{"title":"Rock\/Pop\/Indie","description":"","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. But a balance between performance and construction has always been an essential part of Field Music.\u003c\/p\u003e\n\u003cp\u003eBy March 2020, recording had already begun for most of the album's tracks and, with touring for Making A New World winding down, Peter and David were ready to plough on and finish the record.\u003c\/p\u003e\n\u003cp\u003eThe playfulness that’s evident in much of Flat White Moon's music became a way to offset the darkness and the sadness of many of the lyrics. Much of the album is plainly about loss and grief, and also about the guilt and isolation which comes with that.\u003c\/p\u003e\n\u003cp\u003eThose personal upheavals are apparent on songs like Out of the Frame, where the loss of a loved one is felt more deeply because they can't be found in photographs and compounded by the suspicion that you caused their absence, or on When You Last Heard From a Linda, which details the confusion of being unable to penetrate a best friend's loneliness in the darkest of circumstances.\u003c\/p\u003e\n\u003cp\u003eSome songs are more impressionistic. Orion From The Streets combines Studio Ghibli, a documentary about Cary Grant and an excess of wine to become a hallucinogenic treatise on memory and guilt.. Others, such as Not When You're In Love, are more descriptive. Here, the narrator guides us through slideprojected scenes, questioning the ideas and semantics of 'love' as well the reliability of his own memory. 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. I hope this record makes people want to be gentler with each other and themselves.”\u003c\/p\u003e","brand":"Johanna Samuels","offers":[{"title":"CD","offer_id":38137247924410,"sku":"BR011CD","price":10.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":38137247957178,"sku":"BR011LP","price":21.99,"currency_code":"GBP","in_stock":false},{"title":"Dinked Edition LP","offer_id":38137247989946,"sku":"BR011LPD","price":18.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/JSartwork-UK.jpg?v=1614165348"},{"product_id":"francis-lung-miracle","title":"Francis Lung - Miracle","description":"\u003cp\u003eReleased 18th June 2021.\u003c\/p\u003e\n\u003cp\u003eMiracle is the new album from Manchester singer songwriter Francis Lung, set for release on Memphis Industries on 18 June 2021.\u003cbr\u003e\u003cbr\u003e“For me, [Miracle] is about the struggle between my self-destructive side and my problem-solving, constructive side,” says Francis. “I suppose through a lot of these songs I’m dealing with these emotional problems, acknowledging the negative aspects of my behaviour instead of burying them, and providing an alternative point of view for myself”. 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? Does this make me happy?’” \u003c\/p\u003e\n\u003cp\u003eThese themes of longing, and lacking, missing and being missed, reoccur throughout Miracle. “When I die\/Will I be missed\/Or am I missing the point?” asks ‘Say So’; while ‘Lonesome No More’, inspired by the Kurt Vonnegut book of the same name, begs the\u003cbr\u003equestion: if loneliness was eradicated, would we miss it? By confronting these feelings, Francis is able to move forward, as triumphant album closer ‘The Let Down’ proves. Its lyrics serve as a call to action, as Francis wills himself (and the listener) to ‘Get up\/Get something going\/Do something, do it\/Do it now’ \u003c\/p\u003e\n\u003cp\u003eMiracle was produced by Francis in collaboration with Brendan Williams (Dutch Uncles, Matthew Halsall, Kiran Leonard) and Robin Koob (who co-arranged and performed strings). The opportunity to take creative control was one Francis relished. “I’m quite bad at delegating” he admits, noting that he played every instrument except strings on Miracle. The result is a cohesive, deeply personal record, which is as vital as it is vulnerable. “I don’t want to be defined by my anxiety, my depression or any history of substance abuse,” Francis says, “but I do want to reach out to other people who have had similar experiences, especially if it’s in a way that helps them feel a little better. 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Originally scheduled for issue in mid 2020, this record’s temporal trajectory was thwarted by the coming of the Plague. But it would take more than a mere Plague to tamp down the exquisite fury of this trio when they are fully dialed-in. And Sweep It Into Space is a masterpiece of zoned dialing. Recorded, as usual, at Amherst’s Biquiteen, the sessions for Sweep It Into Space began in the late Autumn of 2019, following a West Coast\/ South East tour. The only extra musician used this time with Kurt Vile. Indeed, Sweep It Into Space is a very cool album. As is typical, Lou Barlow writes and sings two of the album’s dozen tunes and Murph’s pure-Flinstonian drumming drives the record like a go cart from Hell. Lou’s songs here are as elegant as always. But there are very few moments where you wouldn’t know you were hearing Dinosaur Jr. in blindfolded needle drop. They have a signature sound as sure as the Stooges or Sonic Youth or Discharge ever did. They continue to expand their personal universe with Sweep It Into Space, without ever losing their central core.\u003c\/p\u003e","brand":"Dinosaur Jr.","offers":[{"title":"CD","offer_id":39247887040698,"sku":"JAG366CD","price":9.99,"currency_code":"GBP","in_stock":true},{"title":"Standard LP","offer_id":39247887139002,"sku":"JAG366LP","price":18.99,"currency_code":"GBP","in_stock":false},{"title":"Opaque Purple Blast LP","offer_id":39247887073466,"sku":"JAG366LP-C3","price":19.99,"currency_code":"GBP","in_stock":false},{"title":"Translucent Purple Ripple LP","offer_id":39247887106234,"sku":"JAG366LP-C1","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/jag366.dino.sweepit.fc.3000.jpg?v=1614166098"},{"product_id":"the-offspring-let-the-bad-times-roll","title":"The Offspring - Let the Bad Times Roll","description":"\u003cp\u003eReleased 16th April 2021.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eThe Offspring is a punk rock band from Garden Grove, California, formed in 1984. The band's current lineup consists of lead vocalist Dexter Holland, guitarist Noodles, drummer Pete Parada and bassist Todd Morse. Over the course of their 36-year career, they have released nine studio albums.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eThe Offspring is often credited—alongside fellow California punk bands Green Day, Rancid, Bad Religion, NOFX, Pennywise and Jawbreaker—for reviving mainstream interest in punk rock in the 1990s. They have sold over 40 million records worldwide, making them one of the best-selling punk rock bands in history. The Offspring achieved its first commercial success with their third studio album, Smash (1994), which has sold over eleven million copies worldwide, setting a record for most albums sold on an independent record label, and was the first album released on Epitaph to obtain gold and platinum status. After switching record labels from Epitaph to Columbia in 1996, the Offspring continued their commercial success with its next six studio albums: Ixnay on the Hombre (1997), Americana (1998), Conspiracy of One (2000), Splinter (2003), Rise and Fall, Rage and Grace (2008) and Days Go By (2012); the first four were certified platinum, multi-platinum, platinum and gold status by the RIAA respectively.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eThe legendary So-Cal punk group The Offspring are back with their 10th album and first new offering since 2008. After releasing two standalone tracks in 2020 - the over-the-top cover of Joe Exotic's (of Tiger King infamy) \"Hey Kitty Kitty\" and a rendition of Darlene Love's classic \"Christmas (Baby Please Come Home)\" - the band is ready to plant their punk rock flag in the sand once again with their blistering new album Let the Bad Times Roll.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eWith the help of producer Bob Rock, Dexter Holland describes the album as \"the most cathartic thing we've done. The messages might be dark, but at the end what's left is that communication is important, working through feelings is important and most of all, hope is important.\" \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eThen let the bad times roll for now, in the hopes that good times lie ahead.\u003c\/p\u003e","brand":"The Offspring","offers":[{"title":"CD","offer_id":39247941009594,"sku":"7223021","price":11.99,"currency_code":"GBP","in_stock":true},{"title":"Standard LP","offer_id":39247941042362,"sku":"7223020","price":21.99,"currency_code":"GBP","in_stock":false},{"title":"Indies Orange Crush LP","offer_id":39247941075130,"sku":"7223016","price":21.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/Offspring-LTBTRCover.jpg?v=1614166956"},{"product_id":"the-white-stripes-greatest-hits","title":"The White Stripes - Greatest Hits","description":"\u003cp\u003eReleased 26th February 2021.\u003c\/p\u003e\n\u003cp\u003eIn 1997 a brother and sister climbed into the third floor attic of their Southwest Detroit family homestead and bashed out a primitive cover of David Bowie’s “Moonage Daydream.” In an alternate reality, it’s all they ever do musically. The brother leads a spartan life as a dutiful upholsterer and the sister finishes culinary school and continues to make heartwarming food. \u003c\/p\u003e\n\u003cp\u003eBut that doesn’t happen. Something sparks in both of them. They take their simple guitar-drums-voice approach to a local open mic night on Bastille Day. The performance was just good enough to keep them going. In what feels like a whirlwind, they record and release two 7-inch singles for a local indie label. A not-so-local indie offers to put out a full length album.\u003c\/p\u003e\n\u003cp\u003eThey start touring. Another album. More touring. Another album. Folks REALLY start to pay attention. CRAZY touring. More albums, accolades, wildest dream after wildest dream coming true. “World-renowned” becomes an appropriate descriptor as does “long-building overnight sensation.”\u003c\/p\u003e\n\u003cp\u003eIt is with extreme reverence that we present to you The White Stripes Greatest Hits. The first-ever official anthology of recordings from the iconic rock duo, Jack and Meg White, is an essential career-spanning collection highlighting 26 previously released songs. From late Nineties flashes of brilliance through early 2000s underground anthems, masterful MTV Moon Man moments, Grammy-grabbing greatness, and worldwide stadium chants, the songs here are as wide-ranging as you can imagine. In an era of streaming where the idea of a “Greatest Hits” album may seem irrelevant – that an act’s most streamed songs are considered their de facto “hits” – we wholeheartedly believe that great bands deserve “Greatest Hits” and that a large part of Third Man Records’ and The White Stripes’ successes have been built on zigging when the rest of the music business is zagging. Thus, for a great band with great fans, a greatest hits compilation for The White Stripes is not only appropriate, but absolutely necessary.\u003c\/p\u003e","brand":"The White Stripes","offers":[{"title":"CD","offer_id":39249169154234,"sku":"19439822392","price":11.99,"currency_code":"GBP","in_stock":true},{"title":"2LP","offer_id":39249169187002,"sku":"81354702963","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/tws-500x500.jpg?v=1614189345"},{"product_id":"maximo-park-nature-always-wins","title":"Maxïmo Park - Nature Always Wins","description":"\u003cp\u003eReleased 26th February 2021.\u003c\/p\u003e\n\u003cp\u003eAn album of our times, Newcastle band Maximo Park return with their seventh record Nature Always Wins.\u003c\/p\u003e\n\u003cp\u003eThe album arrives as something of an examination, zeroing in on the notion of the self, identity as a band, and that of humanity as a whole. 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What wasn’t anticipated was how that freedom would be soon be stripped, as lockdown restrictions left the band recording remotely across Newcastle, Liverpool and Atlanta with audio files bounced back and forth, 4000 miles across the world! \u003c\/p\u003e","brand":"Maxïmo Park","offers":[{"title":"CD","offer_id":39249179312314,"sku":"PROINC13CD","price":9.99,"currency_code":"GBP","in_stock":true},{"title":"Clear Turquoise LP","offer_id":39249179345082,"sku":"PROINC13V","price":19.99,"currency_code":"GBP","in_stock":false},{"title":"Deluxe 2LP","offer_id":39249179377850,"sku":"PROINC13VS","price":21.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/max-500x500.jpg?v=1614189643"},{"product_id":"pj-harvey-stories-from-the-city-stories-from-the-sea-2021-reissue","title":"PJ Harvey - Stories From The City, Stories From The Sea (2021 Reissue)","description":"\u003cp\u003eReleased 26th February.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Open Sans'; color: #191919;\"\u003eReissue on vinyl of the fifth PJ Harvey studio album Stories From The City, Stories From The Sea.  Produced by PJ Harvey with Rob Ellis and Mick Harvey, and originally released in November 2000, Stories From The City, Stories From The Sea features the singles ‘Good Fortune’, ‘A Place Called Home’ and ‘This Is Love’ and includes a duet with Radiohead’s Thom Yorke on ‘This Mess We’re In’.  The album won the Mercury Music Prize in 2001.  Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer Head.\u003c\/span\u003e\u003c\/p\u003e","brand":"PJ Harvey","offers":[{"title":"LP","offer_id":39493756977338,"sku":"0898541","price":21.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/PJHarveyStories.jpg?v=1614189929"},{"product_id":"wolf-alice-blue-weekend","title":"Wolf Alice - Blue Weekend","description":"\u003cp\u003eReleased 4th June 2021.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Blue Weekend\", the third album from Mercury-winning quartet Wolf Alice, released on Dirty Hit.\u003c\/span\u003e\u003c\/p\u003e","brand":"Wolf Alice","offers":[{"title":"CD","offer_id":39249437065402,"sku":"DH1061","price":11.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":39249437098170,"sku":"DH1058","price":18.99,"currency_code":"GBP","in_stock":false},{"title":"Indies Transparent Red LP - SOLD OUT","offer_id":39249437130938,"sku":"DH1060","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/WolfAlice-BlueWeekend.jpg?v=1614194802"},{"product_id":"foo-fighters-medicine-at-midnight","title":"Foo Fighters - Medicine At Midnight","description":"\u003cp\u003eReleased 5th February 2021.\u003c\/p\u003e\n\u003cp\u003eMedicine at Midnight is the new album from Foo Fighters, and packs nine new songs into a tight-ass 37 minutes. 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In the summer of 2018, Arlo dove into her first EP, collaborating with producer Gianluca Buccellati on 2019’s acclaimed Super Sad Generation. “We were in an Airbnb in London, just writing, taking photos, and going for walks,” Arlo remembers - they ended up writing the songs in just 24 hours. Arlo’s Sophie EP quickly followed, alongside performances at Glastonbury and Latitude Festivals and supporting slots on tour with Jordan Rakei and Loyle Carner. A place on the BBC Sound Poll, and inclusion in Dazed’s 100 List, followed in 2020 - beginning a truly exceptional year for Arlo. 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What is the purpose of art but to depict human emotions for others to understand and empathise with? On his gripping new album For Those I Love, David Balfe offers a highly personalised portrait of love, loss, confusion, nostalgia and pain – that is to say, the Dublin songwriter\/producer walks you through the early stages of mourning. Each savage emotion comes across as tangible and real. Balfe makes spoken word music over urbane electronica that takes its cues from alternative hip-hop and various forms of club music. His heavily accented delivery and penchant for familiar Dublin cadences means writing can only be set in one place, elevating the album among the great modern works set in the city.\u003c\/p\u003e\n\u003cp\u003eA project that started out as an ode to friendship was remodeled under a tragic cloud. Balfe conceived of For Those I Love as a solo project when he was still a member of punk band Burnt Out. 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The first word on Two Saviors is “pareidolia.” It is a word about recognising shapes where none were intended to exist - like searching for images in the clouds. It’s an uncommon word, with a beautiful sound, and serves as an apt guide through these new songs of Buck’s, which are themselves uncommon and beautiful, and which invite a deep, cloud-gaze state of attention.\u003cbr\u003e \u003cbr\u003e Two Saviors was recorded by producer and engineer Andrew Sarlo (who produced the first four Big Thief LPs), under his specific conditions: they make the album in New Orleans, during the hottest part of the year, spend no more than 7 days tracking, all live, on an 8-track tape machine with only dynamic microphones, and no headphones, not allowing the players to hear back any takes until the final day. The band, featuring Adam Brisbin (guitar), Mat Davidson (bass, pedal steel, fiddle), Austin Vaughn (drums), and Buck’s brother Dylan Meek (piano, organ), set up in a Victorian house one block from the Mississippi River and worked within these limitations, encouraging every recording to be imbued with the living, intuitive, and human energy of a first take. \u003cbr\u003e \u003cbr\u003e The rituals that led towards these songs are ones of pain and healing; the power felt through the songs lies in the fact that the pain is never plainly stated, never a note of anguish or resentment, no complaints about the feeling of pain. Pain is not weaponised on this record, but cared for, nurtured, and the songs become meditations on the reality of pain, conducted without resistance.\u003cbr\u003e \u003cbr\u003e Although the song’s narrator runs into several roadblocks in 'Second Sight' - like a pool spiked with turpentine - the chorus is uplifting, with sprightly guitar and upbeat lyrics: “I work for free \/\/ because love is all I need \/\/ yes I work for free \/\/ and love is all I need.” “The value in our world is built by the labour of love - a currency that accrues no debt, enriching both the giver and receiver,” says Buck. “This wealth provides the vitality needed to lift a hammer, to raise a roof, and to lay upon the eaves in silent awe of nature and civilization and the culmination of universal effort. Magic (the left hand of love?) arises from attention, and is accessible to all without prejudice. A creation from nothing, from some uncaused cause, some eternal unmoved mover.\"\u003cbr\u003e \u003cbr\u003e The songs on this album shine with this wisdom and are not ostentatious about it. This is true to Buck’s nature. He is recording life, consciously and unconsciously on a broad spectrum of planes. A new album from him is a gift, a chance to wonder about ways we could be seeing, recording.\u003cbr\u003e \u003cbr\u003e “At its core, Buck Meek feels like a country record, and not just because Meek’s native Texan twang stands at the forefront of every tune. 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On A Wooden Piano","description":"\u003cp\u003eReleased 19th February.\u003c\/p\u003e\n\u003cp\u003eJason Lytle set up a new plan when he decided to re-record the songs from Grandaddy’s “The Sophtware Slump.” Twenty years ago he made this ageless record while red-eyed and running around a sweltering slipshod home studio in his boxers using some gear he planned to return to Best Buy as soon as he was done. For this new, piano-centric “The Sophtware Slump,” Lytle traveled around Los Angeles, sourcing studios and pianos like a master chef selects foods from a farmer’s market. He identified three instruments and three studios that would suffice. Everything was in place.\u003cbr\u003e \u003cbr\u003e As with many best-laid plans, his were scuttled. In this case by a pandemic.\u003cbr\u003e \u003cbr\u003e So two decades after making a DIY masterpiece, Lytle found himself recording those songs again, sweating in his apartment again, trying to create a controlled environment while surrounded by chaos.\u003cbr\u003e \u003cbr\u003e “I wrote a list of things I had to work around here,” he says. “Traffic. Pretty strong from 8-10, commute times. Then 2 to 5. Helicopters, garbage trucks, weed whackers, lawnmowers, leaf blowers, motorcycles that inevitably always drive by during the middle of a take, sports cars, lots of fancy luxury sedans with no mufflers, parrots.”\u003cbr\u003e \u003cbr\u003e Parrots.\u003cbr\u003e \u003cbr\u003e So unlike the old days where the coming and going of birds could be electronically punched in, Lytle 20 years after “The Sophtware Slump” found live birds willing to contribute to his album, and at no cost.\u003cbr\u003e \u003cbr\u003e He laughs at the challenge of reinventing the album. Twenty years bought him no new comforts.\u003cbr\u003e \u003cbr\u003e “Because of the pandemic, all of the sudden, I was looking at a real deadline to make the damn thing,” he says. “Here we go, just like the old days. If you want something done right, you gotta do it yourself.\u003cbr\u003e \u003cbr\u003e “Not that much has changed.”\u003cbr\u003e \u003cbr\u003e Yet many things have changed since Grandaddy issued “The Sophtware Slump” in May 2000. Back then, Grandaddy felt on the cusp of something: A band of underdogs pushing to reach for the sky from their modest existence in Modesto, Calif., a place like many other American towns and cities filled with those nurtured by its stasis and those seeking escape by any means. For Grandaddy – the rockers being Burtch, Dryden, Fairchild, Garcia, Lytle -- escape came in the form of these songs envisioned by Lytle, a magpie drawn to some shiny objects, but also others with less luster, like a seemingly antiquated keyboard.\u003cbr\u003e \u003cbr\u003e “Under the Western Freeway,” released in 1997, served as a trailhead with songs about solitude and communication as well as the eeriness of a meritocracy. “The Sophtware Slump” was a wide-angle progression with basement symphonics making for songs that somehow split the difference between meticulous and scruffy. But lyrically and thematically Lytle also took a big step with “The Sophtware Slump,” hinting at some of the cultural tangles the rest of us wouldn’t identify until years later. In an age of unprecedented connectivity, his songs spoke to significant solitude. As technology arced ever upward, he saw built-in obsolescence, as though he popped the lid off of next year’s model and found its expiration date.\u003cbr\u003e \u003cbr\u003e He saw lovely vistas pocked by tire fragments, lush forests adapting to abandoned appliances and a lot of people disinterested in trying to make sense of it. The imagery was sad and funny, so the songs were, too.\u003cbr\u003e \u003cbr\u003e Then, as now, Lytle was drawn to what he calls “the confusion and uncertainty of where we’re headed.” The contrast between anxiety and tension and pastoral serenity set up little twisting tempests. The songs on “The Sophtware Slump” weren’t prescient as much as they were attuned to cultural trends just starting to take shape.\u003cbr\u003e \u003cbr\u003e Lytle says “in order to make the cut, each song had to have the ability to stand alone lyrically. . . . My intention was shelf life.”\u003cbr\u003e Grandaddy guitarist Jim Fairchild, who has played these songs thousands of times, wanted to know what the songs sounded like in this earliest form. He wanted to hear what he calls “the totality of that original vision. I wanted to hear THAT version of the album.\u003cbr\u003e \u003cbr\u003e “With the scope of what Grandaddy has done and what Jason has done in his career, I thought there was room to pay greater attention to my favorite view of him, which is as a songwriter.”\u003cbr\u003e \u003cbr\u003e This newly recorded “The Sophtware Slump” does just that. The songs’ skeletons are the same, but the bones dance differently. Slower songs like “Undearneath the Weeping Willow” make a natural transition to this sparer presentation. Greater revelations occur with the once louder songs like “The Crystal Lake” and “Chartsengrafs.” The effect at times is that of unfolding an origami dinosaur and refashioning it into a swan. The album’s sharp melodic sense isn’t dampened at all, but the words step forward, which only enhances the aspirational lift at album’s end, about aiming toward the sky.\u003cbr\u003e \u003cbr\u003e Lytle only allowed his air conditioner to hum over one song. Fittingly it’s “Broken Household Appliance National Forest.”\u003cbr\u003e \u003cbr\u003e And here we are 20 years later. Grandaddy isn’t exactly what it once was, no longer an entity caught in three-year cycles of making music and touring. Grandaddy isn’t what it once was, corporeally, either as Kevin Garcia, beloved for far more than his duty as bassist, died in 2017.\u003cbr\u003e \u003cbr\u003e Lytle states an aversion to nostalgia, likening it to a scene in which a group of workers on a freeway stand around and watch one guy doing everything. “I feel like I’m one of those guys standing around,” he says. “And I don’t like that feeling.”\u003cbr\u003e \u003cbr\u003e But he admits 20 years lends the songs and his relationship to them a different perspective. “It was important to me to see this as being its own entity.”\u003cbr\u003e \u003cbr\u003e So this new “The Sophtware Slump” isn’t a recontextualization of old songs as a stealth anthology for newcomers – “Introducing Jason Lytle!”\u003cbr\u003e \u003cbr\u003e Nor is it a series of demos, rough sketches scattered like crumbs for the peckish completists. It’s more like a shadow sibling to a record that has entranced, beguiled and entertained fans for two decades, one that has seen its audience grow during that time; a record that has prompted young musicians to start their own bands to get out of their hometowns.\u003cbr\u003e \u003cbr\u003e Both “The Sophtware Slump” recordings prompt reflection: inward and outward. 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As befits\u003c\/p\u003e\n\u003cp\u003ean age in which realities can change in the blink of an eye, from one day to the\u003c\/p\u003e\n\u003cp\u003enext, the Berlin band nevertire of changing themselves, their music or personnel.\u003c\/p\u003e\n\u003cp\u003eAs Karlheinz Stockhausen noted: “New methods change the experience. New\u003c\/p\u003e\n\u003cp\u003eexperiences change man.” Taking this as their lead, Michael Drummer (the\u003c\/p\u003e\n\u003cp\u003edrummer) and CAMERA surprise us once more on“Prosthuman” as they reinvent\u003c\/p\u003e\n\u003cp\u003eand reformulate their sound without sacrificing the project’s identity which has\u003c\/p\u003e\n\u003cp\u003ematured over the past decade. 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The album features a stellar array of musical guests including John Grant, C Duncan, Marissa Nadler, Porridge Radio, Penelope Isles, Karen Peris (the innocence mission), Tim Smith (Midlake), Ren Harvieu and many more.\u003c\/p\u003e\n\u003cp\u003e In 2017, Simon Raymonde and Richie Thomas had both abstained from making music for 20 years until they united as Lost Horizons and released a stunning debut album, \u003cem\u003eOjalá \u003c\/em\u003e- the Spanish word for “hopefully” or “God willing.”\u003c\/p\u003e\n\u003cp\u003e“These days, we need hope more than ever, for a better world.” Thomas said at the time. “And this album has given me a lot of hope. To reconnect with music.... And the hope for another Lost Horizons record!”\u003c\/p\u003e\n\u003cp\u003eThomas’ hopes had a mixed response. On the plus side, the new Lost Horizons album \u003cem\u003eIn Quiet Moments \u003c\/em\u003eis an even stronger successor to \u003cem\u003eOjalá \u003c\/em\u003ewith another distinguished cast of guest singers and a handful of supporting instrumentalists embellishing the core duo’s gorgeously free-flowing and loose-limbed blueprint that one writer astutely labelled, “melancholy-delia.”\u003c\/p\u003e\n\u003cp\u003eOn the minus side, any hope for a better world, as Earth continues to freefall toward political and social meltdown. Then, to make matters worse, as Raymonde and Thomas buckled down to create the improvised bedrock that Lost Horizons is built on, the former’s mother died. At least Raymonde had a way to channel his grief. “The way improvisation works,” he says, “it’s just what’s going on with your body at the time, to let it out.”\u003c\/p\u003e\n\u003cp\u003eRaymonde (bass, guitar, keyboards, production) and Thomas (drums, occasional keys and guitar) forged ahead, creating 16 instrumental tracks to send to prospective guests. When he did, Raymonde suggested a guiding theme for their lyrics: “death and rebirth. Of loved ones, of ideals, at an age when many artists that have inspired us are also dead, and the planet isn’t far behind. But I also said, ‘The most important part is to just do your own thing, and have fun.”\u003c\/p\u003e\n\u003cp\u003eAnd then Covid-19 hit. Half of \u003cem\u003eIn Quiet Moment\u003c\/em\u003es’ lyrics were written after lockdown, but Raymonde saw a silver lining: people were slowing down and taking stock of their lives. Hearing a lyric written by veteran singer Ural Thomas, known as “Portland's Pillar of Soul\", who fronts the title track, Raymonde singled out the phrase “\u003cem\u003ein quiet moments\u003c\/em\u003e” and made it the album title. “It just made sense,” he says. “This moment of contemplation in life is really beautiful. The title also went with the album cover, a photograph by Jacques-Henri Lartigue from the 1940s of a woman and dog on a beach, captured as if in flight.”\u003c\/p\u003e\n\u003cp\u003eLost Horizons’ melancholy-delia also feels buoyed aloft by airy currents, informed in part by Raymonde and Thomas’ former respective bands: the legendary Cocteau Twins and Dif Juz. Their former bands were labelmates on 4AD in the mid-80s, which is how they first met.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIn Quiet Moments \u003c\/em\u003ehas its pockets of loss but – aligned to the concept of ‘hope’ - the album is more about rebirth than death. “I think it’s more joyous than \u003cem\u003eOjalá,\u003c\/em\u003e” says Thomas. “But both albums have a great energy about them.”\u003c\/p\u003e\n\u003cp\u003eThe energy levels undulate across a dazzling array of moods and voices; as broad as the name Lost Horizons sounds. Take the first three tracks: the melting rapture of ‘Halcyon’ featuring Bella Union signings Penelope Isles, the simmering urban-soulful ‘I Woke Up With An Open Heart’ featuring Nubiya Brandon of The Hempolics and the quintessentially melancholy-delic ‘Grey Tower’ featuring a returning Tim Smith .\u003c\/p\u003e\n\u003cp\u003eAlso returning from \u003cem\u003eOjalá \u003c\/em\u003eare Gemma Dunleavy, Karen Peris (the innocence mission), Cameron Neal (Horse Thief) and Marissa Nadler. The last three are all Bella Union family members; likewise, John Grant (the lush, choral ‘Cordelia’, etched by David Rothon’s pedal steel) and Ren Harvieu (a sultry ‘Unravelling In Slow Motion’), and new signing Laura Groves (the jazz-tinged ‘Blue Soul’), all making their Lost Horizons debuts.\u003c\/p\u003e\n\u003cp\u003eDana Margolin of the hugely acclaimed Porridge Radio lends the rampant ‘One For Regret’’ her trademark bristling energy; at the other end of the spectrum, ‘Flutter’ features Rosie Blair (of former Bella Union signing Ballet School) adding exquisite blue notes to a stark palate of Thomas’ piano and Fiona Brice’s strings. Deploying his A\u0026amp;R acumen, Raymonde called on new Swedish discovery Kavi Kwai for the Cocteaus-evoking ‘Every Beat That Passed’ (“You can’t make music for as long as I have and drop all your influences and habits overnight,” says Raymonde). Also present are Lily Wolter (of The Penelope Isles (also a Bella Union band) under her solo pseudonym KookieLou, and C Duncan. A richer and more varied cast list would be very hard to find.\u003c\/p\u003e\n\u003cp\u003e“I think \u003cem\u003eIn Quiet Moments \u003c\/em\u003eis more in the direction of where we’re going,” Thomas concludes. “People have retreated into their lives and, in those quiet moments, reflected on the world, how we fit in and who we and trust. Maybe the next album will be about rebellion! But the road is long and winding. 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