Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting. From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise.
Dizzy Spells serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor l

Opener ‘Set Guitars to Kill‘ immediately sets the album apart from previous EP’s: this is no longer a sombre affair, the band are here to raise hell, as well as destroy it. Powerful crashing drums couple with a wailing guitar siren to announce the band’s arrival as if the apocalypse is imminent. Then the rock kicks in, slaps you in the cranium and next thing you know, you find yourself dancing along, regardless of the restrictions of the world around you. The frantic pace continues with the second track ‘A Little Solidarity Goes a Long Way‘. Chaotic drumming, epic reverberating guitars, all centred around a seriously addictive riff, which soon breaks down into a melodic fluffy moment before ripping back in towards a mammoth climax.
Elsewhere on the album there’s no shortage of variety. ‘Start a Band‘ brings to mind the band’s punk roots, whilst ‘I Capture Castles‘ will please fans of early era Explosions in the Sky. ‘Clench Fists, Grit Teeth…GO!‘ sounds as evil, burly and aggressive as its title would suggest, and ‘If It Ain’t Broke, Break It‘ is a mash of frenzied rhythms and daunting riffs. The guys also show they certainly know how to throw a musical party, with the vocal chants and cowbell (!) on ‘Don’t Waste Time Doing Things You Hate‘ sounding like the apocalypse’s euphoric after-party, almost guaranteed to stimulate a huge cheesy grin on your mug.
Finally, the band sees the party off with two very different but equally brilliant moments. Classic fan favourite ‘The Voiceless‘ has never sounded as good as it does on this album. Beautiful guitar melodies, keyboard plonks and a blissful breakdown show that underneath the band’s aggression there is still a heart that has the ability to produce something wonderfully dreamy and moving. The album finishes with ‘Eat the City, Eat it Whole‘, an uplifting opus of movements comprising feelings of hope, panic, calm and finally balls out brutal destruction.
Its easy to picture a band such as this going places in the future, despite being a solely instrumental band, thanks to the drive and passion these guys show for not only playing music, but for being involved and helping others alongside them walk the walk. In a genre becoming increasingly stale, its great to see a band break down the boundaries and push forward with an album of such original sound and style. As the title of one track implies, “If It Ain’t Broke, Break It” – thankfully, they really have.

Polly Jean "PJ" Harvey MBE is an English musician and singer-songwriter. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophone player.

Oliver Barrett returns with his first Petrels album in three years; The Dusk Loom. Having put out a steady album-a-year since 2011, culminating in 2016’s Jörð, Barrett decided to take a step back from the project for a while, not wanting to releasing albums out of habit and wanting to be sure that there was something new to say.
The result is at once the most expansive but also personal Petrels release to date. Three years in the making, The Dusk Loom builds on the eclectic sonic palette of Barrett’s back catalogue but brings these sounds into sharper focus than ever before. Those hoping for the all-enveloping dynamics and textures of past Petrels releases will not be disappointed, but over the ten parts of The Dusk Loom, Barrett puts this trademark euphoric aural scree to work in new and unexpected ways.
Drawing on myriad influences as fans of Barrett’s have come to expect, the resulting themes of the album are perhaps woven more intricately than before. In The Dusk Loom, Barrett takes an evocative approach to storytelling that asks the listener to draw their own meanings from the clues and references running through the sounds and words. Finding inspiration in mythology - both ancient and new, the work and writing of Remedios Varo and William Blake, memory, death and cosmology to name just a few, Barrett pulls these seemingly disparate strands together into something that is unmistakably Petrels but which also points the way to something new.
Petrels is the solo project of Somerset-based musician and artist, Oliver Barrett. Since releasing his debut, Haeligewielle, in 2011, Petrels has toured across Europe and shared a stage with the likes of Jóhann Jóhannsson, Tim Hecker, FIRE!, Nate Young (Wolf Eyes), Trouble Books, Demdike Stare, Nadja, and Hans-Joachim Roedelius (Cluster).
“Petrels sidesteps the chilliness found in much of the music of his peers, replacing it instead with an almost spiritual ecstasy, his ravishing synths and almost choral vocal treatments calling out in cosmic, wide eyed wonder at the universe.” – Paul Margree, Louder Than War

Richard Skelton has spent the last two years living on the rural northern edge of the Scotland-England border, a boundary demarcated by various watercourses - among them the Kershope Burn, the Liddel Water and the River Esk. This hinterland topography has informed a series of musical recordings which, in their brevity, stand in stark contrast to the longform compositions for which he is more usually known. Nevertheless, there is a sense that these twelve miniatures are fragments of a larger whole, such is their unity in tone and timbre.
In some ways, ‘Border Ballads’ can be seen as a revisiting of certain compositional processes first encountered on ‘Marking Time’, over a decade ago. The sparse, overlapping bowed notes, for example, or the solitary, bell-like piano. But there is something different at work here. Whereas ‘Marking Time’ felt aeolian, shifting, fleeting, this new work, with its persistent cello undertow and its low, tremulous viola, feels telluric, grounded, earthen. Perhaps ‘Border Ballads’ can be seen as the embodiment of a desire for certainty after a prolonged period of upheaval, but that ever-close riverine border, at once both fixed and fluid, is a disturbing presence. A darkness that cannot be ignored.

成立于1985年的英国独立摇滚乐队the Wedding Present在1997年解散后，乐队核心人物David Gedge重新组建indie-pop乐队Cinerama。除了由Gedge和Sally Murrell组成的男女二重唱以外，乐队的其他阵容也令人侧目，包括已解散的Goya Dress成员Terry de Castro和Simon Pearson、前Weddoes吉他手Simon Cleave、以及不得不提及的客座艺人the Church乐队的Marty Wilson-Piper和the Delgados乐队的Emma Pollock等等。
早在the Wedding Present时期，英国电台教父John Peel就对David Gedge的乐队青睐有加。而Cinerama则同样受到John Peel的大力推崇。“This is Cinerama”、“Disco Volante”等专辑都是John Peel在BBC所制作节目中的常客。

Roy Montgomery (born 1959) is a composer, guitarist and lecturer from Christchurch, New Zealand. Montgomery's mostly instrumental solo works have elements of post-rock, lo-fi, folk and avant-garde experimentation.

Digitally remastered reissue of their 1989 studio album withfull sleeve notes and 8 bonus tracks: 'Paradise Passage Road', 'Les Preger's Tune', 'Buddhist Prayer', 'Misere', 'Real Drums - Real Drummer', 'Pathway', 'Rob Grey's Elegy' and 'Shirt No. 7'. 21 tracks total. 1996 Factory Once/ London Records release. The original album was released on Factory Records.

Palmistry is the project of London-based vocalist, songwriter and producer Benjy Keating, known for his stripped back pop and forward thinking production. His second album Afterlife was written in a heatsick haze in Athens, Greece and the Mixpak Studios in Brooklyn, NY, and further pushes his knack for intimate and heartfelt earworms that grapple with disconnection, devotion and the emotions in between.
While his debut album PAGAN was a self-contained effort, with Afterlife Palmistry cracks the door open to some accomplished friends who bring their own colors & textures to his singular world. There’s woozy anthem “Water” produced by SOPHIE, “Tru Luv” - a duet with Miami-based vocalist Toian produced by Benny Blanco, as well as assistance from Ghanaian artist Klu, Cashmere Cat and Mechatok.
Afterlife is pop at the edges, with poetry at the core, evoking bodily sensations, lucid dream states and fractured memories - the slice of an orange, the patter of rain on a car roof and the crushing weight of city life.

“hand solo,” “blow,” “conventional ride”—these are just a few of the cheeky offerings off Any Human Friend, the new album from rock provocateur Marika Hackman. “This whole record is me diving into myself and peeling back the skin further and further, exposing myself in quite a big way. It can be quite sexual,” Hackman says. “It’s blunt, but not offensive. It’s mischievous.” There’s also depth to her carnal knowledge: Any Human Friend is ultimately about how, as she puts it, “We all have this lightness and darkness in us.”
Hackman lifted the album’s title from a documentary about four-year-olds interacting with dementia patients in senior homes. At one point, two little girls confer about their experience there, with one musing on how it’s great to make “any human friend,” whether old or young. “When she said that it really touched a nerve in me,” says the London-based musician. “It’s that childlike view where we really accept people, are comfortable with their differences.”

Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.
Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. ‘KRK (At Home In Strange Places)’ summons up the spirit of Sun Ra’s Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of ‘You Are Not an Island’, the blissed-out Jean-Claude Vannier style arrangement of ‘Invisible World’ and burbling sci fi funk ode to a 1972 cult French animation, ‘Planete Sauvage’, were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were ‘6th member’ and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).
Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017.
The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.