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The Slow Readers Club
The Joy of The Return
"Dinked edition" is on 'clear w/ magenta splatter' coloured vinyl, packaged in alternative Dinked exclusive artwork and includes an exclusive art print (numbered & signed). /400. For avoidance of doubt, the centre is a standard spindle size, and not dinked.
The fourth full length album from the excellent Manchester post-punk / indie-rockers The Slow Readers Club. Fans of White Lies, Interpol, The National and Editors should check this out.
Opening to an energetic blend of driving drums and infectious guitar lines, the track builds through evocative verses and anthemic choruses, imbued with their idiosyncratic brand of insightful and confronting lyricism and set against relentlessly danceable and energy-provoking instrumentation. “‘All I Hear’ is about a lack of agency and an inability to affect change. That there’s something happening, and you have no choice but to go along with it,” explains singer Aaron Starkie.
“I think it’s definitely our most interesting and accomplished record musically,” says singer Aaron Starkie. “Lyrically the album covers love, alienation, the rise of right wing populism and comments on algorithm driven propaganda. And as always, I try to deliver those lyrics with uplifting melody.”
The dark power-pop that defined their previous releases holds a strong influence, with the brooding ‘No Surprise’ providing a powerful dose of evocative lyricism amid immersive soundscapes, while the unsettling ‘Paris’ is an undulating exploration of observational songwriting and eclectic musicality.
Modern Sky
CD | LP
Exclusive
La Dispute
Panorama
Banquet exclusive LP is on 'Spirit Quartz' coloured vinyl, /500. Indies exclusive LP is on 'Charoite' coloured vinyl, /500.
The hugely anticipated fourth full length album from the incredible La Dispute, following on from 2014's Rooms Of The House. Offering another dose of their intricate, spoken-word poetry combined with post-hardcore.
"La Dispute have overcome their own shadow, creating an unflinching masterpiece, a new milestone in an uncompromising career of beauty and misery" - 5/5, Wall of Sound
"Rose Quartz" is a bright white light, then the low hum of tires on a country highway; "Fulton Street I" is two heads in the car turning quietly at passing landmarks, plywood monuments with plastic flowers and the stories that populate the stretch of road between two places. Together, they're the first two tracks on a record born from long drives like that, between a new and an old home, that takes a wide-angled shot of a city and just outside of it. How events there linger on in the memory of all those involved, carrying the characters off in thoughts of grief and healing to other planes and other histories. Everything on the record started with that image — and with the feeling of drifting off in thought toward different worlds — and with this piece, which was written largely in one setting after having scrapped nearly a full album's worth of material.
Epitaph
LP
Exclusive
Ultravox
Vienna (40th Anniversary)
Ultravox’s ‘Vienna’ album was originally released in July 1980, their first with Midge Ure on vocals/guitar. Produced by legendary German producer Conny Plank (Neu!, Kraftwerk), it reached number 3 in the UK album chart and top ten in Australia, New Zealand and several European countries.
The album contains 4 UK Top 40 singles; All Stood Still, Passing Strangers and Sleepwalk (which was recently reissued as part of Record Store Day 2020) and the title track ‘Vienna’ which reached No.2 in the UK and Top 10 in seven countries around the world. The single went on to sell over half a million copies in the UK.
This new 6 Disc box set contains 66 tracks, 44 are previously unreleased recordings or mixes. CD’s 1 to 5 contain the original 1980 album production master, a new stereo mix by Steven Wilson, A-sides, B-sides and live tracks, 2CDs of previously unreleased cassette rehearsals and a newly mixed concert from St. Albans in 1980. The DVD (Audio Only) contains a new 5.1 Surround Sound Mix of the Album/B-sides by Steven Wilson along with 24/96 Hi-Res audio of the new mixes and the original 1980 Master/B-sides.
Chrysalis Records
CD
Pre-Order
Frankie and the Witch Fingers
Monsters Eating People Eating Monsters...
''Dinked Edition' is on 'head splitter (pink | black - half/half)' coloured vinyl. Includes an exclusive flexi-disc of non-album track 'Mind's Eye' and a 12" x 24" poster insert. Packaged in a high gloss UV light reactive sleeve. Hand-numbered /450. For avoidance of doubt, the centre is a standard spindle size, and not dinked.
Indies exclusive LP is on 'yellow' coloured vinyl.
Bubbling up from the psychedelic tar pits of L.A., Frankie and the Witch Fingers have been a constant source of primordial groove for the better part of the last decade. Formed and incubated in Bloomington, IN before moving west to scrap with Los Angeles’ garage rock rabble, the band evolved from cavern-clawed echo merchants to architects of prog-infected psych epics that evoke a shift in reality. After a stretch on Chicago/LA flagship Permanent Records the band landed at yet another fabled enclave of garage and psychedelia - Brooklyn’s Greenway Records, now working in tandem with psych powerhouse LEVITATION and their label The Reverberation Appreciation Society, the groups latest effort is dually supported by a RAS / Greenway co-release.
After years of searching for the specific alchemy that would tear open the cosmos, they found the formula with the addition of Shaughnessy Starr on drums in the summer of 2018. They began a new cycle and tripped into tip-on double gatefold territory, flesh-ing out their lysergic impulses into a monolith of sound that closes in from all sides. The band reached new levels of grandiosity and utilized every minute to manifest their psych-soul Sabbath in four dimensions, spilling psychic blood on a populace ready and eagerly waiting. Yet, as expansive, inventive, and immersive as any studio album might be, the band is born for the stage. As their live prowess caught the ears of some legends in their own right, the band practically lived on the road last year with stints opening for Oh Sees, Cheap Trick and ZZ Top. Along the way the constant pulpit of the stage would form ZAM into a transformative experience while plotting their next permutation of space and time.
That transformation, Monsters Eating People Eating Monsters... (repeated infinitely,) rises like a Phoenix from the road tar, van exhaust, and ozone crackle of amps in heat. Once off the road it was recorded in just five blistering days. Though, while the tour may have hammered the album into shape and brought about a wind of change, those changes stretched to the band itself as well. In the wake of the tour the band’s longtime bassist Alex Bulli made his exit, with the majority of bass parts on the album being written and played by multi- instrumental magician Josh Menashe with occasional pitch in from songwriter Dylan Sizemore. Stripped to their core the band has created their most ambitious work to date, an album that takes the turbulence of ZAM and crafts it into a beast more insidious and singular than anything in their catalog. Moving forward, the band has taken on new blood. Completing their lineup, Nikki Pickle (of Death Valley Girls) will join them working the new album out roadside on bass. A new horizon of Frankie and the Witch Fingers draws near and we’re all set to follow them into the unknown.
Greenway Records / The Reverberation Appreciation Society
CD | LP
Pre-Order
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