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Peter Oren - Anthropocene
Indiana-born, everywhere-based singer-songwriter Peter Oren possesses a remarkable singing voice, low and deep and richly textured: as solid as a glacier, as big as a mountain. His voice is ideally suited to confront a topic as large and as ominous as the Anthropocene Age. That term is relatively new, reportedly coined in the 1960s but popularized only in the new century to designate a new epoch in the earth’s history, when man has exerted a permanent and, many would argue, an incredibly deleterious change in the environment. Sea levels are rising, plants and animals facing mass extinctions; it may be humanity’s final epoch, which makes it a massive and daunting subject for a lone singer-songwriter to address, let alone a young musician making his second full-length record. But Oren has both the singing voice and the songwriting voice to put it all into perspective.

CD - Western Vinyl - WV159CD - £12.99Add to basket

Other recordings by this artist


Jumbo recomendations


Other records on this label

Goldmund - Two Point Discrimination
The return of Keith Kenniff (a.k.a. Helios) under his Goldmund alias. Short tracks of solo piano where rhythm, texture and the process of playing are foregrounded to the degree where it almost feels that you are inside the piano listening. A magical release from a consistently inventive artist.

CD - Western Vinyl - WEST048CD - £9.99
Balmorhea - All Is Wild, All Is Silent
Instrumental post-classical music centred around piano, strings and guitar, and a cinematic sense of vision. Comparable with Peter Broderick, Human Bell and Van Dyke Parks. Highly recommended!

CD - Western Vinyl - WEST059CD - £9.99
Balmorhea - Constellations
Follow-up to 'All Is Wild' from Austin, Texas' Balmorhea. Mixing Americana with classical instrumentation, this is possibly a more minimal, slow-burning affair than its predecessor. Elegant and beautiful stuff that recalls Peter Broderick and Arvo Part.

CD - Western Vinyl - WEST070CD - £11.99
Here We Go Magic - Here We Go Magic
Lo-fi, home-recorded pop that takes in Afro-beat, German motorik and the best of the current singer-songwriter crop with beautiful, fragile vocals. Think: Iron & Wine, Talking Heads 'Remain In Light', Banjo Or Freakout, Panda Bear. Great album - this is a big shop favourite!

CD - Western Vinyl - WV057CD - £9.99
Glass Ghost - Idol Omen
A dazzling slice of leftfield pop, combining falsetto vocals, rich instrumentation and hip hop-influenced rhythms. There's a real anxious, melancholic feel about this, and fans of Arthur Russell, Robert Wyatt, Talking Heads and This Heat are advised to check out... Contributions from Here We Go Magic personnel... Highly recommended!

CD - Western Vinyl - WV066CD - £9.99
Secret Cities - Pink Graffiti
An imaginative take on psychedelic pop, incorporating strings, Phil Spector-ish production, classical composition and electronics into a kaleidoscopic sound reminiscent of Mercury Rev, Flaming Lips and Panda Bear. Excellent.

CD - Western Vinyl - WV072CD - £11.99
Moon Bros - These Stars
This iteration of Moon Bros is a network of a few high-minded Chicago improvisers: Matthew Lux (Iron & Wine, Exploding Star Orchestra), Dan Bitney (Tortoise, Isotope 217), and Sam Wagster (Cairo Gang). Matt Schneider's work under the Moon Bros. moniker is time-out-of-mind cooing folk played at painstakingly patient speeds - a decorous and underheard contribution to the ambient folk fray. Perhaps his recordings are projections of future scores to Cormac McCarthy adaptations; perhaps front porch Dust Bowl blues gospel. Either way, Schneider is a pointedly preeminent experimental guitarist in this day and age. Songs aren’t so much -nite concepts but endless ragas that he taps in and out of; consequently these pieces cannot be entered mid-stream, the listener must participate in the universe as it’s created in order to live in it. His reputation is such that top collaborators need not be sought, but are intrinsically curious to participate. On these recordings, he is joined by Dan Bitney (of Tortoise fame), Matt Lux (Iron & Wine), and Sam Wagster (Cairo Gang). Producer and engineer Brian Sulpizio (Health & Beauty) records and mixes...

LP - Western Vinyl - WV142LP - £17.99Add to basket
Moon Bros - These Stars
This iteration of Moon Bros is a network of a few high-minded Chicago improvisers: Matthew Lux (Iron & Wine, Exploding Star Orchestra), Dan Bitney (Tortoise, Isotope 217), and Sam Wagster (Cairo Gang). Matt Schneider's work under the Moon Bros. moniker is time-out-of-mind cooing folk played at painstakingly patient speeds - a decorous and underheard contribution to the ambient folk fray. Perhaps his recordings are projections of future scores to Cormac McCarthy adaptations; perhaps front porch Dust Bowl blues gospel. Either way, Schneider is a pointedly preeminent experimental guitarist in this day and age. Songs aren’t so much -nite concepts but endless ragas that he taps in and out of; consequently these pieces cannot be entered mid-stream, the listener must participate in the universe as it’s created in order to live in it. His reputation is such that top collaborators need not be sought, but are intrinsically curious to participate. On these recordings, he is joined by Dan Bitney (of Tortoise fame), Matt Lux (Iron & Wine), and Sam Wagster (Cairo Gang). Producer and engineer Brian Sulpizio (Health & Beauty) records and mixes...

CD - Western Vinyl - WV142CD - £12.99Add to basket
Kaitlyn Aurelia Smith - Ears
Listeners familiar with Kaitlyn Aurelia Smith's previous album Euclid (an album that prompted Dazed to call her "...one of the most pioneering musicians in the world.") will no doubt notice her heavier use of vocals on her new album EARS. On all but one song, her gently ecstatic swells of vocals emerge to soar over a dense jungle of synths and woodwinds. After initially composing on a Buchla analog synth, she wrote arrangements for a woodwind quintet, added vocals, and further refined the pieces with granular synthesis techniques she developed in her sound design work (she contributed sound design to Panda Bear's "Boys Latin" video, and handled sound design and original compositions for Brasilia co-written by and starring Reggie Watts). Kinetic arpeggios of synths pulse, often buoying her graceful vocal mantras, while woodwinds breathe and flutter, emulating the wildlife Smith observed while growing up on the West Coast (she even studied recordings of slowed down bird calls prior to composing these pieces)...

Jumbo's Adam Gillison says "Fluttering drones and synth arpeggios combine with woodwind arrangements and swooping vocals that weave through the mix. Hypnotic, dreamlike kosmische to be investigated by fans of Emeralds, Julia Holter or Susumu Yokota. Tip!"

LP - Western Vinyl - WV145LP - £17.99Add to basket
Kaitlyn Aurelia Smith - Ears
Listeners familiar with Kaitlyn Aurelia Smith's previous album Euclid (an album that prompted Dazed to call her "...one of the most pioneering musicians in the world.") will no doubt notice her heavier use of vocals on her new album EARS. On all but one song, her gently ecstatic swells of vocals emerge to soar over a dense jungle of synths and woodwinds. After initially composing on a Buchla analog synth, she wrote arrangements for a woodwind quintet, added vocals, and further refined the pieces with granular synthesis techniques she developed in her sound design work (she contributed sound design to Panda Bear's "Boys Latin" video, and handled sound design and original compositions for Brasilia co-written by and starring Reggie Watts). Kinetic arpeggios of synths pulse, often buoying her graceful vocal mantras, while woodwinds breathe and flutter, emulating the wildlife Smith observed while growing up on the West Coast (she even studied recordings of slowed down bird calls prior to composing these pieces)...

Jumbo's Adam Gillison says "Fluttering drones and synth arpeggios combine with woodwind arrangements and swooping vocals that weave through the mix. Hypnotic, dreamlike kosmische to be investigated by fans of Emeralds, Julia Holter or Susumu Yokota. Tip! "

CD - Western Vinyl - WV145CD - £11.99Add to basket
Christopher Tignor - Along a Vanishing Plane
"This music is first and foremost about what can be done together, live in a room, to both transcend and reclaim ourselves from the noise of public living. I'm waging a sort of secular, one-man liturgy here; a public act grounded in ritual. These songs offer wordless hymns and pulsing harmonic frameworks one might use to focus their own contemporary values. Instrumental music particularly offers the opportunity for personal interpretation and reflection...

CD - Western Vinyl - WV149CD - £12.99Add to basket
Christopher Tignor - Along a Vanishing Plane
. "This music is first and foremost about what can be done together, live in a room, to both transcend and reclaim ourselves from the noise of public living. I'm waging a sort of secular, one-man liturgy here; a public act grounded in ritual. These songs offer wordless hymns and pulsing harmonic frameworks one might use to focus their own contemporary values. Instrumental music particularly offers the opportunity for personal interpretation and reflection...

2 x LP - Western Vinyl - WV149LP - £23.99Add to basket
Art Feynmann - Blast Off Through The Wicker
Blast Off Through the Wicker documents Art Feynman looking for life in the lifeless, questioning what it means to be living. There is a calm, disciplined pocket to be felt in everythin g Feynman does; krautrock slink, staccato bounce, and pentatonic bursts of Nigeri an Highlife fuzz pour on the temporal canvas with unquestionable ease, never falling in the wrong place. Even more admirable is, that his "canvas" is a four - track tape recorder, and that Blast Off features no loops or drum machines despite its aestheticall y faithful motorik and afrobeat underpinnings.

CD - Western Vinyl - WV162CD - £12.99Add to basket
Kaitlyn Aurelia Smith - The Kid
In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized processes in producing music. Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself. The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP. The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana. Smith’s music has always woven a youthful thread befitting of the aforementioned subject. Here she articulates it in signature fashion on the track “An Intention,” which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith’s watermark. The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness. The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s ambition to broach subtler and deeper subjects than the average composer. This side offers up another highlight in the form of “In The World But Not Of The World” which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse. Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill. This side ends with the exploratory album cut “Who I Am & Why I Am Where I Am” recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On “To Feel Your Best” this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving. Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here. Alan Watts, another logical inspiration of Smith’s, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. “You're not there unless you're recorded,” Watts muses, “if you shout, and it doesn't come back and echo, it didn't happen.” The Kid speaks to this idea directly. As Kaitlyn Aurelia Smith explores her existence through music, she guides us in gleefully contemplating our own.

CD - Western Vinyl - WV170CD - £11.99Add to basket
Kaitlyn Aurelia Smith - The Kid
In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized processes in producing music. Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself. The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP. The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana. Smith’s music has always woven a youthful thread befitting of the aforementioned subject. Here she articulates it in signature fashion on the track “An Intention,” which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith’s watermark. The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness. The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s ambition to broach subtler and deeper subjects than the average composer. This side offers up another highlight in the form of “In The World But Not Of The World” which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse. Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill. This side ends with the exploratory album cut “Who I Am & Why I Am Where I Am” recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On “To Feel Your Best” this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving. Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here. Alan Watts, another logical inspiration of Smith’s, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. “You're not there unless you're recorded,” Watts muses, “if you shout, and it doesn't come back and echo, it didn't happen.” The Kid speaks to this idea directly. As Kaitlyn Aurelia Smith explores her existence through music, she guides us in gleefully contemplating our own.

2 x LP - Western Vinyl - WV170LP - £23.99Add to basket
Kaitlyn Aurelia Smith - The Kid (Indies-Only Twilight Vinyl)
Twilight coloured vinyl - (transparent blue with solid black and white flecks). In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized processes in producing music. Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself. The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP. The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana. Smith’s music has always woven a youthful thread befitting of the aforementioned subject. Here she articulates it in signature fashion on the track “An Intention,” which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith’s watermark. The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness. The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s ambition to broach subtler and deeper subjects than the average composer. This side offers up another highlight in the form of “In The World But Not Of The World” which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse. Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill. This side ends with the exploratory album cut “Who I Am & Why I Am Where I Am” recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On “To Feel Your Best” this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving. Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here. Alan Watts, another logical inspiration of Smith’s, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. “You're not there unless you're recorded,” Watts muses, “if you shout, and it doesn't come back and echo, it didn't happen.” The Kid speaks to this idea directly. As Kaitlyn Aurelia Smith explores her existence through music, she guides us in gleefully contemplating our own.

2 x LP - Western Vinyl - WV170LPC1 - £26.99Add to basket
In Tall Buildings - Akinetic
From Erik Hall's one - man polymathic project In Tall Buildings, comes Akinetic. The album sees its creator plunge headlong into allegories of communication, loss, impulse, vice, and mass - denialism. With the addition of producer a nd engineer Brian Deck (Modest Mouse, Iron & Wine) Hall crashes through the aforementioned subject matter with brightness and lucidity, yielding his most intelligent and focused songwriting yet. Working out of his house with Deck in Pilsen, Chicago, Hall's efforts yield ten tracks of spacious and textured handmade pop, comprising one of the most sharply written and deftly recorded home - studio albums in memory. Where his previous titles were natural documents of his musicianship and songcraft, Akinetic arose from deliberate intent to write in concrete pop forms, lyrically informed by what he observed of modern culture, namely its fixation on technology - driven pseudo - progress at the cost of direct communication.

LP - Western Vinyl - WV168LPC1 - £23.99Add to basket
In Tall Buildings - Akinetic
From Erik Hall's one - man polymathic project In Tall Buildings, comes Akinetic. The album sees its creator plunge headlong into allegories of communication, loss, impulse, vice, and mass - denialism. With the addition of producer a nd engineer Brian Deck (Modest Mouse, Iron & Wine) Hall crashes through the aforementioned subject matter with brightness and lucidity, yielding his most intelligent and focused songwriting yet. Working out of his house with Deck in Pilsen, Chicago, Hall's efforts yield ten tracks of spacious and textured handmade pop, comprising one of the most sharply written and deftly recorded home - studio albums in memory. Where his previous titles were natural documents of his musicianship and songcraft, Akinetic arose from deliberate intent to write in concrete pop forms, lyrically informed by what he observed of modern culture, namely its fixation on technology - driven pseudo - progress at the cost of direct communication.

CD - Western Vinyl - WV168CD - £12.99Add to basket
Balmorhea - Clear Language
Clear Language is the sound of two friends transmitting unfettered meaning in a milieu choked by double-speak at every turn. Co-produced and engineered by David Boyle in Austin’s Church House Studios, Clear Language finds the duo returning to the simplicity of their roots. They eschewed complexity for complexity’s sake, allowing a watery, sand-hued mood to settle over their use of analog synthesizers, piano, vibraphone, electric and bass guitar, violin, viola, field recordings, and, for the first time in the band’s history, trumpet, performed by Tedeschi Trucks' Ephraim Owens. A relaxed, clear-eyed sense of reflection flows gracefully through the album as these two old friends transmit unfettered meaning through simple sonic gestures that resonate with the cosmos as much as they echo the pulse of a human heart. In a culture dominated by the loudest, ostentatious voices, Lowe and Muller continue to prove the power and importance of restraint and minimalism.

LP - Western Vinyl - WV150LP - £21.99Add to basket
Balmorhea - Clear Language
Clear Language is the sound of two friends transmitting unfettered meaning in a milieu choked by double-speak at every turn. Co-produced and engineered by David Boyle in Austin’s Church House Studios, Clear Language finds the duo returning to the simplicity of their roots. They eschewed complexity for complexity’s sake, allowing a watery, sand-hued mood to settle over their use of analog synthesizers, piano, vibraphone, electric and bass guitar, violin, viola, field recordings, and, for the first time in the band’s history, trumpet, performed by Tedeschi Trucks' Ephraim Owens. A relaxed, clear-eyed sense of reflection flows gracefully through the album as these two old friends transmit unfettered meaning through simple sonic gestures that resonate with the cosmos as much as they echo the pulse of a human heart. In a culture dominated by the loudest, ostentatious voices, Lowe and Muller continue to prove the power and importance of restraint and minimalism.

CD - Western Vinyl - WV150CD - £12.99Add to basket
Caroline Says - There's No Fool Like An Old Fool - Coloured Vinyl
Moving beyond the surf - folk foundations of her debut, on No Fool... Sallee loosens her earthly tether, allowing her songs to float to ever higher altitudes on clouds of loops, immaculate melodies, and hypnotic harmonies, as she sings about aging, the daily grind, and hometown stymie. The hurdles she navigated to record naturally led to ad hoc recording techniques, and endless sonic experimentation, often leading to her use of the computer as an instrument. A tireless worke r, and a wellspring of creativity, whatever Caroline Says, we will be listening.

LP - Western Vinyl - WV164LPC1 - £23.99Add to basket
Caroline Says - There's No Fool Like An Old Fool
Moving beyond the surf - folk foundations of her debut, on No Fool... Sallee loosens her earthly tether, allowing her songs to float to ever higher altitudes on clouds of loops, immaculate melodies, and hypnotic harmonies, as she sings about aging, the daily grind, and hometown stymie. The hurdles she navigated to record naturally led to ad hoc recording techniques, and endless sonic experimentation, often leading to her use of the computer as an instrument. A tireless worke r, and a wellspring of creativity, whatever Caroline Says, we will be listening.

CD - Western Vinyl - WV164CD - £12.99Add to basket
Lean Year - Lean Year
Lean Year is the debut, self - titled record by Richmond, Virginia based singer Emilie Rex and filmmaker/musician Rick Alverson. What for Rex was a departure from the structured life of academia toward the uncertain contours of a creative field, for Alverson was a return to form. These departures and approaches bring a transience and listlessne ss to the album, like a walk interrupted by both curiosity and caution. Unlike the confrontational, sceptical affronts of Alverson ’s films, this is a music of grace, inspired by everything from jazz and pop to rock and afrobeat. It is a sharp so - long to places we cannot fit and a gentle foot into those we don’t yet know.

LP - Western Vinyl - WV152LP - £21.99Add to basket
Lean Year - Lean Year
Lean Year is the debut, self - titled record by Richmond, Virginia based singer Emilie Rex and filmmaker/musician Rick Alverson. What for Rex was a departure from the structured life of academia toward the uncertain contours of a creative field, for Alverson was a return to form. These departures and approaches bring a transience and listlessne ss to the album, like a walk interrupted by both curiosity and caution. Unlike the confrontational, sceptical affronts of Alverson ’s films, this is a music of grace, inspired by everything from jazz and pop to rock and afrobeat. It is a sharp so - long to places we cannot fit and a gentle foot into those we don’t yet know.

CD - Western Vinyl - WV152CD - £12.99Add to basket
Grooms - Edit Index
Grooms' Exit Index combines the abandon of pop with the unease of American life in 2017, cloaking its hooks in a clamor of samples and distortion, its agitation expressed in its dreampoetry lyrics. The album as a whole is a study in contrasts — light meeting dark, amplier fuzz surrounding big melodies, sampled friction with fluidly played basslines. "In a way, I feel like it's a really appropriate record for this time," says Johnson. "It feels unintentional, though — I wasn't thinking, 'I want to soundtrack 2017,' or anything like that. It's hard for me to listen to it now, because I'll listen to it and I'll be like, 'God, I wish that this were a fever dream, but it's not.' But that lines up with what's going on in the world, too."

LP - Western Vinyl - WV157LP - £21.99Add to basket
Grooms - Edit Index
Grooms' Exit Index combines the abandon of pop with the unease of American life in 2017, cloaking its hooks in a clamor of samples and distortion, its agitation expressed in its dreampoetry lyrics. The album as a whole is a study in contrasts — light meeting dark, amplier fuzz surrounding big melodies, sampled friction with fluidly played basslines. "In a way, I feel like it's a really appropriate record for this time," says Johnson. "It feels unintentional, though — I wasn't thinking, 'I want to soundtrack 2017,' or anything like that. It's hard for me to listen to it now, because I'll listen to it and I'll be like, 'God, I wish that this were a fever dream, but it's not.' But that lines up with what's going on in the world, too."

CD - Western Vinyl - WV157CD - £12.99Add to basket
Skull Eclipses - The Skull Eclipses
Known respectively for their independent work as Botany an d Lushlife, Spencer Stephenson and Raj Haldar selected their collaborative mantle, The Skull Eclipses, when the album became more than just a one - plus - one combination of their individual sounds. The odd title was originally given to a demo beat that Stephe nson sent Haldar back in 2014, but it quickly became apt for the subject matter and emotional tone that the album and group took on during creation. “The Skull Eclipses” refers to the philosophy of Solipsism, that nothing veri ably exists outside of the human mind, and dually to the idea that knowledge of one’s own mortality makes inner peace unachievable.

CD - Western Vinyl - WV144CD - £12.99Add to basket
Goldmund - Occasus - White & Black Marbled Vinyl
Pennsylvania native Keith Kenniff's output as Goldmund has established him as one of the preeminent composers of minimal piano - based ambient music alongside peers like Hauschka, Dustin O'Halloran, and even Ryuichi Sakamoto, who himself once described Kenniff's work as "so, so, so beautiful". Hyperbolic as it may sound, Goldmund's newest collection Occasus may be his most exquisite yet. Where his previous recordings trod faithfully and sincerely on paths of dimly lit, polaroid - esque nostalgia, Occasus deepens the undeniable aesthetic that was hard - won over eight previous Goldmund albums, while expanding the palette to include desultory clouds of synthesizer and a tastefully distressed analog sheen.

LP - Western Vinyl - WV169LPC1 - £21.99Add to basket
Jessica Risker - I See You Among The Stars
Psychedelic folk is starting to become sorely missed. The sub - genre has never not been a staple in the diets of most record collectors. It proves its timelessness with each passing year, defying the laws that chain most other styles to their respective eras. As everything else ages, psych - folk darts in and out of decades, covered in the residue of each, but not necessarily beholden to the tro pes of any single one, appearing new and welcome each time. On I See You Among the Stars, Chicago sound - weaver Jessica Risker is nudging the category back into plain view, setting a proper place for it at the table in 2018 and beyond.Comprised of eight aur al vignettes, I See You Among the Stars is a wood - grained, amber - hued world respectfully orbiting influences like Nick Drake, Sibylle Baier, and the softest moments of Broadcast...

LP - Western Vinyl - WV166LP - £19.99Add to basket
Jessica Risker - I See You Among The Stars
Psychedelic folk is starting to become sorely missed. The sub - genre has never not been a staple in the diets of most record collectors. It proves its timelessness with each passing year, defying the laws that chain most other styles to their respective eras. As everything else ages, psych - folk darts in and out of decades, covered in the residue of each, but not necessarily beholden to the tro pes of any single one, appearing new and welcome each time. On I See You Among the Stars, Chicago sound - weaver Jessica Risker is nudging the category back into plain view, setting a proper place for it at the table in 2018 and beyond.Comprised of eight aur al vignettes, I See You Among the Stars is a wood - grained, amber - hued world respectfully orbiting influences like Nick Drake, Sibylle Baier, and the softest moments of Broadcast...

CD - Western Vinyl - WV166CD - £12.99Add to basket
Aisha Burns - Argonauta
Argonauta is a collection of songs about Burns's struggle with the grief of losing her mother, while also navigating a new relationship, and ultimately trying to figure out what the new normal is for her life. Burns explains, “Argonauta is the child of a strange chasm in my life, the space where both unfathomable, debilitating loss and new love and hope reside. In an attempt to process this romantic love, the loss of my mother who lived her life as my confidant and dearest friend, and the hope of someday gaining acceptance of life’s ever-shifting cycles, these songs emerged. I had to write this record to give voice to the depression, anxiety and uncertainty I endured while grieving. ”

CD - Western Vinyl - WV173CD - £12.99Add to basket
Aisha Burns - Argonauta
Argonauta is a collection of songs about Burns's struggle with the grief of losing her mother, while also navigating a new relationship, and ultimately trying to figure out what the new normal is for her life. Burns explains, “Argonauta is the child of a strange chasm in my life, the space where both unfathomable, debilitating loss and new love and hope reside. In an attempt to process this romantic love, the loss of my mother who lived her life as my confidant and dearest friend, and the hope of someday gaining acceptance of life’s ever-shifting cycles, these songs emerged. I had to write this record to give voice to the depression, anxiety and uncertainty I endured while grieving.

LP - Western Vinyl - WV173LP - £19.99Add to basket
Juliana Dougherty - Light - Coloured LP
It’s hard to imagine that Juliana Daugherty’s softness and subtlety could materialize amid the tumult of current-day Charlottesville, VA, but every mode of being continues in the people of Charlottesville, as it does elsewhere, despite the impressions headlines might give. Despite the societal ills that dominate our screens, private struggles still exist, and Daugherty’s debut Light gives them palatable, manageable, and satisfying form. “I wrote this record partly to strip mental illness of its power,” Daugherty says. She adds, “There is nothing useful or beautiful to be gleaned from the experience of depression.” Though this statement seems contrary to the romantic tone of Light, it is refreshing to hear an artist speak of their own depression with objectivity, unwilling to be charmed by the gloom. Daugherty wields her songcraft like a sword, not a diary to be buried in a drawer. As one listens, it becomes clear that Light was not a title chosen despite the gravity of its subject matter-- romantic struggle, abject depression, and throbbing vulnerability-- but rather in service of it. Light, so to speak, comes when we give shape to what haunts us.

LP - Western Vinyl - WV148LPC1 - £21.99Add to basket
Juliana Dougherty - Light
It’s hard to imagine that Juliana Daugherty’s softness and subtlety could materialize amid the tumult of current-day Charlottesville, VA, but every mode of being continues in the people of Charlottesville, as it does elsewhere, despite the impressions headlines might give. Despite the societal ills that dominate our screens, private struggles still exist, and Daugherty’s debut Light gives them palatable, manageable, and satisfying form. “I wrote this record partly to strip mental illness of its power,” Daugherty says. She adds, “There is nothing useful or beautiful to be gleaned from the experience of depression.” Though this statement seems contrary to the romantic tone of Light, it is refreshing to hear an artist speak of their own depression with objectivity, unwilling to be charmed by the gloom. Daugherty wields her songcraft like a sword, not a diary to be buried in a drawer. As one listens, it becomes clear that Light was not a title chosen despite the gravity of its subject matter-- romantic struggle, abject depression, and throbbing vulnerability-- but rather in service of it. Light, so to speak, comes when we give shape to what haunts us.

CD - Western Vinyl - WV148CD - £12.99Add to basket
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