of months to work on ideas, other times crafting the minutiae of details across all-night studio sessions.  \u003cbr\u003e \u003cbr\u003eThe access to flexible studio time was telling, and the band were able to develop an aesthetic that, whilst indebted to the various sounds that defined their youth, also leaned heavily into Kevin Shields’ droning wall of noise guitars, the palimpsestic hauntology of early Burial, and the ghost box sampleadelia of Boards of Canada. \u003cbr\u003e \u003cbr\u003e“We like the more alien sounds” explains Joey, “where the focus is on creating atmosphere.” This is perhaps most obvious on the album title track, one of the more sonically enticing tracks on the record with its pulsing drone and Portishead-esque rhythm, or even ‘Night Drive’, a live favourite that the pair take pride in building into a monstrous wall of sound.\u003c\/p\u003e\n\u003cp\u003e‘Daylight’ pushes forward with a prettiness matched by Katie’s oblique, near-glossolalia vocal. “We don’t like it when things are clean or overproduced” explains Katie, “and there’s something interesting in the instinctive nature of the first thing you\u003cbr\u003esing, because you don’t really know what you’re singing until it comes out and it makes sense.” That psychographic-style process to writing informs a collection of songs that are at once both intuitive and fully-formed. \u003cbr\u003e \u003cbr\u003eThe oldest song on the record, ‘Help Me Help Myself’, bears witness to this approach. Perhaps their most direct and perfect ‘pop’ song to date, it suggests these songs were always there within, just waiting to be divined. \"We’d just started using drum machines and there’s something of a naïve quality to it,” explains Katie, though its naivety has now been augmented by Jez Williams’ impossibly diaphanous production.  \u003cbr\u003e \u003cbr\u003eThe constant upheaval of, well, everything has fed directly into Day By Day. “The songs on the album were written from when we were teenagers up to our early 20s, so it’s come of age in this weird apocalyptic time,” says Katie. \u003c\/p\u003e\n\u003cp\u003e“Everything’s surrounded by uncertainty” notes Joey, \"but it isn’t all doom and gloom, there are positives, rules are out the window and you can do what you want. 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Even if we weren’t living through extraordinarily troubling times, there is nothing quite like a Teenage Fanclub album to assuage the mind, body and soul, and to reaffirm that all is not lost in this world.\u003c\/p\u003e\n\u003cp\u003eEndless Arcade follows the band’s ninth album “Here”, released in 2016 to universal acclaim and notably their first Top 10 album since 1997; a mark of how much they’re treasured. The new record is quintessential TFC: melodies are equal parts heart-warming and heart-aching; guitars chime and distort; keyboard lines mesh and spiral; harmony-coated choruses burst out like sun on a stormy day.\u003c\/p\u003e\n\u003cp\u003eIn the 1990s, the band crafted a magnetically heavy yet harmony-rich sound on classic albums such as “Bandwagonesque” and “Grand Prix”. This century, albums such as “Shadows” and “Here” have documented a more relaxed, less ‘teenage’ Fanclub, reflecting the band’s stage in life and state of mind, which Endless Arcade slots perfectly alongside. The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community and hope is entwined with more bittersweet, sometimes darker thoughts - insecurity, anxiety, loss.\u003c\/p\u003e\n\u003cp\u003eSuch is life. But the title track suggests, “Don’t be afraid of this endless arcade that is life.”  \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eA preview from the album came in February 2019 with Raymond’s ‘Everything Is Falling Apart’, an online single released at the outset of a six-month tour and a highlight of Endless Arcade.\u003c\/p\u003e\n\u003cp\u003eEverything is falling apart? Well, yes, but the song was written long before COVID-19 arrived. Neither was Raymond’s inspiration political or social, but more, “the entropy in the universe, the knowledge that everything eventually decays,” he explains. But Raymond says relax. Or rather, “Relax, find love, hold on to the hand of a friend”.\u003c\/p\u003e\n\u003cp\u003eFortunately, Endless Arcade was virtually finished by the time lockdown was announced, bar the odd tinker under the engine hood. It seems timely, given how everyone had to initially stay home under lockdown, that the album starts with Norman’s ‘Home’, though it was chosen in part because of its opening line: “Every morning, I open my eyes...” The album’s longest track (at seven minutes) typifies TFC’s relaxed groove, culminating in Raymond’s peach of a guitar solo.\u003c\/p\u003e\n\u003cp\u003eNorman’s search for ‘home’ could be literal: after all, he’s been living in Canada for the last 10 years. But it’s also figurative. 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Named The Guardian’s ‘Contemporary Album Of The Month’ and Mojo’s ‘Jazz Album of The Month’, it saw the group perform Maida Vale sessions for both Gilles Peterson and Tom Ravenscroft, as well as feature on compilations for Brownswood Recordings and Soul Jazz Records. Cunningham’s rise as an in-demand producer led to remixes for the likes of techno royalty Carl Craig,as well as legendary jazz label Blue Note Records alongside a plethora of the UK’s finest musical talent on Blue Note Re:Imagined.\u003cbr\u003e\u003cbr\u003eIshmael Ensemble has since become a platform for Cunningham to subvert the conventional notions of producer\/artist relationships, unsettling genre tags, and transcending the familiar landscape of UK jazz itself. Across the album’s 10 tracks, Cunningham practices a holistic approach with a long list of collaborators. 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The driving, uninhibited performances of Stephen Mullins (guitar) and Rory O’Gorman (drums), along with Jake Spurgeon’s agile synth work, lay the foundation for Cunningham to deliver his most confident and direct saxophone performances to date. \u003c\/p\u003e\n\u003cp\u003eSide B sees Cunningham settle into his role as producer and collaborator, resetting the scene with the vivid and playful ‘Looking Glass’, inviting vocalist, harpist and strings arranger STANLAEY to take centre stage. The landscape shifts again for the movingly nostalgic ‘Morning Chorus’, whilst ‘The Gift’ sees the angelic vocals of Tiny Chapter (Waldo’s Gift) initiate a dizzying crescendo of swirling synthesisers and string arrangements. 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Recorded in Denver with Tennis’ Alaina Moore and Pat Riley producing, the collection celebrates the timeless delights of a well-crafted pop song, flirting with Blondie, Madonna, and even Mariah Carey as it forges a joyful soundtrack to liberation and self-discovery.\u003cbr\u003e\u003cbr\u003eBurch deliberately worked with more women collaborators than ever before on the album, and the results are transcendent, reveling in the passion and the power of the divine feminine. The collection prioritizes ecstasy and escape, and Burch’s commitment to collective catharsis in her lifted, airy delivery manages to exude both thoughtful introspection and carefree abandon all at once. The shadow still lurks on the album, to be sure, but the light ultimately wins, and the result is an intoxicating collection all about coming into our truest selves.\u003cbr\u003e\u003cbr\u003eWhen it came to mixing and mastering the material, Burch put her faith in Gloria Kaba (Lauryn Hill, A Tribe Called Quest), Mikaelin “Blue” Bluespruce (Solange Knowles), and Heba Kadry (Bjork, Beach House) to truly understand where she was coming from with the music. Burch designed the record to mirror the emotional journey that went\u003cbr\u003einto creating it, sequencing the music to work its way from jittery indecision to poised certainty over the course of ten mesmerizing tracks.\u003cbr\u003e\u003cbr\u003eExhilarating opener “Control” takes a leap of faith as it learns to make peace with letting go, while the infectious “Heart Of Gold” grapples with wanting what you can’t have. By the time the silky “New Beginning” rolls around, Burch begins settling into a newfound sureness that dominates the collection’s second half, with the addictive “Emotion” (a collaboration between Burch and her Captured Tracks labelmate Wild\u003cbr\u003eNothing) celebrating a spectrum of emotions as fuel for creativity. \u003c\/p\u003e\n\u003cp\u003e“I’ve written quite a bit about anxiety and heartbreak in the past,” Burch reflects, “but this record is more inspired by confidence and self-love. This is the most me I’ve ever sounded on an album.”\u003c\/p\u003e","brand":"Molly Burch","offers":[{"title":"CD","offer_id":39578125500602,"sku":"CT333CD","price":11.99,"currency_code":"GBP","in_stock":true},{"title":"Indies Coke Bottle Clear LP","offer_id":39578125566138,"sku":"CT333LPC1","price":19.99,"currency_code":"GBP","in_stock":false},{"title":"Dinked Edition LP - SOLD OUT","offer_id":39578125598906,"sku":"CT333LPC3","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/ALBUMARTWORK_94870e09-1b74-456c-8d8d-e80d91e47232.jpg?v=1619262244"},{"product_id":"shire-t-tomorrows-people","title":"Shire T - Tomorrow's People","description":"\u003cp\u003eReleased 20th August 2021.\u003c\/p\u003e\n\u003cp\u003eShire T is Chris Davids (one half of celebrated electronic duo Maribou State) with\u003cbr data-mce-fragment=\"1\"\u003ehis debut solo album “Tomorrow’s People”, via Maribou’s own Dama Dama\u003cbr data-mce-fragment=\"1\"\u003erecord label (a Ninja Tune imprint). 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