2020s 385 Items

Arlo’s second single available for the first time on 7” vinyl.

Hailed by The Guardian as “the hopeful new voice of her super-sad

generation” Arlo Parks released her second track in January 2019.

At the time of release Arlo told Clash Magazine:

"When I look at my generation I see a kaleidoscope of dejection, passion and

anxiety – there’s this strange mix of sadness and intimacy that saturates

Generation Z. 'Super Sad Generation' was inspired by the time my friends and

I sat on the green at sunset, half wine drunk and ugly crying for no reason in

particular."

Lifted from the Super Sad Generation EP ‘Paperbacks’ took its inspiration from

Space Song by Beach House and Changeling by DJ Shadow.

The British songwriter captures the specifics of being young and messed up

like no-one else" - Noisey

Debut single available on 7” vinyl.

Mercury Prize and Brit Award winner Arlo Parks first came to the attention of

music press with her debut single ‘Cola’. It’s a breath-taking, tender, poetic

and confessional introduction to an artist just eighteen at the time of its

release.

The then London based singer demonstrated soul beyond her years and with

'Cola' the submissive tones of her powerful voice are laid atop slow guitar

melodies that beckon you to stop what you're doing and just listen. The track

is written about bad love - in Arlo’s words, "Cola is a reminder that betrayal is

inevitable when it comes to pretty people that think flowers fix everything".

‘george’, an ode to poet Byron was released in 2019 just weeks before signing

to Transgressive Records and set Arlo on the path to being one of the most

critically acclaimed artists of the year.

Limited Edition for Record Store Day 2022.

Since the February release of Suddenly - Dan Snaith aka Caribou's critically acclaimed seventh album - tracks from the album have been remixed by Four Tet, Morgan Geist and Floating Points. Snaith follows up with a new EP of remixes by four exciting new artists - Shanti Celeste, Kareem Ali, Logic1000 and India Jordan - each with their own unique takes on standout tracks from the record.

For Record Store Day 2022 Morcheeba have recruited Orbital, Gui Boratto, Kutiman and Voyou to remix four tracks from their latest album 'Blackest Blue' which was released in May 2021. This is the second of a series of 12" remixes being released especially for RSD, the first 'Blazed Away - The Remixes' sold out in 2019. This year 'Blackest Blue - The Remixes' includes British giants of electronic music Orbital switching up the signature Morcheeba 'chill' vibe of 'Namaste' to an electronic drum and bass dancefloor stomper whilst producer Gui Boratto's remix of 'Sounds Of Blue' is a progressive Electronica/Chill House masterclass! Morcheeba's global reach is impressive, taking them to every corner of the world . Their signature chilled electronic/organic sound has been border-hopping ever since the London-based band emerged as a household name with a discography spanning three decades. With at least 12 gold and platinum discs & over 350m all time streams, Morcheeba continue to create their own unique sound, a laid-back mix of fusion, funk, and blues with the sweet, fluid vocals of Skye Edwards.

First Dabeull's proper album of his career after several key releases - Intimate Fonk, Fonk Delight or the sought-after compilation InDaStudio.

For Dabeull, analog production is his favorite playground as showing his upcoming 9-track album, "Analog Love" (out on April 12th 2024) was recorded using Michael Jackson's Thriller console - 100% analog.

A.R. Kane were formed in 1986 by Rudy Tambala and Alex Ayuli, two second-generation immigrants who grew up together in Stratford, East London. From the off the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian) milieu of the East End, with Alex and Rudy’s folks first generation immigrants from Nigeria and Malawi, respectively. The two of them quickly developed and fostered an innate and near-telepathic mutual understanding forged in musical, literary and

artistic exploration. Like a lot of second-generation immigrants, they were ferocious autodidacts in all kinds of areas, especially around music and literature. Diving deep into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and Hendrix, as well as devouring the explorations of lysergic noise and feedback from contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly immersed themselves in the alternate literary realities of sci-fi and ancient history (the

fascination with the arcane that gave the band their name), all to feed their voracious cultural thirsts and intellectual curiosity.

It was seeing the Cocteau Twins performing on Channel 4 show the Tube that spurred A.R. Kane into being - “They had no drummer. They used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that!

The duo debuted with the astonishing ‘When You’re Sad’ single for One Little Indian in

1986. Immediately dubbed a ‘black Jesus & Mary Chain’ by a press unsure of Where to put a black band clearly immersed in feedback and noise, what was immediately apparent for listeners was just how much more was going on here – a tapping of dub’s stealth and guile, a resonant umbilicus back to fusion and jazz, the music less a conjuration of past highs than a re-summoning of lost spirits.

The run of singles and EPs that followed picked up increasingly rapt reviews in the press, but it was the ‘Up Home EP’ released in 1988 on their new home, Rough Trade that really suggested something immense was about to break. SimonReynolds noted the EP was: Their most concentrated slab of iridescent awesomeness and a true pinnacle of an era that abounded with astounding

landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.

If anything, the remastered ‘Up Home’ is even more dazzling, even more startling than it was when it first emerged, and listening now you again wonder not just about how many bands christened ‘shoegaze’ tried to emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This

remains intrinsically experimental music but with none of the frowning orthodoxy those words imply. A.R. Kane, thanks to that second generation auto-didacticism were always supremely aware about the interstices of music and magic, but at the same time gloriously free in the way they explored that connection within their own sound, fascinated always with the creation of ‘perfect mistakes’ and the possibilities inherent in informed play.