A mix of piano, vocals, effects and unconscious arrangements result in Laila Sakini's 'Vivienne' on Total Stasis. Unfettered and reflective, Laila etches this fantasy with a reality more interested in the delicate and impromptu specifics of time than compositional rigour.

Released in partnership with Bison Records in the UK, available at bison-records.bandcamp.com
Fast Edit is the second LP by Still House Plants, a Glasgow and South London-based three-piece collective made up of Finlay Clark, David Kennedy, and Jessica Hickie-Kallenbach.
As artists who started to write music together during their 2nd year at The Glasgow School of Art, Still House Plants emerged from the eclectic scene surrounding Glasgow’s Green Door Studio and soon found a home at London’s Cafe OTO, where they undertook a six-month residency in 2018.
Factor in a semester spent living with an emo band in Chicago and the intimate aggregation of the trio’s sound heterodoxy—an astonishing cohabitation of fractured R&B, wistful sensitivity, and harmolodic guitar—begins to show its strands. With punk autonomy, Still House Plants navigate a similarly divergent approach to ostensibly kindred artists Linda & Sonny Sharrock or James “Blood” Ulmer, but instead cite the cut-up affect of UK garage as the impetus for their sparse treatment of chords and words as samples; stuttered, fragmented, and permuted by living drums, guitar, and Hickie-Kallenach’s unmistakable husky voice.
Written aided by mobile phones, dictaphones, laptop recordings of rehearsals, conversations, and live shows, Fast Edit is a collage of different fidelities and aural spaces, a palimpsest most tenderly exhibited on album centerpiece “Shy Song”. Things sit on top of each other, fall over one another, or click into place, with hearts on sleeves and spirits in motion.
credits
releases August 14, 2020
Still House Plants are Finlay Clark, Jessica Hickie-Kallenbach and David Kennedy.
All songs written by Still House Plants
Recorded in 2020 at Lockdown Studios, London, by Shaun Crook & Darren Clark
Mixed by Shaun Crook & Darren Clark
Produced in partnership with Bison Records, London

One Touch is the debut studio album by English girl group Sugababes. It was released by London Records in the UK on 27 November 2000, and the following month in most other European territories. The trio worked with producer Cameron McVey on the majority of the album, which produced four Top 40 hits, including the hit "Overload", and "Run for Cover".

Bright Lights is the title of the forthcoming re-release of Lights. The release features 6 new tracks (excluding Lights), all of which are on the tracklisting below. Your Song is an Elton John cover and will be used on the Christmas John Lewis' adverts, so it is in a sense a bonus track to the release. The release date will be 29th November and it seems the first single will be Human.

‘Untold’ is an experimental electronic LP from multi-disciplinary artist and author Sophia Loizou. Depicting a series of speculative sonic landscapes; animals, ocean waves and weather systems are abstracted into eco-centric cyber-dreams creating powerful ambient compositions that invite us to see the Earth through the eyes of others.
Untold is not about the natural or the technological but the relationships between the two; sonic textures, breaks and melodies are shaped by the dynamics of a lions roar or the rhythm of a dolphins echolocation emissions. "I didn't want to make it human-centric," explains Sophia. "I wanted to remove my compositional and structural domination, to find ways to make it about the symbiosis of systems I see in the world.”
Untold is part of a much bigger multi-disciplinary project that also includes a collection of poems with accompanying audio, artworks, an AV show and a lecture performance.

Late Night Tales and Bonobo were pretty much made for each other, it just took them a while to both realise it. Stepping forward into the compiler’s spotlight for the 33rd edition is Simon Green – aka Bonobo – a musician, producer and DJ perfectly suited to soundtrack an evening spent reclining to some parallel beats. Six albums to the good (‘The North Borders’ released earlier in 2013), Green has been on a winning streak since 2010’s breakthrough ‘Black Sands’, which has now sold in excess of 160,000 copies. His music has aided the sales of Citroen cars and Olay creams, as well as soothing the puzzlement of Lost. Wrapped in delicately programmed drums, Green’s music is at once both sombre and reassuring. If what comes out the other end is the music of Bonobo, then this is the fuel that keeps the engine running: soul, jazz, classical, pop, funk, leftfield, rock. Pianos and brass are abundantly present. Our ivories are warmed and tickled by the classic, Bill Evans, and new school, with Matthew Bourne’s mournfully beautiful ‘Juliet’ and Dustin O’Halloran’s ‘An Ending A Beginning’. The brass section comes courtesy of Menehan Street Band’s jazzy ‘The Traitor’, ‘Flipside’ by the Hypnotic Brass Band. Also included is YouTube sensation ‘One Thing’ by Peter & Kerry, R&S signing Airhead, jazz harpist Dorothy Ashby and the timeless soul of Dorando’s ‘Didn’t I’. Not only that, but there’s Bonobo’s special LNT cover version, a brilliant reading of Donovan’s ‘Get Thy Bearings’. As the light dims, the unsettling sounds of Lapalux or maybe even Shlomo pierce the misty evening air, before giving way to the ethereal splendour of Eddi Front’s ‘Gigantic’ or even Nina Simone’s paean to an imagined rural idyll ‘Baltimore’. Amble down to the riverside. It could be the Great Ouse, as willows weep into the water; it could even be in Brooklyn overlooking the Lower East Side, as the sun slides down the sides of the skyscrapers. Take a notepad for inspiration. Maybe even a hipflask for a slug of something warm. Sit down and reflect and let those beautiful pianos skim the water’s surface. Sometimes, you think, life is good. You can’t play a symphony alone, it takes an orchestra to play it: Simon Green is your conductor.

"The way I approached this mix was very different to how I would normally. I wasn’t thinking of it as a DJ mix so much as a selection. I’ve been familiar with the series for a long time, and I was conscious of that, but I really wanted to put together a curated selection. The criteria for choosing the songs was really music I’ve been playing away from the dance floor over the years. So there’s a wider variety of stuff on here, from neo-classical to more abstract electronic pieces to spiritual jazz. It's more a reflection of the stuff my music is informed by." - Bonobo

Psyence Fiction is the debut album by the group Unkle, released in 1998 for Mo'Wax.

Following their Mercury Prize nomination, and having recently been featured in The Guardian, Lanterns On The Lake announce news of a new 5-track EP, The Realist via Bella Union.
Of the track and EP vocalist Hazel Wilde says: “The Realist is a song about being a dreamer, clinging to a vision and following your heart - even when that path can seem deluded to others. It was one of the songs that didn’t make it onto the album Spook The Herd as it didn’t fit sonically or narratively. It felt like it came from another place. So we began putting together this EP. We wanted to sculpt an intimate “headphones” record. One for the introverts and dreamers, the ones that still find beauty and magic in things. Recording some of the songs over lockdown in our homes helped in creating that world.”

Categorising music by mood feels like narc work in the Spotify era. Landing on a popular playlist is one of the only ways to hack the streaming system for a few pennies—but surely no one dreams of being the poster child for "chill beats"? Still, mood music does exist and we can't pretend we don't enjoy it. There's always space on the shelf for a proper back-to-mine album—the kind of thing you can stick on with confidence when you roll in from a big night out with your friends, your new S.O., or whoever. South London's Hector Plimmer has made exactly that with his second full-length, a heady late-night-tale that marks a major leap forward from his 2017 debut.
Plimmer loosely orbits the jazz scene that's bubbled up in South London in recent years. On Next To Nothing, star turns come from singers Ego Ella May and Alexa Harley, who add their smoky voices across four songs, and Theo Parrish collaborator Andrew Ashong. The vibe is sincere, occasionally earnest—in a live setting, Plimmer comes off as cheerful and self-effacing, while Ashong performs wearing toe shoes. On record, though, they create something unexpectedly otherworldly. "Sonnet 17" is a sensual interpretation of a Pablo Neruda poem, invoking heady sensations, fragrant flowers and the loss of bodily integrity that comes with mad love: "Since I must go on, give me you / Everything you got, I want too." On the bittersweet "Joyfulness," Harley's vocal is layered into a thick soulful laminate, multiple takes melting together like candle wax. One of two Ashong contributions is the most ambitious of the lot, channelling the meticulous flair of André 3000 or Frank Ocean on "Somebody Else," which rides on sumptuous stacks of guitar, Rhodes organ and ticking hi-hats, Southern style.
Plimmer clearly gets results from his vocal collaborations. So it's odd that the trip-hoppy "Circle" is left as an empty beat, with warped strings crashing into waves of white noise in the style of early Weeknd (or even his favourite influence-slash-source material, Portishead). But the instrumental tracks allow the drummer to stretch himself in different ways as a performer and programmer, his broken beats feeling slinky and soft in the tradition of someone like Dego (who he's played with previously) or Mark de Clive-Lowe. "Step" is a beauty, building towards its drop over several leisurely minutes as lush strings quiver expectantly, not unlike the off-kilter orchestration you'd find on a Leon Vynehall record. Rave culture is implied, figured as a hazy memory. On "Still Here," Plimmer cuts breakbeats into discrete chunks and lets them scud across the mix like pebbles on a pond's surface. Sometimes it doesn't quite work. The same track's acidic squiggles bring queasy memories of psytrance (the jury's out on that genre's recent dance floor comeback) and tracks occasionally feel noodly when they could be streamlined, like the meandering jam of "Communication Control," which closes the album.
Had it come out 20 years ago, Next To Nothing might have been labelled a "coffee table" record. That classification was meant as a diss, obviously, but plenty of brilliant records got tarred with the same brush. (And what's wrong with coffee tables, anyway? Playing music for friends in your living room is a fundamentally enjoyable thing to do, and it's pretentious to argue otherwise.) Split between engaging instrumentals and evocative songwriting, Next To Nothing comes together as one of those records you could keep pulling out for years—when the time is just right.
Born and raised in South London, Hector Plimmer is a multi-faceted producer, composer and DJ whose sound is drenched in tribal rhythms and beautifully crafted bass. Influenced by beat-makers like Flying Lotus and Theo Parrish, but with the subtleties of the classic Metalheadz era drum and bass, his second album 'Next To Nothing' is released on 25th October 2019. The album features guests Ego Ella May, Emma-Jean Thackray, Andrew Ashong, Pie Eye Collective and Alexa Harley. After featuring on Brownswood Bubblers 11, curated by Gilles Peterson, Hector proved his talent when he was selected as a winner of the PRS Steve Reid InNOVAtion award. At a performance at 'Sounds Of The Universe' Record store, Hector caught the attention of Albert's Favourites' label heads Adam Scrimshire & Dave Koor. A conversation was started which led to the transfer of almost a whole album's worth of material and resulted in his debut full length record 'Sunshine'. 'Sunshine' was met with rapturous acclaim. The record went on to be awarded Gilles Peterson's album of the week on his BBC 6 Music show and was championed by both Lauren Laverne and Tom Ravenscroft on the station as well as Jamie Cullum on BBC Radio 2. It's success on the airwaves transcended to streaming with the inclusion in the top 50 viral US chart on Spotify. 'This album has been a real labour of love. I spent the most part of a year trying to make music I thought would be fitting to follow my last album, whilst not actually knowing what that might sound like. 'Sunshine' had been received way more positively than I had anticipated and although praise is a lovely thing, it was the cause of much anxiety when the time came to start on this record. I put a lot of pressure on myself to produce music and kept going down routes that felt forced or just didn't click for me, in hindsight I realise this was me making music not for myself, but for what I imagined other people might want to hear. In a way 'Next to Nothing' is my first real album, 'Sunshine' was more like a collection of four to five years worth of music compiled into the shape of one. This is my first dedicated attempt at creating a cohesive project, something that shows who I am right now and what got me here.' - Hector Plimmer. As a DJ Hector has a monthly slot on NTS radio. He has played alongside the likes of Gilles Peterson, Kutmah, Alexander Nut, MNDSGN, Onra, Dego, Kaidi, Max Graef & Glenn Astro; Hector finds himself in the good company of those talented selectors who play genres across the spectrum of Hip-hop, Beats, Funk, Soul, Disco, Afro-beat, House and Jazz. Last year saw the launch of his live performances. Flanked by Dave Koor and Tim Doyle on keys and percussion, with Vocalist And Is Phi heading up the quartet. Recent performances have included supporting Nightmares on Wax, Amp Fiddler, Yussef Dayes and Flako. Key festival performances include Glastonbury, The Great Escape and Brainchild. As a composer Hector was selected by Google to test and compose the inaugural piece on their open source AI synth, the 'N Synth Super'. His tracks have been synced to date by the likes of WACOM, Nike, i-D, Zandra Rhodes & Kitty Joseph.

On their debut album, London quartet Zola Blood create an intoxicating blend of ambient electro-pop that balances trance's hypnotic pleasures with the intimacy of Radiohead. The pulsating rhythms of "Heartbeat" and "nothing" spin steadily and concentrically, as if they could go on forever. Throughout, frontman Matt West evokes Thom Yorke's weightless wails as he casts a silky cloud over glitchy beats ("Infinite Games"), while throbbing synths slink in and out of The xx's moody minimalist orbit ("Play Out").

Original Release Date: December 7, 2018
Release Date: December 7, 2018
Label: Dirty Hit
Copyright: ℗© 2018 Dirty Hit
Total Length: 25:54
Genres: Alternative Rock
Format: Explicit Lyrics
ASIN: B07KWMWBDX

Goat Girl are a post-punk band from South London. Their initial lineup consisted of lead vocalist and guitarist Lottie Cream, guitarist and occasional lead vocalist L.E.D., bassist Naima Jelly and drummer Rosy Bones.