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LP
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SCR 275LP
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$28.00
PREORDER
RELEASE DATE: 5/10/2024
LP version. Reveries is Zach Frizzell, Marc Ertel, and Damien Duque's first album for over three years and follows the success of their debut Liberamente. Together, the trio craft delicately textured and slowly unfurling sonic vistas, occupying a unique aural domain that lies between guitar-driven drone music and modern classical compositions. With their individual projects they are incredibly prolific, but Dawn Chorus releases are few and far between and Reveries represents a refined evolution, leaning more heavily toward string-based arrangements and compositional virtuosity. It is the very essence of what they are calling "dronegaze," pushing the boundaries of the ambient genre while embracing a profound auditory expression. According to the trio, the six, long tracks on Reveries are "heavily reliant on improvisation, intuition, and allowing the compositions to exist in their own moment; the aim was a feeling of fluidity and a sense that every instrument has its place and purpose." And they're right. The opening title track emerges quietly in a swirl of strings; lead single "Deus" eases its fittingly reverent grain into a glorious minor-key immensity; "Cadere" pulls together a cast of orchestral instruments into a comforting devotional; "Somnium" plays out in diffuse, shimmering melodic rounds; "Vale" blossoms from a pair of sparse, alternating chord swells; and "Aufero" is the perfect coda that reprises the low-end rumble of the album's overture before being swept away on a sea of dissonance.
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CD
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SCR 275CD
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$13.50
PREORDER
RELEASE DATE: 5/10/2024
Reveries is Zach Frizzell, Marc Ertel, and Damien Duque's first album for over three years and follows the success of their debut Liberamente. Together, the trio craft delicately textured and slowly unfurling sonic vistas, occupying a unique aural domain that lies between guitar-driven drone music and modern classical compositions. With their individual projects they are incredibly prolific, but Dawn Chorus releases are few and far between and Reveries represents a refined evolution, leaning more heavily toward string-based arrangements and compositional virtuosity. It is the very essence of what they are calling "dronegaze," pushing the boundaries of the ambient genre while embracing a profound auditory expression. According to the trio, the six, long tracks on Reveries are "heavily reliant on improvisation, intuition, and allowing the compositions to exist in their own moment; the aim was a feeling of fluidity and a sense that every instrument has its place and purpose." And they're right. The opening title track emerges quietly in a swirl of strings; lead single "Deus" eases its fittingly reverent grain into a glorious minor-key immensity; "Cadere" pulls together a cast of orchestral instruments into a comforting devotional; "Somnium" plays out in diffuse, shimmering melodic rounds; "Vale" blossoms from a pair of sparse, alternating chord swells; and "Aufero" is the perfect coda that reprises the low-end rumble of the album's overture before being swept away on a sea of dissonance.
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LP
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SCR 225LP
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$28.00
PREORDER
RELEASE DATE: 4/26/2024
Repress. The debut album from the London-based four-piece Whitelands. At the forefront of the new generation of Black British guitar music with Big Joanie and Bob Vylan.
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LP
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SCR 280LP
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LP version. Not Me But Us are a new duo from Naples, Italy formed by acclaimed pianist and composer Bruno Bavota (who records for Temporary Residence) and electronic producer Fabrizio Somma (aka K-Conjog). Together they have made Two, a beautiful album that blends both of their influences with added echoes of ambient, techno, 2000s club culture, post-classical and post-rock. It's a stunning record and proof that when two very different musicians meet it's always possible for magic to happen. The eight tracks are a testament to their ability to translate raw emotion into a musical journey, forging a connection that goes beyond sound.
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CD
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SCR 280CD
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Not Me But Us are a new duo from Naples, Italy formed by acclaimed pianist and composer Bruno Bavota (who records for Temporary Residence) and electronic producer Fabrizio Somma (aka K-Conjog). Together they have made Two, a beautiful album that blends both of their influences with added echoes of ambient, techno, 2000s club culture, post-classical and post-rock. It's a stunning record and proof that when two very different musicians meet it's always possible for magic to happen. The eight tracks are a testament to their ability to translate raw emotion into a musical journey, forging a connection that goes beyond sound.
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12"
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SCR 260EP
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EP version. The eponymous debut EP by London-based dreampop duo deary. The six-track release is available on frosted clear 12" vinyl, plus a CD with five additional bonus tracks and remixes. Their debut single "Fairground" was an instant classic. A mix of shoegaze beauty and trip-hop beats, it was amazing to see people falling in love with it in real time as it gained airplay around the world, a remix by Saint Etienne and hit number one on the official charts' vinyl singles chart. The EP includes the follow-up, the deliciously dark "Beauty In All Blue Satin," and new single "Sleepsong," plus three other tracks.
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LP
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SCR 250LP
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LP version. Following the news that all three Lush albums are going to be reissued, Emma Anderson, the band's co-founder, has announced her debut solo album, Pearlies, which will be released by Sonic Cathedral on October 20, 2023. One of the most underrated British songwriters to emerge from the era that encompassed shoegaze and Britpop, she has teamed up with producer James Chapman (aka Maps) for this collection that combines effervescent electronic pop with psych and folk textures with lyrics covering themes such as confronting your fears, embracing independence and moving on in life. It arrives fully formed with a burnished beauty (aided by the mastering skills of Heba Kadry) that belies its somewhat protracted creation, which began with Emma feeling disillusioned after Lush's 2016 reunion came to an abrupt end. Left with songs and bits of music originally intended for the band, she began working with cellist and string arranger Audrey Riley and Robin Guthrie, formerly of the Cocteau Twins, both of whom encouraged her to sing her own songs. Covid put a temporary halt on proceedings, but the decision had been made. When Sonic Cathedral introduced her to James Chapman at the start of 2022, Pearlies quickly took shape and blossomed into a masterpiece, the perfect mix of Emma's incredible, idiosyncratic songwriting and James' electronic production nous. Plus, a little extra guitar magic on four tracks courtesy of Richard Oakes from Suede. The finished album has somehow written its own narrative. By her own admission, Emma tends to write words and "see what comes out", but Pearlies seems to tell the story of her decision to go it alone, with opener "I Was Miles Away" posing the question: "See if I make it on my own." The rest of the album provides the answer as it takes in everything from the unexpectedly funky first single "Bend The Round," to folky finger-picking and film theme references, via psych leaning electronic pop reminiscent of Goldfrapp or Melody's Echo Chamber. It concludes with "Clusters," a stunning, Stereolab-style groove which begins with the line "and now the party's over, the music's at the end". Thankfully, that is not the case. This incredible album is just the start of Emma's long-awaited solo journey.
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CD
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SCR 260CD
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The eponymous debut EP by London-based dreampop duo deary. The six-track release is available on frosted clear 12" vinyl, plus a CD with five additional bonus tracks and remixes. Their debut single "Fairground" was an instant classic. A mix of shoegaze beauty and trip-hop beats, it was amazing to see people falling in love with it in real time as it gained airplay around the world, a remix by Saint Etienne and hit number one on the official charts' vinyl singles chart. The EP includes the follow-up, the deliciously dark "Beauty In All Blue Satin," and new single "Sleepsong," plus three other tracks.
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LP
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SCR 196LP
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The Cornish improv noise/post-rock/shoegaze band's cult classic debut, remastered and re-edited by Slowdive's Simon Scott and available on vinyl for the first time since its release back in 2017, with original copies (released via The Weird Beard) now changing hands for triple figures. The three tracks that make up the album were recorded live, in one take. They are presented as captured snippets of the one song the band used to play, the continually existing and evolving "CPA" (Cosmic Pink Alignment). It formed the blueprint for their unique mix of Sonic Youth squall and Slowdive-style beauty, which was later heard on 2021's acclaimed debut for Sonic Cathedral, Sleepover. Simon's magic touch has really elevated this stunning record, making it sound bigger, bolder and better than ever.
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12"
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SCR 244EP
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$23.50
PREORDER
RELEASE DATE: 11/17/2023
This brand new EP from the Cornish improv noise/post-rock/shoegaze trio is their first release since their acclaimed second album Sleepover, which came out at the end of 2021. It features two long tracks and vocals from their Sonic Cathedral bandmate Lorena Quintanilla from Lorelle Meets The Obsolete. "One of our recording sessions resulted in a couple of tracks that had a very different energy to what we've recorded to date because there was less of a motif-based approach to them, which made them kind of scenic," explains Mildred Maude guitarist Matt Ashdown. "We felt like they were the best opportunity we've had for doing a collaboration. We've played a few shows with Lorelle Meets the Obsolete and really clicked -- we love what she does in that band and also as J. Zunz -- so we asked her to do both tracks. It feels completely right -- a natural pairing."
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CD
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SCR 250CD
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Following the news that all three Lush albums are going to be reissued, Emma Anderson, the band's co-founder, has announced her debut solo album, Pearlies, which will be released by Sonic Cathedral. One of the most underrated British songwriters to emerge from the era that encompassed shoegaze and Britpop, she has teamed up with producer James Chapman (aka Maps) for this collection that combines effervescent electronic pop with psych and folk textures with lyrics covering themes such as confronting your fears, embracing independence and moving on in life. It arrives fully formed with a burnished beauty (aided by the mastering skills of Heba Kadry) that belies its somewhat protracted creation, which began with Emma feeling disillusioned after Lush's 2016 reunion came to an abrupt end. Left with songs and bits of music originally intended for the band, she began working with cellist and string arranger Audrey Riley and Robin Guthrie, formerly of the Cocteau Twins, both of whom encouraged her to sing her own songs. Covid put a temporary halt on proceedings, but the decision had been made. When Sonic Cathedral introduced her to James Chapman at the start of 2022, Pearlies quickly took shape and blossomed into a masterpiece, the perfect mix of Emma's incredible, idiosyncratic songwriting and James' electronic production nous. Plus, a little extra guitar magic on four tracks courtesy of Richard Oakes from Suede. The finished album has somehow written its own narrative. By her own admission, Emma tends to write words and "see what comes out", but Pearlies seems to tell the story of her decision to go it alone, with opener "I Was Miles Away" posing the question: "See if I make it on my own." The rest of the album provides the answer as it takes in everything from the unexpectedly funky first single "Bend The Round," to folky finger-picking and film theme references, via psych leaning electronic pop reminiscent of Goldfrapp or Melody's Echo Chamber. It concludes with "Clusters," a stunning, Stereolab-style groove which begins with the line "and now the party's over, the music's at the end". Thankfully, that is not the case. This incredible album is just the start of Emma's long-awaited solo journey.
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10"
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SCR 233EP
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The EP features two brand new tracks alongside two remixes of songs from last year's acclaimed album Red Sunset Dreams. The Dot Allison-featuring "Sundowning" gets an almost Balearic makeover by Richard Norris which flows perfectly from "Silver River," featuring B.J. Cole, which has been turned into awe-inspiring ambient Americana by the Indianapolis collective Dawn Chorus And The Infallible Sea. The two new tracks, despite sharing a common theme with the album in terms of their sunset-themed titles, signal a change in musical mood. Both are much more propulsive and driving, inspired by Mark Peters' recent live shows which he has played as a trio with bassist Dean Roby and drummer Chris Smith. "Alpenglow" came about more recently after Mark bought a Boss RC-300 Loop Station. It has a dark, post-punk feel, like a souped-up "Shadowplay," but as it cranks into krautrock gear it could almost be Neu! with the late, great Tom Verlaine replacing Michael Rother on guitar.
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CD
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SCR 235CD
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Dot Allison returns with a new solo album, Consciousology. After over a decade away, the former One Dove singer and songwriter broke cover in 2021 with Heart-Shaped Scars and this new album follows just two years later, as she hits a purple patch of songwriting. It's also her first full release for Sonic Cathedral after contributing to Mark Peters's acclaimed Red Sunset Dreams (SCR 230CD/LP, 2022). Consciousology finds multi-instrumentalist Dot joined by the London Contemporary Orchestra, her new labelmate Andy Bell from Ride, who plays guitar on two tracks, and Hannah Peel, who is responsible for some of the string arrangements with both the LCO and a stellar group of Scottish string players. It expands on the styles and themes of the previous album, all while pushing everything just that little bit further -- the songs sound bigger, more avant-garde and experimental and, occasionally, properly out-there and psychedelic. "I wanted to make some albums that felt like a set, exploring love, what lies beyond the visible and how all these aspects dovetail together," explains Dot. "I see Consciousology a more psych Heart-Shaped Scars with a far fuller, more immersive sound and so, in that sense, it's a more wayward, bolder, rule-breaking partner." Right from the eye-catching artwork by PJ Harvey collaborator Maria Mochnacz, it definitely does not play it safe. It veers from the techno-played-as-folk of opener "Shyness Of Crowns" and "220Hz" and the Linda Perhacs-meets-The Velvet Underground chug of the first single "Unchanged" to the Mercury Rev-style fantasia of "Bleached By The Sun", the Brian Wilson-esque harmonies of "Moon Flowers" and the kaleidoscopic color trip of "Double Rainbow". Elsewhere there are echoes of Desertshore-era Nico, Jack Nitzsche's work with Neil Young, Karen Dalton, and Anne Briggs before the relative simplicity of the Tim Hardin-inspired closer, "Weeping Roses". It's a brilliant, breathtaking record.
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LP
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SCR 235LP
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LP version. Orange vinyl. Dot Allison returns with a new solo album, Consciousology. After over a decade away, the former One Dove singer and songwriter broke cover in 2021 with Heart-Shaped Scars and this new album follows just two years later, as she hits a purple patch of songwriting. It's also her first full release for Sonic Cathedral after contributing to Mark Peters's acclaimed Red Sunset Dreams (SCR 230CD/LP, 2022). Consciousology finds multi-instrumentalist Dot joined by the London Contemporary Orchestra, her new labelmate Andy Bell from Ride, who plays guitar on two tracks, and Hannah Peel, who is responsible for some of the string arrangements with both the LCO and a stellar group of Scottish string players. It expands on the styles and themes of the previous album, all while pushing everything just that little bit further -- the songs sound bigger, more avant-garde and experimental and, occasionally, properly out-there and psychedelic. "I wanted to make some albums that felt like a set, exploring love, what lies beyond the visible and how all these aspects dovetail together," explains Dot. "I see Consciousology a more psych Heart-Shaped Scars with a far fuller, more immersive sound and so, in that sense, it's a more wayward, bolder, rule-breaking partner." Right from the eye-catching artwork by PJ Harvey collaborator Maria Mochnacz, it definitely does not play it safe. It veers from the techno-played-as-folk of opener "Shyness Of Crowns" and "220Hz" and the Linda Perhacs-meets-The Velvet Underground chug of the first single "Unchanged" to the Mercury Rev-style fantasia of "Bleached By The Sun", the Brian Wilson-esque harmonies of "Moon Flowers" and the kaleidoscopic color trip of "Double Rainbow". Elsewhere there are echoes of Desertshore-era Nico, Jack Nitzsche's work with Neil Young, Karen Dalton, and Anne Briggs before the relative simplicity of the Tim Hardin-inspired closer, "Weeping Roses". It's a brilliant, breathtaking record.
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CD
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SCR 265CD
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Lorelle Meets The Obsolete's sixth album was recorded at their home studio in Ensenada, Baja California, it was mixed by Jace Lasek of The Besnard Lakes and mastered by Mikey Young of Eddy Current Suppression Ring and Total Control. It's a short, sharp shock of a record with no unnecessary adornments and no fat on any of its eight songs. Gone are the psychedelic wig-outs found on previous releases, replaced with bass-heavy post-punk grooves inspired by the roots of The Congos, the no wave of Ike Yard, the industrial hip-hop of Dälek, and the dark modular moves of Hiro Kone, all while harnessing the elemental power of Jon Hassell's Vernal Equinox. "The 'in the room' feel is one of the things I've always loved about The Besnard Lakes' records," says guitarist Alberto González. "And Jace brought that to Datura. The only note we gave him was 'we want this album to sound big and aggressive'." It worked -- perhaps unsurprisingly for a record that covers cultural colonialism, imperialism, conflicting opinions, intense emotions, strange dreams, and insomnia. The title refers to the genus of plants often associated with ancient rituals that are also sometimes used as poison or hallucinogens. "We liked the idea of a flower that opens at night," says singer and guitarist Lorena Quintanilla. "A type of Datura grows all over the neighborhood where we live. People try to get rid of them because they are afraid of their dogs eating them, but they always regrow again and again in the same places." A bit like Lorelle themselves, then. We last heard from them at the start of 2020, when they had to crowdfund their way home after being stranded on the road in the US as Covid lockdowns came into force. As life returned to normal, they started playing shows again, firstly in Mexico and then, earlier this year, they finished what they started three years ago and toured the US with SUUNS. Now, finally, they are set to flower once again with Datura, their most direct and dynamic album to date; proof that nature really is healing.
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LP
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SCR 265LP
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LP version. Blue vinyl. Lorelle Meets The Obsolete's sixth album was recorded at their home studio in Ensenada, Baja California, it was mixed by Jace Lasek of The Besnard Lakes and mastered by Mikey Young of Eddy Current Suppression Ring and Total Control. It's a short, sharp shock of a record with no unnecessary adornments and no fat on any of its eight songs. Gone are the psychedelic wig-outs found on previous releases, replaced with bass-heavy post-punk grooves inspired by the roots of The Congos, the no wave of Ike Yard, the industrial hip-hop of Dälek, and the dark modular moves of Hiro Kone, all while harnessing the elemental power of Jon Hassell's Vernal Equinox. "The 'in the room' feel is one of the things I've always loved about The Besnard Lakes' records," says guitarist Alberto González. "And Jace brought that to Datura. The only note we gave him was 'we want this album to sound big and aggressive'." It worked -- perhaps unsurprisingly for a record that covers cultural colonialism, imperialism, conflicting opinions, intense emotions, strange dreams, and insomnia. The title refers to the genus of plants often associated with ancient rituals that are also sometimes used as poison or hallucinogens. "We liked the idea of a flower that opens at night," says singer and guitarist Lorena Quintanilla. "A type of Datura grows all over the neighborhood where we live. People try to get rid of them because they are afraid of their dogs eating them, but they always regrow again and again in the same places." A bit like Lorelle themselves, then. We last heard from them at the start of 2020, when they had to crowdfund their way home after being stranded on the road in the US as Covid lockdowns came into force. As life returned to normal, they started playing shows again, firstly in Mexico and then, earlier this year, they finished what they started three years ago and toured the US with SUUNS. Now, finally, they are set to flower once again with Datura, their most direct and dynamic album to date; proof that nature really is healing.
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CD
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SCR 205CD
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Ride guitarist and songwriter Andy Bell releases a new compilation album called Strange Loops & Outer Psych. The release marks the end of the campaign for Andy's second solo album Flicker (SCR 200CD/LP), which came out to great acclaim in February 2022, and rounds up 16 tracks from his recent run of three EPs -- I Am A Strange Loop (SCR 207LP), The Grounding Process (SCR 204LP) and Untitled Film Stills (SCR 206LP) -- that were made up of remixes, acoustic versions, and covers of songs that inspired the album. The new CD release includes four tracks that weren't included on the original limited-edition vinyl releases. It also includes his fuzzed-up cover of Yoko Ono's song "Listen, The Snow Is Falling" -- which was recently given the official seal of approval when Yoko herself tweeted the video -- and the majestic Maps remix of "It Gets Easier", as heard on Lauren Laverne's show on BBC Radio 6 Music. There are further remixes by David Holmes, Richard Norris, bdrmm, A Place To Bury Strangers, and Claude Cooper, as well as covers of songs by The Kinks, Arthur Russell, and Pentangle and five fragile acoustic takes on album tracks. "Almost a year to the day since I released my second album Flicker, here is a technicolor companion piece that pulls together the tracks from the EPs to color in the edges of the record," says Andy. "Influences, stripped down acoustic reworks and remixes by my friends, comrades and heroes all hopefully help the listener see where my head was when I made Flicker, but also it stands up as a decent listen in its own right." The CD was mastered in New York by Heba Kadry and is sequenced like a mixtape, which makes for a proper listening experience. "Hatful Of Hollow is my favorite Smiths album, just saying," explains Andy.
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10"
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SCR 207LP
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Clear/pink splatter 10" vinyl. Reworkings of songs from Flicker by David Holmes, Maps, Richard Norris, and bdrmm. "It was so great to see what came back when I gave these tracks from Flicker to various comrades, friends and heroes to play with," says Andy. "They've given them a new technicolor life." "David Holmes requested the opening track as he had formed a bit of a connection with it, and what he came up with turns the song into a hallucinogenic beast, taking pride of place here as the opening track but in a whole different way to how Flicker opens. James Chapman AKA Maps has taken 'It Gets Easier' to a bigger, brighter and shinier place, he's given quite a downbeat track a euphoric and epic sheen. I couldn't put Richard Norris's lovely widescreen take on 'Something Like Love' better than the man himself -- in his own words he found the 'hitherto undiscovered sweet spot between 'Roscoe' and 'Outdoor Miner' and he tapped into the melancholy euphoria at the core of the song. bdrmm's remix of 'Way Of The World' is one for headphones. There are so many great moments to love, all held together by a bassline worthy of Jah Wobble. Astonishing!"
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10"
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SCR 204LP
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Clear/green splatter 10" vinyl. Stripped-down versions of tracks from Flicker. "'Something Like Love' is the most popular song from Flicker and one of the oldest, starting life in the '90s. It's probably the only one that dates back to the Ride era. The riffs for 'World Of Echo' were written while I was on tour with Oasis, at the height of my La's obsession. It went through a few iterations from then onwards, but never had a final melody until last year. 'She Calls The Tune' was the first song I wrote after I joined Oasis, 'Lifeline' was another riff I came up with while on tour with Oasis. I remember being on a UK tour with Shack, and sitting around backstage on acoustics with Mick and John Head jamming around the Simon & Garfunkel version of 'Scarborough Fair'. It was always called 'Lifeline' but I never found the right lyric for it until recently."
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10"
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SCR 206LP
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Clear/blue splatter 10" vinyl. Songs that inspired Flicker by Yoko Ono, Pentangle, The Kinks, and Arthur Russell. "The idea was that I would be covering songs which helped in some way to color in the edges of the picture of the influences that make up Flicker," explains Andy. "The song 'Jenny Holzer B. Goode' on the album refers to a few of the female artists from the music and art worlds who I find inspiring, including Yoko Ono, so it felt right to include a cover of 'Listen, The Snow Is Falling', my favorite Yoko Ono song. Pentangle's 'Light Flight' came out in 1970, the year I was born. Nat Cramp, the head honcho of Sonic Cathedral, requested that I cover 'The Way Love Used To Be'. I'd never heard this song despite being a big fan of The Kinks, but it's lovely and it felt very natural to do a version. Arthur Russell has been a big reference point for all my music - there is something impressionistic and open-ended about his records. I guess you could describe the production style I'm trying for on 'Our Last Night Together' as World Of Echo meets This Mortal Coil doing Skip Spence."
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LP
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SCR 215LP
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LA five-piece Dummy follow 2021's acclaimed debut album Mandatory Enjoyment (released by Trouble In Mind) and their single for Sub Pop with Dumb EPs, a compilation of their first two EPs from 2020, remastered especially for vinyl by Simon Scott from Slowdive. EP1 was recorded from late 2019 and released in May 2020, both digitally and on a tape by Maryland punk label Pop Wig. Translucent green vinyl. "Dummy has all the makings of a modern cult band" --Pitchfork. "Like a scrappy, punch-drunk Stereolab or a blissed out, mantra-hypnotized Wire" --Aquarium Drunkard
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CD
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SCR 230CD
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Mark Peters releases a second solo album Red Sunset Dreams on Sonic Cathedral. The follow-up to his hugely acclaimed debut Innerland (SCR 094CD/LP, 2018), which was one of Rough Trade's albums of the year when it came out in 2018, it features a number of guest musicians, including former One Dove singer and songwriter Dot Allison and pedal steel legend BJ Cole. Like its predecessor, Red Sunset Dreams is an album about an imaginary landscape. Whereas Innerland was an introspective psycho-geographic trip inspired by Mark's move back to his hometown of Wigan and the memories it stirred up, Red Sunset Dreams looks outwards, across the Atlantic to the United States of America, but very much through a UK prism; a representation of the subconscious Americana that's buried deep in our collective psyches. The result is an incredibly evocative trip through the landscapes of old Western movies, exploring their links with the North West of England while touching on wider themes such as isolation, freedom and dementia. Sonically, it builds on the palette of the previous record with instrumentation equally inspired by the ascendant ambient Americana movement and classic country-rock. As a result it ends up somewhere between Acetone's peerless I Guess I Would, Diamond Head-era Phil Manzanera and the dusty instrumentals on the second disc of David Sylvian's 1986 classic Gone To Earth. Mark has spent the four years since Innerland recording and releasing Destiny Waiving, his third collaboration with Ulrich Schnauss, and recently followed up 2020's new Engineers recordings (the ambient perambulations of Pictobug) with a reissue series of the band's much sought -after early albums. He has recently put a brand-new band together and will be playing a series of live shows following the release of Red Sunset Dreams.
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LP
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SCR 230LP
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LP version. Red vinyl. Mark Peters releases a second solo album Red Sunset Dreams on Sonic Cathedral. The follow-up to his hugely acclaimed debut Innerland (SCR 094CD/LP, 2018), which was one of Rough Trade's albums of the year when it came out in 2018, it features a number of guest musicians, including former One Dove singer and songwriter Dot Allison and pedal steel legend BJ Cole. Like its predecessor, Red Sunset Dreams is an album about an imaginary landscape. Whereas Innerland was an introspective psycho-geographic trip inspired by Mark's move back to his hometown of Wigan and the memories it stirred up, Red Sunset Dreams looks outwards, across the Atlantic to the United States of America, but very much through a UK prism; a representation of the subconscious Americana that's buried deep in our collective psyches. The result is an incredibly evocative trip through the landscapes of old Western movies, exploring their links with the North West of England while touching on wider themes such as isolation, freedom and dementia. Sonically, it builds on the palette of the previous record with instrumentation equally inspired by the ascendant ambient Americana movement and classic country-rock. As a result it ends up somewhere between Acetone's peerless I Guess I Would, Diamond Head-era Phil Manzanera and the dusty instrumentals on the second disc of David Sylvian's 1986 classic Gone To Earth. Mark has spent the four years since Innerland recording and releasing Destiny Waiving, his third collaboration with Ulrich Schnauss, and recently followed up 2020's new Engineers recordings (the ambient perambulations of Pictobug) with a reissue series of the band's much sought -after early albums. He has recently put a brand-new band together and will be playing a series of live shows following the release of Red Sunset Dreams.
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CD
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SCR 210CD
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Pye Corner Audio releases a new album, Let's Emerge!, for Sonic Cathedral. It's his first studio outing for the label following the acclaimed live recording Social Dissonance, which came out on vinyl earlier in 2022, and it features Ride guitarist Andy Bell playing on five of its ten tracks. From the first glimpse of the artwork to the first note of the music it's a marked deviation from Pye Corner Audio's more traditional shadowy sounds. Whereas his last outing for Ghost Box (2021's Entangled Routes) was inspired by the underground fungal pathways through which plants communicate, this one is very much above ground, bathed in sunlight and acid-bright psychedelia. Designer Marc Jones's bold and ultra-vivid artwork consciously references the likes of LFO, Spacemen 3, and the early output of Stereolab. "I think it mixes together many of my earliest influences," explains Martin. "I've been a long-time fan of Spacemen 3 and Stereolab. Their moments of repetition and drone have always seeped into what I've tried to create. I was living in a small apartment and I'd stripped down my studio set-up when I was recording this album. This enabled me to focus on a few key pieces of equipment and explore them fully." The recordings were fleshed out by Andy Bell. "When I met Andy, we agreed that we needed to work together in some way. After I'd remixed a few tracks from his album The View From Halfway Down, he kindly repaid the favor." The end results -- mastered in New York by acclaimed engineer Heba Kadry -- are incredible, from the first stirrings of opener "De-Hibernate", via the glorious "Haze Loops" and "Saturation Point", the album slowly but surely awakens, blinking and feeling its way into the light. It all culminates in the epic closing track "Warmth Of The Sun" which, with its vocal harmonies and acid breakdown, is seven and a half minutes of pure release. "That one's about life's simple pleasures," concludes Martin. "The Beach Boys, tremolo guitars, infinite drones, Spacemen 3. Let's emerge from this darkened era and feel the 'Warmth Of The Sun'. The last few years have seen huge changes, both personally and in a wider perspective. The album title is a reaction to this, a collective (tentative) sigh of relief. Here's to new beginnings and a sense of hope."
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LP
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SCR 199LP
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LP version. Orange vinyl. The EP is the Hull and Leeds-based band's first major release since their debut album, Bedroom, which was hailed as a latter-day shoegaze classic when it came out in July 2020. "Port", which was originally released as a single last October, marked a major step forward for the band. Sounding not unlike the Low of Double Negative (2018) or Hey What (2021) deconstructing The Temptations' "I Know I'm Losing You", it's a much darker sounding song; its distorted drones and beats burst into life with frenzied guitar and howls of anguish. "It helped us consider the band in a much more fluid perspective," says bassist and synth player Jordan Smith of the pivotal track. "Swapping instruments and redefining roles gave us time to spend working on new and more intriguing sonic ideas." This new experimental and more electronic approach was expanded as the standalone single release grew, almost accidentally, into a full EP, which features radical reworkings by Daniel Avery (a fearless, all guns blazing techno stomper); Working Men's Club (New Order's "Sub-Culture" meets a long-lost early Warp Records classic); A Place To Bury Strangers (a feedback frenzy of total sonic annihilation); Tom Sharkett from Manchester krautpoppers W.H. Lung (DFA Records goes down to the death disco); Jonathan Snipes from LA-based experimental hip-hop trio Clipping (glitchy beats imploding into a wall of white noise); and Jordan himself, as Mouth Company, who brings proceedings to a close with a slow-mo trip-hop treatment. "To have so many influential artists to us putting their own piece of DNA on what has become such an important track to us is so humbling," gushes Ryan. "It's brand new territory for us, and we just feel so lucky to have everybody involved." The EP is being released ahead of bdrmm's dates supporting shoegaze legends Ride in April and will be followed by their eagerly-awaited second album, which they are currently working on. "I am so excited to embrace the next chapter of bdrmm."
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