We are pleased to announce Wolf Alice’s debut album ‘My Love Is Cool’ is now available to pre-order on CD and Vinyl. The LP, released on June 22nd, is pressed on gold double heavyweight vinyl with download code and limited edition (first 1000) signed art card.
Long-awaited and feverishly anticipated, Wolf Alice’s debut comes with lofty expectations. Fittingly, then, it’s a record that reaches for the stratosphere. Equal parts gigantic guitars and wistful, wilting beauty, My Love Is Cool is a timeless collection of songs that outweighs any preconceived notions of what Wolf Alice are, or can be.

"Outside" is a song by Scottish DJ and producer Calvin Harris from his fourth studio album, Motion (2014). The song features English singer-songwriter Ellie Goulding and was released on 20 October 2014 as the album's fourth single. This is the second time both artists have collaborated on a song together following 2012's "I Need Your Love".

一直就喜欢早已关张的英国Indie-pop厂牌Sarah，我当年也仅仅是透过一张合集唱片《Sarah 100》对这个淡泊名利的独立厂牌有了一些粗浅的认识，毕竟21位艺人的21首单曲已经把这个厂牌的音乐观念勾画了一番，我也从厚厚的CD册中获知了有关他们的一些故事。那时候为《时尚》做唱片推荐的专栏，也简单介绍了这张几乎买不到的唱片。Sarah的关门其实并不代表那种音乐观念的结束，没多久他们的老板就又创建了新厂牌Shinkansen，同时也将在Sarah时期的一些仍在继续做音乐的艺人笼络旗下。
在Sarah时期，The Field Mice算是我比较心怡的一支乐队。其中一位重要成员Harvey Williams的个人专辑也是我一度在网络上疯狂搜寻的对象，当然这位有着典型英腔的家伙也是Blue boy的成员。在91年The Field Mice解体之后，他们又分支成为Trembling Blue Stars和Northern Picture Library两个团体继续那清新的音乐路线。
可以说Sarah系统的艺人大都是与世无争的田园诗人，没有刻意的高科技制作，没有大开大阂的气势，你能从他们的音乐里闻到清晨寂静的街角咖啡馆里弥漫的香味儿。

2001 album featuring Katherine Gifford (Stereolab), Deb Googe (My Bloody Valentine) & Debbie Smith (Echobelly). A gothic version of Garbage, but without the multi-million pound varnish. Digipak.

Expanded two CD reissue. Their heaviest effort, donning more obvious guitar riffs and hooks than ever, The Comsat Angels' final album 1995's The Glamour made for a fine post-grunge record without losing the necessary presence of their nifty keyboard swells. Although prevented by deadlines from finishing all the music they were recording , this CD re-issue is much closer to how it should have been. Renascent have added eight previously unreleased recordings, including five previously unreleased songs. It's just about everything the mid-90s five-piece line-up recorded. This double disc comes in the usual glamorous card gatefold sleeve. 2007.

Where do you start talking about a suite of recordings so concerned with the commonalities between beginnings and ends? You could start by saying that Living Fields is an album of catharsis and redefinition, born of a desire to create newness out of loss and change. You could also say that the band Portico themselves have undergone a process of ending and re-beginning, but none of this quite captures what you will hear.
The best thing you can do is listen. Portico make music which moves forward towards distant places while offering rare intimacy as well, arriving somewhere between structured pop songs and a disintegrating ambience, a unique blend of the sublunary and the celestial. Reverb drenched piano meshes with swathes of studio noise while vocals float high above a world of textural atmosphere.
Drum machines crisply puncture the air around shimmering arpeggios of synth and electric bass.You can be untethered, detached in space only for a moment of detail to rush into focus. Melancholia and euphoria sunk into each other. The effect is profoundly emotional without ever needing to emote.
Portico are Duncan Bellamy, Milo Fitzpatrick and Jack Wyllie. Previously they were three-quarters of the highly successful and critically-acclaimed Portico Quartet. But Living Fields is no continuation under a shortened name. As far as the band are concerned this is a debut.
There are three remarkable singers on this record:Jono McCleery, Joe Newman (Alt-J) and Jamie Woon. These are not just guest performances and it shows. Woon shared a house with Portico in East London when they were writing and recording the album that would become Isla and he was working on “Mirrorwriting.” Joe Newman is a childhood friend of Wyllie's and Jono McCleery was introduced to Portico by Jamie Woon and has opened for them in the past. These existing relationships allowed for a consistency of thought and expression which makes this a truly remarkable record.
Where do you start talking about a suite of recordings so concerned with the commonalities between beginnings and ends? It doesn’t really matter so long as you listen.

Portico Quartet are an instrumental band from London, UK. They are known for their use of the Hang, a modern percussion instrument. Their debut album, Knee-Deep in the North Sea, was nominated for the 2008 Mercury Prize and was Time Out's Jazz, Folk and World album of the year 2007.

How Big, How Blue, How Beautiful’ is the brand new album from Brit and Grammy Award winning multi-platinum selling musical artist Flore nce + The Machine. , a collection of songs, written and recorded over the past 12 months. Produced by Markus Dravs (Björk, Arcade Fire, Coldplay) the third album by Florence & The Machine is live-sounding, tune-rich, unhinged in all the right places and powerful in all the best ways. In voice and, ultimately, outlook Florence has never sounded better.
In a press release, Florence said:
I guess although I’ve always dealt in fantasy and metaphor when I came to writing, that meant the songs this time were dealing much more in reality. Ceremonials was so fixated on death and water, and the idea of escape or transcendence through death, but the new album became about trying to learn how live, and how to love in the world rather than trying to escape from it. Which is frightening because I’m not hiding behind anything but it felt like something I had to do.

Everything Talulah Gosh ever recorded -- all 25 tracks worth -- is assembled on Backwash, a superb collection of twee pop at its finest. Unlike many of their shambling co-conspirators, the Goshes crafted music surprising in its complexity; "Talulah Gosh" flows smoothly from a gentle bridge into an adrenalized chorus, "Bringing Up Baby" wraps gossamer harmonies around a syncopated rhythm, and the brilliant "I Can't Get No Satisfaction (Thank God)" sports a Byrds-worthy jangle riff. Similarly, beneath the cuddly, sweetness-and-light surface lurks a dark edge; "My World's Ending" is an aggressive tearjerker, while "Break Your Face" is as corrosive as its title.