Indie exclusive re-issue to celebrate the 45th Anniversary of this release. Random red or white vinyl. Limited! In store only.

Written throughout 2019 and early 2020, recorded at Milosh’s home studio, United Recording Studios and Revival at The Complex, and mixed by Alan Moulder. Home is familiar in it’s synthesis of propulsive beats, orchestral flourishes, piano ruminations and sultry, gender-nonconforming vocals, but never have they sounded more cohesive or alive. Home is bookended by celestial cantos sung by the Danish National Girls’ Choir, who Rhye performed with at a 2017 landmark concert. 2LP w/ D-Side Etching!

Brian Eno – Film Music 1976-2020 (Astralwerks) CD/LP
This long-awaited album brings together 17 tracks from Eno’s most recognizable film and television work spanning 5 decades. Eno’s music has been used in hundreds of films and he has composed more than 20 soundtracks for some of the best known directors in the world including David Lynch, Danny Boyle, Peter Jackson, Michelangelo Antonioni, Derek Jarman and Michael Mann. Compositions such as “Ship in a Bottle” in “The Lovely Bones”, “Prophecy Theme” from “Dune”, “Deep Blue Day” in “Trainspotting”, “Late Evening in Jersey” in “Heat”, “Beach Sequence” in Antonioni’s last film “Beyond The Clouds” and “An Ending (Ascent)” from Al Reinert’s ground-breaking “For All Mankind” have contributed significantly to memorably iconic scenes. Eno has also scored extensively for television, including all 3 series of the gritty UK crime drama, “Top Boy” for which he received a Bafta, and Danny Boyle’s “Mr Wroe’s Virgins” which earned him and his brother Roger a Bafta nomination. This release features over an hour of classic Eno compositions and includes several previously unreleased tracks.

Kiwi Jr – Cooler Returns (Sub Pop) CD/LP
Kiwi Jr. Is a phenomenal “rock” and/or “punk” and/or “indie-rock” (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once.

Belfast-born, London-based duo Bicep (Matt McBriar and Andy Ferguson) release their hotly anticipated second album, Isles on 22 January 2021 via Ninja Tune. Two years in the making, Isles expands on the artful energy of their 2018 debut Bicep, while digging deeper into the sounds, experiences and emotions that have influenced their lives and work, from early days in Belfast to their move to London a decade ago. ‘We have strong mixed emotions, connected to growing up on an island’ they say, ‘wanting to leave, wanting to return’. Isles is, in part, a meditation on these contradictions, the struggle between the expansive and the introspective, isolation and euphoria. Lead single ‘Apricots’ has a similar feel, steeped in a shimmering bath of warm synths, its spare percussion and arresting vocals bring the big room chills of 90s rave, while still evoking something lost or forlorn.

SUMAC – guitarist and vocalist Aaron Turner (Old Man Gloom, Mamiffer, ISIS), drummer Nick Yacyshyn (Baptists, Erosion), and bassist Brian Cook (Russian Circles, Botch) – delivers their third full length album, Love in Shadow, a brutalizing dive into love and all its raw emotions. The album was recorded live in a single room at Robert Lang Studios (Nirvana, Foo Fighters) in Washington by Kurt Ballou (Converge), who later mixed the album at his own studio GodCity.

Now available on LP. Styles We Paid For is GUIDED BY VOICES’ third album of 2020 and it stands as a testament to this Year In Isolation, reflecting these dark days through ROBERT POLLARD’s prism, with the band sounding as confident and authoritative as ever. The fifteen tracks were recorded remotely during quarantine from five states (Ohio, New York, New Jersey, Virginia, Tennessee) to comprise GBV’s ninth album since 2017. Pollard’s searing vocals hold center stage, with endless melodic invention and impeccable phrasing.

CUB SCOUT BOWLING PINS is a new secret identity of indie rock super-heroes GUIDED BY VOICES, turning up the craziness knob by 10%. A-side track “Heaven Beats Iowa,” is an insanely catchy power-pop song, distinctly different from GBV with a farfisa organ chug, by jingo!

It seems that every time you turn around, there’s another OH SEES[OSEES] slab. Long ago we lost all capacity to be surprised that this sturdy unit keeps putting out records and that they’re really good. You can now add the Metamorphosed 12-inch to you ever deeper sagging row of JOHN DWYER and Co.’s seemingly no sleep release schedule. The five tracks were taken from the sessions that formed 2019’s Face Stabber album, a seventeen-track / eighty+ minute jammified four-sider. Metamorphosed would have been the perfect third LP to fit in with the other two.

Transmission incoming… alien sound waves have been bouncing off the side of our ship. We’ve managed to capture some of them on plastic. They seem to appear suddenly out of the vacuum. Projected by planets. Beamed through stars. Reflected off debris. Hanging in space like dust motes. Witch Egg is an improvised set of songs by JOHN DWYER, NICK MURRAY, BRAD CAULKINS, GREG COATES and TOM DOLAS. Another fired expedition out in the wilds. Recorded and mixed at Stu-Stu-Studio by John Dwyer. This one is a burner designed optimally for your eco-pod sound system. When you’ve left the world behind, you will need a soundtack while you lay in dream stasis.”—John Dwyer. Improv sessions by head of OSEES jamming with members of WHITE FENCE, FOOL’S GOLD, and MR. ELEVATOR.

CHROMATICS return with a fourteen-track album featuring both new material and remix tracks from their recent Closer To Grey album. Colored vinyl pressing.

Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kanky Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream. Sonically, Somewhere Between mines the midpoint between Kanky Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones.