Starting out as a side project in a top floor London flat, Velveteen quickly grew into something much more. Over time, the band developed a sound that's as much a love letter to their inspirations as it is their own. Shoegaze influences come to the fore and, beneath that, elements of post-punk, dream pop and noise rock challenge for attention.
"Empty Crush" is the culmination of a passion well-lived, notwithstanding a sizeable amount of procrastination. As the band's debut EP once said, it's now yours to enjoy.
Drew Younger - Guitars/Vox
Sam Alattar - Guitars
Patrick Malins - Bass
James Nolan - Drums/Vox
All songs by Velveteen
Recorded by Dom Mitchison, Paul of Sound and Drew Younger
Mixed and mastered by Anthony Chapman

The Lost Tapes is the eighth studio album by British girl group Sugababes. While work for the album dates back to 2012 when the original lineup reunited and concluded in 2014, the album remained unreleased until 24 December 2022.

"the greatest Anne Garner album imaginable" - Ron Schepper, textura
Anne Garner returns to Slowcraft with a sublime new album.
Dear Unknown is three years in the making, a vaporous, bitter-sweet collection that unflinchingly picks a path through the artist’s personal history of moral constriction and religious abuse to arrive at a place of extraordinary lightness and release. Such is the alchemy of Anne’s art; through it pain becomes compassion, suffering relief. In other hands such emotional deep-diving could all too easily yield a dislocated or melancholy record, but time spent in the company of Dear Unknown instead imparts a sense of serenity, uplift and above all hope.
Impossibly delicate opener Dear Unknown and the sparkling This Is Freedom lead us into Dust Devil, a cathartic tour de force that rekindles the dream-pop sensibilities found on previous work such as Be Life. All Wounds burns with a torch-bearing intensity while the smoky Besides and instrumental Golden Arrow recall the genre-defying fluidity of Lost Play. Surrender sublimates the complexity of Dear Unknown’s message into a single-word mantra, the imperative to lay down arms abstracted into a granular stream of sound by producer and long-time collaborator James Murray. The album’s moving climax Alma celebrates the artist’s late mother, whose passing prompted Anne to begin her songwriting career, urging us all to cherish each and every moment of life’s precious, fleeting gift.

Buen Brothers 为网飞原创电影The Half of It 创作的歌曲

Sun’s Signature is a 5 track EP of music by Elizabeth Fraser (Cocteau Twins) and Damon Reece (Spiritualized, Echo & the Bunnymen, Lupine Howl).

UK version of the hip-hop act's sophomore album originally released in 1990. Includes four tracks not featured on the domestic, 'What'cha Gonna Do', 'Life On The Line', 'Smokin' With The Motherman' and 'Relentless'.

For songwriting duo Joey Cobb and Katie Drew of White Flowers, one of the most exciting young bands in the UK right now, it was only on leaving London to return to their native Preston that the dark-hued dreampop of their debut album, Day By Day, began to crystalize.
"There’s something uniquely bleak about the North,” says Joey, speaking from the abandoned textile mill that White Flowers call home, “but in that bleakness there’s a certain beauty.”
The pair had left Preston for London to study at art college, and it was there that they first began to explore the nascent psych scene bubbling under in the few remaining arts-orientated spaces in the east of the city. It soon inspired them to begin work on music of their own.
“We didn’t want to be a psych band,” explains Katie, "but discovering that music gave us both energy and focus. We’ve spent so many years developing these songs, because I think it was important we waited until White Flowers became its own defined thing."
The pair found that by using equipment they barely understood, they produced their most innovative work. Beginning on GarageBand, they crafted loops that turned into songs, and by the time they’d worked out how to use it, they’d graduated to a drum machine.
Now very much in control, and with a clear and determined focus, the pair began producing music that, whilst leaning into the North’s post-punk past, possessed a vision and depth informed by their own post-industrial Preston experiences. Creating all of their artwork, visuals and overall aesthetic, they began building a world that stretched beyond the music alone – in an unusual circular fashion, this auteurist-like approach became a way of translating their environment and experiences into a form of escapism from the very place that inspired them.
“We’ve always taken care to control every aspect of the White Flowers ‘world’, and because we’ve developed this over time, it feels to us like there’s a separate realm for White Flowers music to exist in,” observes Joey. “More than anything, the isolation that a place like Preston provides means that what we do is very much its own, separate thing”.
That ‘thing’ is the sound of the North at night; the unglamorous North, caught in the hinterlands that divide the main cities, a monochrome psychedelia formed in Preston and the imposing Lancashire hills that envelop them. As if always waiting there for them, in returning to their roots, White Flowers found themselves.
Nonetheless, it was shortly before leaving London that another creative breakthrough occurred. While performing a small show as a support act, a fan in the audience, impressed by the wall of noise that would frequently extend for minutes at the end of tracks, suggested they work with a like-minded friend. Within weeks, the pair were recording at the Manchester studio of Jez Williams, erstwhile member of Doves.
Williams and Manchester immediately made sense, and it’s that industrial gothic that White Flowers were able to tap into as they built the album during on-off sessions across two years – sometimes leaving the studio for a couple of months to work on ideas, other times crafting the minutiae of details across all-night studio sessions.
The access to flexible studio time was telling, and the band were able to develop an aesthetic that, whilst indebted to the various sounds that defined their youth, also leaned heavily into Kevin Shields’ droning wall of noise guitars, the palimpsestic hauntology of early Burial, and the ghost box sampleadelia of Boards of Canada.
“We like the more alien sounds” explains Joey, “where the focus is on creating atmosphere.” This is perhaps most obvious on the album title track, one of the more sonically enticing tracks on the record with its pulsing drone and Portishead-esque rhythm, or even ‘Night Drive’, a live favourite that the pair take pride in building into a monstrous wall of sound.
‘Daylight’ pushes forward with a prettiness matched by Katie’s oblique, near-glossolalia vocal. “We don’t like it when things are clean or overproduced” explains Katie, “and there’s something interesting in the instinctive nature of the first thing you sing, because you don’t really know what you’re singing until it comes out and it makes sense.” That psychographic-style process to writing informs a collection of songs that are at once both intuitive and fully-formed.
The oldest song on the record, ‘Help Me Help Myself’, bears witness to this approach. Perhaps their most direct and perfect ‘pop’ song to date, it suggests these songs were always there within, just waiting to be divined. "We’d just started using drum machines and there’s something of a naïve quality to it,” explains Katie, though its naivety has now been augmented by Jez Williams’ impossibly diaphanous production.
The constant upheaval of, well, everything has fed directly into Day By Day. “The songs on the album were written from when we were teenagers up to our early 20s, so it’s come of age in this weird apocalyptic time,” says Katie.
“Everything’s surrounded by uncertainty” notes Joey, "but it isn’t all doom and gloom, there are positives, rules are out the window and you can do what you want. There’s some hope in there.”

“We feel like this is a step up. We're very proud of it.”
For The Lathums, making their second album was all about capturing humanity. “The humanity of us and the humanity of music, just figuring all this crazy stuff out as human beings,” frontman Alex Moore tells Apple Music. Picking up the thread that was woven through their 2021 debut How Beautiful Life Can Be, this follow-up melds the mundane and the magical, the gently euphoric indie-rock sing-alongs wrought from everyday struggles, and the quiet defiance of getting through troubling times.
Emboldened by the success of their first record, the Wigan quartet wanted to push the boundaries. “We wanted to show that we're progressing and trying new things and that we won’t ever get comfortable in a certain place,” says Moore. You can hear it in how these songs dynamically shift from panoramic '80s rock to epic ballads, from storming indie anthems to sweetly melodic skiffle-pop. “We feel like this is a step up,” says Moore. “We're very proud of it.” Moore and guitarist Scott Concepcion talk us through the album, track by track.
“Struggle”
Alex Moore: “I felt that this was a powerful song to start with—it sets off the narrative for the rest of the album. It felt right to be the spearhead. I started writing it when I was a lot younger, and I couldn't finish it because I wasn't old enough to understand it at that point—but the end of it came out of me later down the line.”
“Say My Name”
AM: “We wanted something with a lot of energy that people can get behind, like when you're in a crowd and there's a certain kind of noise going on. Being on stage you can see it, everybody naturally either jumps at the same time or sings along at the same time. We wanted to capture that in a song. We played it live before we recorded it and it became a bit of a fan favorite. It went up on YouTube and then, at the next couple of gigs, there were people singing the words back to us. It became its own entity.”
“I Know Pt 1”
AM: “There's a bit of love in this one. There's a lot of love, really. I wanted to take myself out of my own shoes and see things from somebody else's perspective. In this scenario, it's the perspective of a woman, which is hard for a man to do. I’m not saying I've learned how to do that but I wanted to give it a go and not think just about me. I think I learned more about myself—ways that I'm selfish but hadn’t really realized, and certain things like that. I think it was owning up to things, things that you could change to better yourself.”
“Lucky Bean”
AM: “I wanted to have a song that brings an old, nostalgic feel but in a modern way. We always want to keep it fresh, we used to talk about that when we were playing in pubs as young lads. We wanted to have a song for everybody, it doesn't matter who's listening—there can be a song for everybody.”
“Facets”
AM: “This was a very fun song to record. There's a lot of melodies, and I know Scott had a whale of a time on it.”
Scott Concepcion: “I did. There's plenty of little guitar parts and overlapping intricacies that form melodies when listened to together. Jim Abbiss [producer] brought out his Höfner electric thumb piano too, it was incredible.”
AM: “The end is like a climax of music. It's amazing.”
“Rise and Fall”
AM: “This was a sweet little number me and Scott started when we were whippersnappers. We neglected it for a while, and it got pushed to the side. Then it presented itself again. There was a lot going on at the time that fitted a lot of the words—and the idea of being in a headspace all the way at the top and then all the way at the bottom and the different parts of a journey. It felt right, and obviously we were older and a bit more experienced, so it was easier to revisit the song and let it be itself.”
“Sad Face Baby”
AM: “A lot of the album is music for an individual—personal music—and we wanted something for everybody in the crowd to get behind, where everybody takes the song for themselves and the energy from everybody is just so good. We're conscious about stuff like that now. We're never selfish with it, we never wanted to keep it to ourselves. We always wanted to express it to people but now we understand that, at a show, it's their time to have a laugh and have a jump around. You have to write a song that's sat in that category.”
“Turmoil”
AM: “This is a gorgeous piece of music, especially if you take the vocals away! It was fun recording this because it was out of our comfort zone. I was very proud of us after we'd finished it because we'd never done a song like this before. We didn't really know what we were doing with it at the beginning, but we kept at it and it's become quite special. It's of its own kin, there's not many songs like it about at the moment. It gives us more confidence to express things in different ways.”
“Land and Sky”
AM: “In the beginning, this was more of a dark, complex, fingerpicking kind of tune. But we got in the studio with John Kettle [producer], and the arrangement we created transcended what I envisioned in my head when I first wrote it.”
SC: “We all felt we were channeling Dr. Dre.”
AM: “It's like Lathums but in a '90s hip-hop way. It was fun crafting it in the studio. It excited us, like, ‘What can we do now to make it better or make something strange? Where can we push these songs to?’”
“Crying Out”
AM: “This was another oldie and goldie, but it never really got its chance to breathe. A lot of fans mentioned it being special to them, but it was forgotten about. It felt good to give people that and let the song have its time to breathe and just be. We loved the song, and we'd already lived with it for years, so it was nice to revisit it.”
“Undeserving”
AM: “It's a journey, this one. It's one of those songs where you have to be in bed on your own, just in your own world, trying to figure things out with your headphones on. Let the words just take you on a journey. It sums up a lot of our journey, personally and musically. I think it rounds off the album in a really nice way. It's almost like I'm trying to explain to you that we've not got this figured out yet, this life, but we're giving it a go and we're very happy and grateful for the position that we're in and the opportunity people have given us—because without everybody else, music doesn't have any connection.”

Physical is the twelfth studio album by English-born Australian singer Olivia Newton-John, released on 13 October 1981, by MCA Records. The album was produced and partly written by her long-time record producer John Farrar. Recorded and mixed at Ocean Way and David J. Holman's studio in Los Angeles, California, Physical became one of Newton-John's most controversial and sexual records, and her most successful studio album to date. Musically, the album features considerable use of synthesizers and it explores lyrical themes such as love and relationships, sex, kinesthetics and environmental protection. Upon its release, the album received positive reviews from music critics, many of them considering it to be Newton-John's best effort. The album charted high in several countries, including the United States, Japan and Newton-John's native Australia, becoming one of the most successful albums of the early 1980s. It also ranks among the best-selling albums by Australian solo artists, selling more than ten million copies worldwide.
The album's title track was a commercial phenomenon, staying 10 weeks atop the Billboard Hot 100, at the time tying the record set by Debby Boone's 1977 single "You Light Up My Life". The song and its music video were controversial, having been banned or edited by several radio stations and television channels (such as MTV) for its sexual references. The single was followed by "Make a Move on Me", another top-ten worldwide hit. "Landslide", which failed to enter the majority of musical charts, had a music video featuring Newton-John's boyfriend (and later husband) Matt Lattanzi, to whom she had dedicated the album. A video compilation, Olivia Physical, was produced, featuring music videos of all songs from the album. The material was a commercial and critical success, and earned Newton-John a Grammy Award for Video of the Year.
The album was promoted with Newton-John's 1982 North American Physical Tour, performances from which a home video entitled Olivia in Concert was produced. The Physical era marked the height of Newton-John's solo career, gaining her wide acclaim as one of the most successful female artists of the early 1980s.

The moody London indie folk trio return with a stripped-back record inspired by long-distance longing.

Remastered edition of the new age/art rock composer's 1973 release. Digitally remastered by Simon Heyworth (who originally co-produced 'Tubular Bells' with Oldfield and Mike Newman) using the latest technology. Artwork has been digitally restored and includes additional photos and brand new sleeve notes. 2000.