Once again, we return from a couple years of restricted activities and patchy club openings, both of which have given a lot of musicians time to stay at home and ruminate on their craft. This rumination coalescing with the newly invigorated desire for artists to collaborate, and the ability to get all up in a practice room together forms the perfect storm of creativity and end-result for YOU, the music fan (and obviously US the music retailer).
As ever, we’ve been privileged to share the shop floor and Night & Day’s stage with a ton of artists giving us their time for performances and informative chats. From Sarah Walters’ interview with shop favourite Tim Burgess over the road to Gwenno playing in the shop or a stunning DJ set from Luke Unabomber for his brilliant new compilation, it’s been an
Vinyl fans rejoice! We’re delighted to announce that, after a year’s hiatus, we’re once again releasing an EOY compilation LP.
Tracklisting and more info on the inner back page of this booklet……
honour to have such a vibrant music scene so thoroughly represented and for us to be a part of that story.
So what do these pages hold for you? As always, we hope that there are things you know you like already, but also that there are little surprises too, either in individual staff charts (we’re quite a diverse bunch, musictaste wise) or in genre charts, and that you enjoy the voyage of discovery through those unheard gems.
As always, a big thank you to Mark Brown for another beautifully designed booklet, to Republic of Music for facilitating the Piccadilly Records compilation vinyl and sampler CD and to all of you out there for sharing this musical journey with us.
Our ever popular sampler CD is back once again for 2022, bursting with 22 top tracks from the last 12 months, including the likes of Los Bitchos, Michael Head, Kokoroko, Kelly Lee Owens, Theo Parrish, Widowspeak, Islandman and many more. It’s free with the Top 100 Albums, Top 20 Compilations and Top 20 Reissues (whilst stocks last!)
pop and even a splash of bossa, taking us right back to Mick’s days as a teen star in the Pale Fountains!
Andy: Dear Scott is a masterpiece. Twelve perfect songs with melodies to die for and words that feel like scenes from a film condensed into poetry. Michael Head is the Liverpudlian genius renowned for his classic pop songs from “Thank You” and “Jean’s Not Happening” through to “Comedy” and “Meant To Be”. Forty years making music and he’s just made his joint best LP, one that if you’re into guitar based pop music you’d be daft to ignore.
It’s not always been like this. In a career buffeted by personal problems and dodgy deals it has taken the arrival of erstwhile Coral guitarist Bill Ryder Jones, a fellow Merseysider and huge fan, to draw the very best out of Mick. Bill has helped create what feels like a greatest hits LP but made up of brand new songs. There’s jangling indie pop, jazz, mystical folk, roving psych
As I mentioned, each track is a short story or mini movie touching on the kindness of strangers, old Hollywood dreams, the futility of war, Liverpool trips, Love from afar and even a murder in gangland made wild and funky on album highlight “Gino And Rico”.
The tunes themselves are proper ear worms and the album is designed as an old fashioned two sided listen. Side 1 has six perfect pop songs, hit after hit, but flip it over and you’re whisked off into what almost feels like a song suite, interspersed as they are with towering strings, mad interludes (each track has contrasting parts that surprise and amaze) and psych rock guitar; it’s bewildering but oh so beautiful and it grows and grows with every listen. The record starts off neat but slowly expands into the stratosphere only to end on a heavenly lullaby, melancholic and magical.
Mick’s other great album, Waterpistol, was loved by all at Piccadilly nearly 30 years ago. That we’re here again all these years later is bizarre and brilliant.
PICCADILLY EXCLUSIVE: we have an exclusive purple coloured vinyl edition of Dear Scott and as if that wasn’t enough, when you buy either the CD or vinyl you’ll get an exclusive 14 track CD bonus disc Live At Strathaven.
“Fluke” feels like, and literally is the centrepiece of the whole record. I think it’s one of your most beautiful songs. What’s it about?
Fluke is about a girl who gets the chance to go to L.A. Her plans scuppered at the last minute.
It features the lyric; “I’m sitting off in LA”. Do I need my Scouse Dictionary all over again, Mick?
She sits off in the ladies, hatches a plan and makes it happen.
You reference a Waterpistol song “Mood Of The Morning” and the Pale Fountains “These Are The Things” also gets a nod. Just coincidence? I’m interested because this record feels like a summation of all the best bits from your whole career. Do you agree?
The line mood of the morning in Kismet was intentional. This time describing the feeling of being stranded. Then when the light comes up and the day kicks in, there’s hope.
“These Are The Things” the line in Gino And Rico was a spontaneous moment.
A sub-conscious moment of harmony and togetherness that you get at times through life.
What role did Bill Ryder Jones play? My theory is that as a big fan himself he has coaxed out of you all the bits he’d like to hear on a Michael Head record? Do you agree?
Bill’s input is all over the album. His orchestral arrangements, his understanding of the songs. Guitar, keyboards, piano, it’s incredible and mind-blowing. He’s encapsulated everything the songs on Dear Scott deserved. And a lovely lad.
The strings on Dear Scott are exquisite. Bill, again? On side 2, which I think is the most perfect sequence of tracks you’ve ever put together, the strings link the tracks and have their own interludes. It could almost be a song suite! Is this something you may develop in the future?
Regarding song suites. I love film and TV incidental music. I’ve always been interested in soundtracks, so at some stage, definitely.
Like Arthur Lee and LA I always got the feeling you were slightly reluctant to leave your beloved Liverpool yet you always had an affinity with Manchester. Why do you think this is?
I’ve always had an affinity with Manchester stemming back to early Palies gigs.
Also doing demos in a backstreet studio. We fell in love with the pubs, cake shops and really friendly people.
The Piccadilly Records album of the year is Michael Head & The Red Elastic Band Dear Scott – what’s your album of the year?
Sadly I haven’t heard many this year as it’s been a busy one, but I have heard some of the lads stuff in the band, Natt’s solo stuff and Tom’s and they are both brilliant + Bill’s stuff is boss too.
Finally, the words! Short stories set to music and like your voice, for me , the best you’ve ever written but I wish there was a lyric sheet! There deserves to be one!
It’s coming.
MICHAEL HEAD Q&A WITH PICCADILLY RECORDS’ RESIDENT SCOUSER ANDY MCQUEEN.
Matt: Unbelievable to think that Cheat Codes is Danger Mouse’s first hip hop album proper since the 2005 collaboration with MF Doom (DangerDOOM). Not only that, it’s the first and only time The Roots’ Black Thought has worked with anyone else!
With Tariq Trotter we find the producer’s freewheeling and uplifting yet gritty production paired credibly with the rapper’s relentless, chorus-free lyrical deluge. Visceral boom-bap with myriad soul samples moulded into an anthemic and intoxicating concoction that fans of old school hip hop are gonna go nuts for. Black Thought’s razor sharp flow and insightful observations
keep you hooked, multiple listens revealing their lyrical genius whilst on-the-money appearances by guests such as Raekwon, Michael Kiwanuka, Joey Bada$$, Run The Jewels and more, quietly affirm the album’s top drawer vintage. This gives it a timeless quality which finds it as at home next to classic nineties and noughties joints as well as towering over much of the present day scene.
Danger Mouse stitches these rap tapestries together with a creative hand, crafting sample collages that sound more like a live band with arrangements rich in strings, backing vocals, organic drum breaks and delicious, funky hooks. Cheat Codes reinforces his innate musicality already demonstrated in his previously acclaimed and diverse works with Broken Bells, Daniele Lupi, Gnarls Barkley and Gorillaz, which elevate the songs well beyond the genre drawing fans from outside of the immediate hip hop arena. As soon as we heard it we knew it’d be in our end of year list, and here it is!
Tim: Following their 2021 album La Vita Olistica The Orielles have embarked upon a new journey into their sound. This record brings us to unforeseen territory, with haunting basslines, math rock guitar riffs and a wide array of percussion and effects. These elements add up to give us a glimpse into the sepia toned daydreams of The Orielles. Each of these tracks seamlessly melts into the next, with unnerving percussion alongside trippy tape loops that reel you in towards this latest instalment from the band. Tableau marks a departure from the previous catalogue very clearly. Experimentation and improvisation
seem to be a prevalent theme throughout this record and within this realm the band clearly holds its own. The addition of strings (Isabella Baker) are a welcome decision, helping elevate the music to give us a more cinematic feel. Some of the warped ghostly vocals and time bending effects give an interdimensional quality to these tracks. I find after each listen there is something more to appreciate in the subtlety on offer here.
I welcome the new direction we have here from The Orielles, and most of all because of how personal the record itself feels. This might stem from the fact the band were quite involved with the production of this record alongside Joel Pratchett. Tableau marks a definite cornerstone in the development of the band and if this album is anything to go by, there is much to look forward to. Though in the meantime I’m sure Tableau will keep me preoccupied.
EXCLUSIVE: Crystal clear coloured vinyl.
As lockdown hit, we spent our days building our record collections and digging for music to DJ on our monthly Soho Radio slot. Piccadilly Records is without a doubt the only choice for Manchester City Centre crate digging, so we inevitably continued shopping here to feed our growing addiction. We didn’t realise at the time, but it was this shared love of record buying and sharing music with one another that inspired the initial conversations about Tableau. Our love of record shopping had seeped its way into the ways we wrote and jammed together, wanting to evoke a journey, much like DJing together.
We’re eternally grateful for independent record shops around the world and urge people to shop locally if they can. Supporting physical record shops is very important to us and important in keeping the music industry alive and exciting.
To all at Piccadilly, thank you for including us amongst some fantastic records and continuing to support us through our endeavours, this means so much. We also want to thank you all for some ace recommendations over the years, constantly keeping us excited about music and sharing discoveries together.
Lots of love, Sid, Henry and Ez x
Darryl: Back in 2018 TVAM (AKA Joe Oxley) released his superb debut album and claimed the number 5 slot in our End Of Year chart. Four years Newly signed to Invada Records
supercharges it by ten — everything is bigger, brighter and cranked to
of deconstructed digital noise, velvety rich production and throbbing electronics. Throughout the following tracks his drifting vocals perfectly complement the swathes of face-melting synth noise that surrounds them, propelling album highlights such as “Piz Buin” and “Double Lucifer” to epic proportions, and bringing to mind the likes of My
Eighties Matchbox B-Line Disaster at the Hop & Grape, The Cooper Temple Clause at the Academy, Swans at Academy 2. Each one an example of why be loud, rather than how to be loud. Our past has a habit of creeping up on us and finding us at the right moment. We’re all just collecting fragments of time, hoarding them like stacks of newspapers. Waiting for a rainy day. Waiting for a time you might need one. Waiting for a why. I’m not a superstitious person, and I know it’s all in your head, but it doesn’t mean you can’t take comfort in it, regardless. And when heartache and grief arrive unexpectedly, any comfort is welcome. High Art Lite was always there somewhere, waiting to come out, waiting for the right time to be loud, waiting for a reason to be loud. For anyone to pick High Art Lite for their end of year list would be special, but to be in Piccadilly Records list is extra special. They’ll always have a place in my heart after I spent nearly 5 years sinking most of my spare cash (when that was still a thing) on old gear and picking up every random record they had to offer. The power of positive influence. They probably played their own part in making TVAM, if I’m honest. They probably already know this. They may have even planned it… Serendipity, like Piccadilly Records, is always one step ahead of us.
Piccadilly records, thank you. Your support warms our hearts. We know this isn’t the most conventional album so your praise means a lot. We will continue. Thank you. Jockstrap.
Martin: As the most intriguing art tends to be, I Love You Jennifer B is impossible to pigeonhole. It’s true that its components can be dissected and described, but, if you were looking for an overarching method, it appears to be that the only thing that should be predictable about their output is that nothing about it should be predictable.
Much has been made of Georgia Ellery and Taylor Skye being graduates of the Guildhall School Of Music And Drama, but it takes more than virtuosity to produce something this gorgeous. You can’t teach originality. Or the willingness to take risks, to serve up for public criticism a dizzying and what appear to be jarring array of styles, hoping to be understood. You need a heart.
The love for classical music, jazz, 70s balladry and warped electronic beats are obvious, as is the reluctance to leave any of them out for the sake of an easy life. The opening bars of “Neon”, which introduce the LP, are conventional enough, Ellery’s elegant lyricism draped over softly picked acoustic guitar, only for seconds later Aphex Twin brutalist beats to gatecrash the party…and oh yeahhhhhhhh.
Maybe it is an ear for the potential in the combination of light and dark and or the way Ellery’s celestial voice conveys unaffected emotion that at times elevates their music to the stars, but, ultimately, who cares? If you aren’t moved by the gorgeous, achingly romantic phrasing either side of “Concrete Over Water”s bludgeoning rhythms, crazy synth lines and surging strings, you need a heart transplant. “Glasgow”, a gorgeous mid 70s inflected serenade will get much of the attention, but this LP is peppered with surreal beauty.
novelty band with a great first single were definitely quashed with the release of their eponymous debut album in April this year.
Paul: Wet Leg burst onto the scene right in the middle of our two years of quarantine blues, dropping debut single “Chaise Longue” in June 2021. It was a real shot in the arm, a track packed with memorable hooks and relatable, witty retorts that pricked the ears of the entire music industry, music lovers, and the simply curious alike.
It’s had more than 33 million streams on Spotify and 8 million plays on YouTube since, and that’s pretty remarkable — no matter who you are or who you’re into. And questions over whether Wet Leg were just some
On Wet Leg Hester Chambers and Rhian Teasdale speak to their 20-something millennial peers in an almost telepathic way; work is dull, dating apps are awful, and parties aren’t as fun as they used to be. They were sentiments with a wonky worldview that struck a chord, set to angsty sounds that for 36 minutes and 49 seconds made life feel much more fun; from the punk pop of “Wet Dream” and “Ur Mum” to the lush and darkly dreamy indie folk of “Convincing” and “Piece of Shit”.
With a little early hype from their fellow Isle of Wighter Rob Da Bank, plus support from 6 Music’s Lauren Laverne and an adoring music press, the scene was set for UK, and then world, domination.
Ryan: Yanya’s debut Miss Universe blew me away. It was a wonderful mess of styles held together by fake adverts and public service announcements, brought to you on behalf of the fictional wellness company “WWAY HEALTH”. Whom, at one point, asks to leave a review on the comment section of their website.
What follows is the glorious second album Painless. Clearly the result of an artist distilling their ideas into one delicious well aged emotional whiskey. The fat has been trimmed and superfluous skits dropped to allow room for pure storytelling and
to lay a base for her exceptional vocal range to shine through unhindered.
Initially you can’t help but be drawn to the dance rock of “Stabalise”, a pulsating guitar line taking me back to the bloc party era, which sits over an exceedingly well played almost drum & bass inspired beat. Yanya takes power back into her own hands; “I’m not waiting for no one to save me”. A fleeting certainty in an album mainly about not knowing where you stand with someone.
The more you listen though, the more you’ll find gems that didn’t catch you on first listen. My personal favourites are “Chase Me” and “Try”. Despite the varied instrumentation throughout it is (to my delight) mainly a guitar album. Beneath the crunchy drum production, wonky synths on “L/R’’ or RnB overtones of “Anotherlife”, it all eventually boils down to just Yanya and her guitar and that’s the real beauty of this record.
On reflection I made this record at a really weird time. I hope it doesn’t sound too much like a “lockdown” record but that’s kind of what it is.
I think it’s about trying to work things out, but you don’t have the space or tools to do so. Wanting to see things from the outside in to get a clearer picture but not being able to.
Musically : Will Archer & I wrote most of the songs together in a 3/4 month period in London with Will’s production also. It was great because we had like a new song every other week.
Apart from ‘company’ they all started off with guitar loops and arrangements Will played to me, and often the final song was the very first melodic idea I came up with.
There’s two songs I made with Bullion which have their own vibe, one written with and produced by my best friend Jazzi Bobbi (who’s also in my band).
The most random one is probably ‘the mystic’ which I constructed from a one-day writing experiment with Andrew Sarlo.
Ultimately I think it’s a very resourceful record. I didn’t feel like I had much to go off at the time creatively speaking. So as bleak as some of the themes are, it’s a reminder for me that you don’t always need inspiration to write something.
Nilüfer Yanya.
Martin: So, a barbed, post-punk commentary on post-Brexit Britain; apposite, yes, necessary, yes, but there have been a slew of weary examples of that, shamelessly mining The Fall’s legacy but having neither the wit nor musical eloquence to carry it off. Yard Act, however, are categorically not in that category. In fact, despite sharing Mark E’s surname, James Smith’s pointed observations owe more to John Cooper Clarke, with Yard Act more clever northern standup backed by razor sharp New York no wave, than a rehash of the misanthropic Salford giants. Referencing JCC is beyond ambitious, but Smith does it justice, his rapid fire storytelling
Hey Piccadilly, it’s James from Yard Act here. Thanks so much for sticking us in the top 10 chart this year. It’s a proper honour. Contrary to popular belief I didn’t grow up in Leeds. I grew up in Warrington, and when I was finally allowed to get the bus and the Met in on my own I started adventuring into Manchester every other Saturday or so.
and poignant characterizations humane, often hilarious and always beautifully observed. Take “Tall Poppies’’, the familiar tale of the most handsome guy in class, a minor football prodigy once scouted by Crewe Alexandra — “they said they were gonna be in touch” — who was “faster than that whippet that lapped the racetrack rabbit” and had, of course, had all the most desired local girls by the age of 20. Then promotion, marriage, mortgage, kids, dog, loft conversion, dead dog, death. And is that really it? “Dark Horse” satirises the small town mentality that led to the Brexit insanity “I’m not scared of people who don’t look like me, unlike you”, while “100% Endurance” closes with a compassionate answer to “Tall Poppies” protagonist’s musing on the apparent pointlessness of his existence; yes, we all die, but isn’t that actually a reason to grab people you love and scream in their faces to make the absolute most of their lives and one another? Yes, it IS hippy bullshit, but it’s true.
Alongside Affleck’s Palace and that ginormous all you can eat Chinese buffet just off Oxford Road, I used to love going to Piccadilly Records. It was the first indie record shop I ever went to, and as a young lad staring at the racks of this strange new way of discovering music, I was very grateful to the staff there for talking me through stuff and sharing such early magic as St. Germain, Moondog and a fantastic track called ‘Jungle Magic’ by Benis Cletin (just the first few that sprung to mind).
Never could find that stuff in Music Zone could ya? Anyway, massive love to the shop, I’m glad you’re still going. I’ve not had a chance to organise my top ten this year, but if I could recommend one record to your customers it would be Richard Dawson and Circle with the album Henki. Until next year, or whenever.
Ethan: The dominating, droning bass on opening track “19” immediately sets up the sophomore Working Men’s Club record as far darker than its predecessor, whilst still being every bit as compelling, inventive and imaginative. Sorrowful synth work and pounding drum machines lay the foundations across the record whilst frontman Sydney Minsky-Sargeant delivers melancholy vocal passages reminiscent of Bernard Sumner’s work in New Order.
This record is undoubtedly a grower, with several of its compositions seeming deceptively simple until you begin to unravel everything at work, as the Yorkshire band choose to forgo several of the pop music tropes
present throughout their earlier work in favour of experimentation with deep electronic soundscapes and techno structures. This can be seen prominently throughout the track “Money Is Mine”, gradually building across its runtime with extra layers of Hannah Cobb and Mairead O’ Connor’s synth and keys being added underneath Syd’s constant repetition of the track’s hard-hitting refrain, before it transitions perfectly into closer “The Last One”. “Heart Attack” is another highlight, with its bouncy drum machine and Liam Ogburn’s funky bass riff interplaying seamlessly with one another. It is also impossible not to mention “Widow”, with its powerful and particularly memorable chorus accented by angelic backing vocals while a beautiful synth riff plays throughout.
I had the luxury of seeing several of these tracks live in Salford for the band’s release party, which cemented the feeling that not only have WMC crafted something brilliant with this record, but they are far from done yet and will definitely be a band to watch going forward.
To have such a brilliant and important record store endorse this album means the world. Thanks so much to Piccadilly for including Fear Fear in your records of the year and for your continued support. The record was written during a time of missing the simple pleasures of getting a train into Manchester and go out for a pint or walk into a record shop and browse what was new so it feels like we’ve come full circle having a new record out and actually being able to enjoy those moments that were missed so much during that time. All our landmark shows have been in Manchester and there always feels like there’s a pressure to step it up each time. Our headline at The Ritz was a highlight for me. Thanks again Piccadilly for doing what you do, you’re one of the cornerstones of Manchester culture. Syd.
Will: After the longest ever studio silence from the prolific Californians, one would have expected them to return with something a little more extreme with their latest release. OSEESdoes-Crass, however, is far more manic and unhinged than anyone could have predicted, rinsing you in and out of the abattoir in 20 minutes with ten masterfully constructed, action-packed tracks. Blistering opener “Funeral Solution” begins with warped, ascending warbles characteristic of OSEES, but it’s only when the first chaotic, angular riff kicks in that the smile spreads fully across your face as you comprehend the extent of the insane decisions that were
Congratulations on having the latest OSEES album in the Piccadilly TOP 10 of 2022. We wanted to ask about some of the highlights of 2022. There’s been enough lowlights that have had everyone’s attention, so can you point us to some books, television, films and music you’ve enjoyed in 2022.
Thanks a lot!!! What’ve I been into, lots of good horror i think
* barbarian...fantastic, fun contemporary horror (without being a slog) prevalent and shockingly funny...scary and also justin-fuckinglong...all im gonna say...see it without watching the trailer
* the wolf of snow hollow...a bit of a twist on the werewolf genre, i would describe it as a mix between howling franchise and manhunter...bug shows to fill, i know some good new(ish) bands
* yi hooi from the previous year but
made in the making of this record. Ten two-minute barnstormers later and you still haven’t quite digested the album, but fear not, for you can get through a couple more listens within the hour. In fact, it’s difficult to say whether the album’s strength lies in the barbaric brevity of its tunes or in the considered composition of its overall runtime — aggressive onthe-beat downstrokes and snare hits, barely-discernible vocals, and tense feedback are features that all the songs have in common, including the vicious Rudimentary Peni cover that closes out the record. This cohesion makes the album a joy to listen through, a delightful distillation of classic, gimmickless anarcho-punk, a style that has always been bubbling under the surface of OSEES’ music and has finally burst through in a gorey, cathartic explosion. My only criticism is that the whole album could have fit onto one side, giving us a nice etching on the reverse. But you can’t have it all, eh?
a refreshingly eccentric trip of an album (from YL Hooi, the brian jones of the aussie band exek...she keeps it weird)
* dialect UK deep to surfacing trace synth pop...dig...steve roach meets early wang chung
* stabbing extreme tech death from texas...made in the usa abattoir gutter vox and plonky snare recording ...fucking classic
* billy wood new york new york... experimental hip hop...fried and legit ...lots of releases...great production... big fan of all the releases of his... collabs included
* slam 420...have a listen...what more can i say
What have you got planned for 2023? A visit to Manchester perhaps? yes, totally a visit to Manchester... always...love your city...so many great bands over the years... we are working on new material...a surprise?
I’m building and opening a new professional recording studio in Los Angeles...wish me luck... hopefully a year of some love
Millie: Kendrick is back and this one hits differently. The deeply powerful performance at this year’s Glastonbury festival was heaped in theatrical symbolism, the track “Savior” performed on the world’s stage made comment on social issues, racism and women’s reproductive rights that set the tone for Mr. Morale & The Big Steppers. A hugely personal album in which Kendrick explores his journey with therapy, and the discussion around the cultural stigma still attached with this form of healing, and the unspoken toxic masculinity in the rap industry. It still has some big hits such as “N95” and “Die Hard” to get your Kendrick fix but I can’t help but respect the different direction of this album which is heavily family orientated.
I’ve got to mention the track “We Cry Together” with Taylour Paige, it’s
Maisy: Prioritising fun and pleasure over all else, Tilt perfectly encapsulates the unmistakable pizzazz and euphoria that are the building blocks of ConMan. An album that was released on April Fool’s Day manages to maintain its comedic value and lyrical outlandishness whilst still allowing their artistic expertise to shine through. Incorporating textures of UK garage, techno, house and dub throughout, it embraces classic 90s dance pop, with tracks like “Trumpet Song” and “Holiday”, giving them plenty of opportunities to show they couldn’t be less suited to living room listening, and moving your body is the undeniable ambition of the album. Further proving this, songs like “Relieve The Pressure”, “Luvin U Is Easy” and “Break It Bought It” allow for an electrifying experience which would get any dancefloor hyper. Combining sexy, shouty, sassy vocals, punchy wacky lyrics and shiny plastic synths,
Laura: I fell in love with Gabriels’ “Love And Hate In A Different Time” on first hearing, back in Autumn 2020, in the depths of lockdown. It felt like such a spark of light in the gloom and it still fills me with joy every time I hear it. Finally, some two years later they bring us (Part 1 of) their glorious debut LP. As with the EP, the album draws heavily on the vintage sounds of gospel, blues and soul, but the mood is more intense here. Dealing with love and loss, the album is suitably dramatic, and despite being less than 30 minutes long, each song feels like a mini masterpiece. Ari Balouzian and Ryan Hope’s background in composing and film shine through, as they give a fresh take on classic song structures, and infuse them with strings, keys and horns, all topped with Jacob’s sublimely angelic vocal. They’ve created an
Liam: Roughly translating as ‘the damnation of the deer’, Fontaines D.C.’s Skinty Fia was birthed upon reflection of the band’s time living in London. From being subjected to humourless Irish stereotypes, to the guilt of leaving the Emerald Isle, Fontaines channelled this frustration into their best album to date. The opening run of “In ár gCroíthe go deo”, “Big Shot” and “How Cold Love Is” is quintessential post-punk, whilst the accordion led “The Couple Across The Way” is the best melancholic love song you’ll hear all year. As for “Jackie Down The Line”, “Roman Holiday” and “I Love You”, these are the album’s jewels — especially the blistering monologues of the latter. Also tapping into their gothic tendencies on “Bloomsday” and “Nobokov”, the title track oozes a Madchester baggy swagger. An examination of love, remorse and
Millie: When an album touches your soul it’s inevitable it will stay with you a lifetime and Could We Be More has quickly become one of those for me. Kokoroko are an 8-piece hailing from London who celebrate jazz and Afrobeat in a joyous fusion. “Dide O” has got to be one of the most dreamy tracks off the album, bright harmonies that are so rounded it feels like it could bounce around the room spreading pleasure to all those who hear it. The members have spoken of their priority to elevate the celebration of Afrobeat music as their heritage while continuing to develop their own take on the jazz scene and they do just that in this powerful, inspirational and blissful piece of art. This is the sort of album you’d want as background music while life is happening around you.
Mine: Twelve years after their debut album and six years after the release of their last long player, Warpaint return — maybe somewhat expectedly — with a matured, slightly mellower and more introspective sound. Good things take time, and with the band members now residing in different places and spending time on new adventures, solo projects and motherhood, it doesn’t come as a surprise that six years have passed since their latest outing saw the light of day. Luckily, Radiate Like This doesn’t lack any of the ingredients that have made Warpaint so popular over the years. Even though the album feels less immediate and more understated, it is no less gripping than any of its predecessors and brimming with an array of ethereal sounds, pulsing basslines, melancholy harmonies, and effortlessly catchy melodies. And in typical Warpaint fashion, it radiates a glow and a feeling of space while simultaneously wrapping itself around you like a big comfort blanket.
Liam: When we first heard last year that Radiohead’s Thom Yorke and Jonny Greenwood were teaming up with Tom Skinner of Sons of Kemet to form The Smile, we at Piccadilly were itching to hear what the trio had in store. Whilst Radiohead comparisons are inevitable, A Light for Attracting Attention is an incredible macrocosm unto itself. Jumping from math-rock, breakbeat, electronica, jazz, ambient and Afrobeats, highlights include the intricate “The Smoke”, the scorching post-punk of “We Don’t Know What Tomorrow Brings” and the beautiful back to back pairing of “Open The Floodgates” and “Free In The Knowledge”. So whilst we may have no indication on when Radiohead will be back, when Thom and Jonny are giving us projects as stellar as this outside the Radiohead canon (as well as last year’s EOB project from Ed O’Brien) then we’re more than happy to see where else The Smile will take us!
Will: After a strong January kicking off the year, Cate Le Bon not only kept 2022’s hot streak going with February’s Pompeii, but significantly upped the ante with this beautiful, entirely unique fusion of Japanese city pop and a graceful Baroque(ish) aesthetic. The combination of the rustic art direction and driving new-wave basslines make the album instantly timeless. Aside from rich synths and tender acoustic guitars which take centre-stage on the record, Le Bon weaves some magic into the background of every track, be it the angelic vocalisations in “Moderation”, the inclusion of hypnotic steel pans in “French Boys”, or darting lead guitar whose tone is reminiscent of Iggy Pop’s Post Pop Depression in “Remembering Me”. Le Bon’s vocals match the gorgeous instrumentals and then some, employing effective hooks at some points and behaving like a part of the rhythm section at others. This is that elusive rarity; a totally original, truly perfect album.
Andy: If you haven’t heard Gwenno’s music before, then I can tell you that Tresor, being Cornish for “treasure” is a fitting pointer. Cut from a similar cloth to the wonderful Broadcast or more currently, Jane Weaver, Gwenno uses a combination of the pastoral with the electronic to mesmerising effect. There’s bass and drums to provide some ballast but really this music just glides. Gwenno Saunders grew up in Cardiff with a Welsh speaking mum, but tellingly her dad spoke Cornish, and apart from one instrumental plus a tune in Welsh, this whole LP is sung in this rare and beguiling tongue. In interviews Gwenno has explained that themes include motherhood and one’s sense of connection to where they’re from, but when songs like “Ardamm” build layers of otherworldly vocals on a pop, folk, psych bed of sound, then no explanation is necessary. Simply beautiful.
Barry: Let’s Emerge! sees Jenkins eschew his more saturated, beat driven work of olde (the Black Mill Tapes collection being the quintessential origin story of what now gets so often called “hauntology”) for his first new full-length for stalwart label, Sonic Cathedral. Instead, we get a widescreen distillation of the PCA we know and love, with a more ambient addition from the wonderful Andy Bell, lending languid plucks and slowly unfolding melodies in his inimitable style atop a bed of ambience laid down by the maestro. Pieces like “Lyracal” (no doubt an ode to the synth it’s written on) move more towards the classic archive synth sound, while epic closer “Warmth Of The Sun” is much more akin to a take on left-field psychedelic experimental music. It’s all undeniably intoxicating though, a rich and deep sound bath, moving slowly between worlds, effortless and impeccably measured,
Laura: This is just fantastic. Brooding desert blues from the dust-bowl of erm, Liverpool! Hannah Merrick’s vocals, which fall somewhere between Mazzy Star’s Hope Sandoval and Sharon Van Etten, float over a beautifully narcotic backdrop of intricate guitar melodies and gentle drum rhythms that slowly build to a crescendo on album closer “It’s Me And You, Kid”.
Liam: Making the descent back to Earth after their stay at the Tranquility Base Hotel & Casino, Arctic Monkeys’ continue where they left off with album number seven. From stunning string-led ballads (“There’d Better Be A Mirrorball”, “Big Ideas”), to late night funk (“Hello You”, “Jet Skis On The Moat”), The Car proceeds with Arctic’s evolution with lavish and exquisite results.
Barry: What a fascinating sound caroline have managed to coax out here. It’s a heady mix of post-rock, folk and avant rock pulled together with a keen ear for melodies and tempered with airy group vocals, a-la A Silver Mt. Zion. A dynamic and ever-shifting landscape of melody and texture
Laura: Infusing Afrobeat, funk, dub and hip hop into their jazz foundation, Ezra Collective bring the party once again. They’ve thrown in a little Latin flavour and a whole heap of guest musicians this time around too. Where I’m Meant To Be is a shot of pure feel good energy and you can’t fail to be swept up in their positive vibrations.
Barry: Aaah, there’s nothing quite as satisfying as a new RCBF album. Their latest definitely sounds like them, with the roaring angular guitar lines and post-punk vocal sneer but is somehow softened into a more crepuscular, thoughtful selection of pieces. It’s by no means a mellow record, but their usual drive is tempered a little, and all the better for it.
Ryan: Airy, funky psychedelia from Chaz Bear on the endlessly shifting, beautifully produced Mahal. There are more than whispers of Beck’s sugarsweet drawl, but floating smoothly atop road-trip radio grooves and lysergic melted soul. Lovely.
Will: Goat returns with another musical edict from above, a kaleidoscope of demented funk of which the human spirit is desperately in need, according to the band. The fuzzy psychedelia of cracking lead single “Under No Nation” was a perfect mission statement for this phase of the band, so strap in for a wonderfully weird ride with the undeniable forebearers of oddity.
Barry: A stunning album from Simon Green’s Bonobo, fusing the clattering percussion and smooth rolling bass of 2010’s Black Sands with the more soulful, smooth sounds of the more recent outings. It’s both a perfect artistic statement, and a wonderfully evocative listen, including some of the biggest names in modern soul and electronica.
Laura: With brooding basslines, distorted guitar shards and pummelling drums Just Mustard plough their own very unique path through the buoyant Irish guitar scene. Katie Ball’s vocals go from gentle, almost whispered melody to wailing banshee-like howls as their sound veers between propulsive intensity and haunting soundscapes.
Millie: Three years on from his previous album, Hugo finds Loyle taking a moment for self-reflection. With a widescreen production sheen and a subject matter that covers the deeply personal through to the highly political, Carner has produced a landmark album that’s likely to be a rallying war cry for all generations.
Barry: Marquiss’ solo record sees the Phantom Band guitarist pulling out a soaring selection of expansive ambient melodies skillfully wrought out of the guitar, resulting in an evocative and hypnotic selection of 70s synth influenced neo-folk gems.
Darryl: Noah Lennox AKA Panda Bear and Pete Kember AKA Sonic Boom are longtime collaborators so it seemed only a matter of time before they’d team up together on an album. Reset is a 60s concept record built around intros to rock’n’roll 45s, before being reshaped with harmony overloads, repetitive loops, and psychedelic heavy samples. A perfect sonic melding of their previous bands, Animal Collective and Spacemen 3.
Andy: This is absolutely *the* statement album from a band at the peak of their powers. Expansive, wide-ranging and musically diverse, there’s no chance that this won’t go down as their finest moment...unless they keep up the furious work pace and quality composition that is, then the sky’s the limit!
Will: Gnod reinvent human despair with Hexen Valley, a masterclass in sludgy drone music. Off-piste opener “Bad Apple”, crunchy 15-minute assault “Spotlight” and the hauntingly beautiful “Antidepressants” make this one of the most spectacular outings in a year full of them. The Salford giants continue to advance heavy music in unexpected ways, making them one of the most exciting bands around.
Laura: The meandering instrumentation has all the Danger Mouse hallmarks; stuttering drum beats, string swells and lush keys. At times proggy, at others cinematic, there’s a kind of majestic feel throughout that provides the perfect backdrop for Mercer’s melodic, melancholic vocals.
Barry: Angel Olsen has always had a unique skill in writing melodies, but it’s here on the heartbreaking Big Time that her command of melody and atmosphere come together into the perfect whole. It’s beautiful and sombre in parts, and downright jubilant in others. Beautifully balanced and achingly affectionate and tender.
Andy: A brilliantly baggy distillation of 90s psychedelia and British indie, taking influence from the electronic stylings of recent collaborator Pye Corner Audio and working the diverse influences into a unique and satisfying end product. Swimming with atmosphere and absolutely packed with melody.
Darryl: Just a year on from their fabulous debut, BCNR are back with a double album that further mines the maelstrom of sounds that was explored on For The First Time. Post-rock, improv, free-jazz, minimalism and indie-folk all rub shoulders again to create another majestic album.
Barry: Life Is Yours takes all of the drawn-out cinematic obscurity of the Everything Not Saved Will Be Lost duo from a few years ago and inverts it into a bright, poppy party collection. Vivid percussion, soaring synths and jubilant vocals make this one of their most accessible and optimistic outings yet.
Liam: Loved last year’s New Long Leg? Well you’re gonna love this! Crammed full of that wry and witty humour that we adored on their debut, Dry Cleaning also stepped up sonically on Stumpwork with tonnes of infectious post-punk. Without a doubt a truly special band, who we hope stay with us for many years to come.
Barry: While Black Midi may be hard to categorise, it hasn’t stopped people of all ages flooding towards their diverse mix of jazzy rock and angular post-punk, and Hellfire definitely stands to gain them a significant chunk of new followers. It’s another step outside of the comfort zone, with angular guitar phrases and barely cohesive percussion coming together magnificently into yet another chapter of incendiary oddball genius.
Laura: Referencing Love, The Beach Boys, Velvet Underground, Sparks and probably a whole host of more abstract artists that my ‘pop’ ears aren’t tuned to, this is a joyous pot pourri of quirky experimentation and pristine pop. A perfect antidote to the current gloom.
Liam: Debut solo album from bassist and vocalist of The xx, Hideous Bastard is a deeply important project for Oliver Sim. With fellow bandmate Jamie xx on production duties, Hideous Bastard tackles themes of shame, fear, masculinity and Sims’ HIV status. A truly vulnerable, beautiful and ultimately powerful record.
Barry: An expansive and beautiful juxtaposition of the minimal beats and atmospheric unease of Hawtin’s original material with Gonazles’ tenderly plucked piano, all brought together with a warm and enveloping production sensibility. An endlessly listenable and richly rewarding journey.
Liam: Nearly ten years since their last album Mosquito Yeah Yeah Yeah’s are back with Cool It Down. Highlighted by the incredible synth-drenched anthem “Spitting Off The Edge Of The World” with Perfume Genius, Cool It Down sees YYY’s looking the anxieties of life square in the face and, even though things might look bleak, at least we can try to get through them together.
Barry: There are few artists around that are as eminently talented as Sharon Van Etten, and her latest outing has all of the acoustic nuance and juxtaposing heft we’ve come to expect from her. There are moments of minimalist beauty, but they fit in perfectly with the crashing waves of synth and her uncompromising vocals, pulling together all the disparate parts seamlessly.
Andy: It’s heartening to see every development of Beach House add to their already significant musical foundations. This time sees a significant orchestral presence come to the fore, offsetting their usual hazy swagger but perfectly fitting in with their already wildly cinematic inclinations. It’s a beautiful and perfect meeting of melody and ambience, while retaining their airy, otherworldly sound.
Liam: Even though it was one of the earlier releases of the year, we’ve still been slamming this one here at Piccadilly. For fans of Khruangbin and psychedelic groovy goodness, Los Bitchos’ Let The Festivities Begin! is the soundtrack to the coolest party in the world and probably the most fun you’ll have with a record this year!
Mine: Cold wave darlings Boy Harsher return with a new record as well as a horror film written, produced, and directed by the US duo. The accompanying soundtrack is everything you could want from a Boy Harsher album. Dark and mysterious, yet catchy and danceable, it is up there with some of their best work.
Ethan: Glitch Princess is Yeule’s deep dive into struggles with identity, gender and self-expression all hidden under a distinctly memorable art and glitch pop disguise. With heavy textures formed by several layers of powerful vocals over eccentric synth work, occasional piano and even folk guitars, Yeule has undoubtedly created their masterpiece.
Caprisongs explores themes of friendship, love, and self confidence, culminating in a playful yet sincere set of tracks which demonstrate FKA Twigs’ determination to march to the beat of her own drum.
57. BURIAL: ANTIDAWN
Burial heads even further down the cold, long and lonely road into almost pure isolation. Like walking through Skyrim’s metaverse loaded up on dissociatives it’s a completely transportive, if fragile and desolate listen.
52.
Interesting fact: Tyler, The Creator is probably our most requested rapper, in person over-the-counter anyway. The ingenious lyricist returns with another sprawling epic.
As good on the dancefloor as it is on the headphones, Tropical Dancer is a rare thing, tackling racism, misogyny, cultural appropriation and social media vanity whilst keeping the body moving. A stunning debut from the Ghent based synth duo.
A divine piece of enchanted garden ambience and ambrosial relaxation. There are no lyrics, no guitars, no drums. It’s as if Inflo told the rest of the band to have a break whilst he enlists a full orchestra for the project.
Fabulous debut that harkens back to the glorious days of grunge with stomping riffs and exuberant vocals that brings to mind the likes of Courtney Love and Kat Bjelland.
They arrived fully formed some 19 years ago, and they still sound as fresh now as they did back then. Freakout / Release is another dizzying high featuring a rich synthy sound and brilliant songcraft.
58.
Woozy, airy moments of jangling indie walk amongst the orchestrally intricate compositions, lurching between ideas seamlessly and without losing the melodic thread.
59.
On their fourth album they’ve focused on honing their own sonic world that glides between woozy psychedelia, immersive grooves, subtle pop and rich, enveloping soundscapes.
60.
& SEBASTIAN:
Glasgow’s finest return with an absolute gem of an album. They imbue their wry outsider pop with soulful grooves, funky guitars and a dash of (Northern) soul to create a wonderfully uplifting collection of songs.
61.
Phantasy and Factory Floor’s celebrated synth molester returns with a generous stew of influences; Detroit techno, deep house, electro, Suicide and Eurythmics.
A beautifully arranged album that’s interwoven with his signature “organic beat music” sound. Meditative jazzy grooves to soothe the mind.
63.
This latest offering sees Vile in a perfectly laid back, tranquil mood, slowly moving from shimmering, country-lite into classic Kurt psychedelia.
Martin Brew dropping electro-funk-balearo-science on Jason (Aficionado)
Boardman’s Before I Die label. Electrified throughout, it exists as a concise and really quite singular piece conceived by an artist in full creative control.
It’s hard to believe that Suede could ever better their seminal 90s output, but with its slick songwriting and heartfelt performances, the magnificent Autofiction might have done just that.
Fourteen tracks of dreamy shoegaze-infused jangle-pop goodness, Alvvays’ Blue Rev further cements the Canadian outfit as modern indie darlings and deservedly so!
Beautiful cascading melodies, rich basslines and woozy saturation form into the quintessential AC offering, and one that reveals more on each subsequent listen.
Woozy psychedelic ballads, imbued with a glimmer of 70s folk and Americana but without a doubt a sound all of her own. Lysergic, heady and hypnotic audio bliss.
Grooving bass and flickering percussion underpin the psychedelic vocal delivery and hypnotic driven guitars of the brilliant Widowspeak on their sixth album.
70. DANIEL
Ultra Truth takes all of Avery’s melodic expertise and subverts it beneath a crashing wave of shuddering percussion and side-chained pads. Uncompromising and wholly mesmerising.
One half of Sink Ya Teeth returns with her second solo album. A unique and fresh electronic blend of new wave, acid house, 80s electro and noughties electroclash.
72.
Sits perfectly in-between the dancefloor and the beach, with tropical rhythms and airy ambience beautifully twisting around a solid core of deephouse percussion and euphoric vocal melodies.
73. KELLY LEE OWENS: LP.8
LP.8 pairs tough, industrial sounds with ethereal celtic mysticism, creating music that ebbs and flows between tension and release.
The sweet spot between tropical, psychedelic pop and jangling indie, both anthemic and dreamy. A brilliant and hugely melodic juxtaposition of thoughtful groove and major-key jubilance.
The most strikingly beautiful piece of work that Hannah Peel has been involved in. Choral and otherworldly, but imbued with a levity and optimistic glimmer that she does so well.
Ten tracks clocking in at over three hours long; an ambitious and compelling set that saw Frahm ditching the piano in favour of an emotive electronic palette of soothing textures.
Songs that were born from the simplest of beginnings, an old piano and vocals. Orton expanded on them and created an album of meditative laid-back beauty.
Technicoloured, wide-screen bass and synth luminary Hudson Mohawke returns with more of his 5D, extra-fidelity sonic explosions.
Electricity shines with the raw groove and scattered influences of the earlier albums, but with a much more honed sense of rhythm and melody. Absolutely and unsurprisingly brilliant.
The deep house legend’s downbeat and highly musical offering features a wealth of collaborators and sees him mature like good whiskey – full of flavour and depth.
Bodega craft endlessly enjoyable angular post-punk with a melodic sensibility and compositional flare you rarely see, and Broken Equipment is the epitome of this.
82.
Much like the volcanic landscape of Iceland, Fossora is a vast, alluring and beautiful record that once again proves that Bjork will always be here to push the boundaries she once set — all whilst dressed as a mushroom.
83.
Echoes of 80s tinged synth pop whilst retaining the weird avant-pop moments that made their first couple of albums such a different prospect. Big, bold melody-focused anthems.
84.
A gigantic, sprawling suite of fiery anthems and fragmented instrumental heft, its hip hop influence is strong but lurching between dark instrumental weirdness and avant rock ala Anticon Records.
Embracing a decidedly heavy scented coastal vibe throughout, you can almost smell the calamari grilling on the grooves! Sophisticated, warm, radiant and effortless.
The perfect illustration as to why he’s so revered in the middle ground between modern indie and country music. Beautifully produced and gorgeously evocative throughout.
Beautiful ambient jazz which encapsulates pure emotion and is a perfect fit in the Gondwana library. Moving, peaceful and brimming with optimism. Perfect weekend listening.
88.
Doggerel does exactly what every Pixies album should demand — to sound great when played loud. Black Francis’ vocals are still as sharp as ever, rasping over acute riffs and beefy basslines.
89. SPIRITUALIZED:
EVERYTHING WAS BEAUTIFUL
Rich orchestral beauty, both swooning and romantic but imbued with a melancholic edge, it’s classic Spiritualized with hints of soulful Americana and brittle folk woven through the fabric.
Laurel Hell sees Mitski develop her melodic poise, perfectly balancing her heavily crafted vocal style with a symphonically rich soundscape. An album of dark pop that sonically soars above her previous releases.
91.
The classic Arcade Fire sound but imbued with the real-world concept of tension and release. Massive, euphoric and quintessentially Arcade Fire.
South London’s Poppy Ajudha embodies the diverse musical cultures of her neighbourhood, The Power In Us blends R&B, soul, jazz and pop with forward thinking socio-political lyrics.
Showcases the superb satirical humour of their early years, bolstered by over 30 years of gigging and songwriting. A fine example of a legendary band enduring and thriving.
94.
A jubilant record that celebrates the birth of vocalist Juliette Jackson’s child and her new found motherhood. Heartfelt, beautiful and absolutely packed full of catchy tunes.
95. WHITNEY: SPARK
Whitney really hit the mark here with their beautiful soulful, soft early 70s sound, and possibly the best songwriting of their career so far. Lovely mellow stuff.
96. PORRIDGE RADIO: WATERSLIDE, DIVING BOARD, LADDER TO THE SKY
It’s bold, nuanced and anthemic but it’s also defiant, with moments of instrumental and lyrical fragility perfectly offset by grand crescendos and almost post-rock levels of intensity.
97.
Falling somewhere between 90s influenced pop-punk, clashing lo-fi indie and Lovely Eggs-indebted heft, it’s a skilfully written and wonderfully effervescent release.
98. JOHNNY MARR: FEVER DREAMS PTS 1–4
A widescreen collection of Marr at his very best, that trademark guitar and his increased focus on sweeping synths and throbbing pop percussion coming together brilliantly.
99.
His most bombastic, jagged outing since 2014’s Lazaretto and has every bit of the charm of that experimental grooving monolith. Snappy, riff-filled and full of surprises!
100.
Two albums in one year? Madness. Fortunately, White is one of the most singularly recognisable talents out there, and manages to imbue Entering Heaven Alive with every bit of his trademark dynamism.
‘WORDS & MUSIC, MAY 1965’
LP / DELUXE 2LP / UK COLOUR LP CD / CASS / 8-TRACK (LIGHT IN THE ATTIC)
“Absolutely fascinating, and required listening for anyone who thought there could be nothing left in the VU vaults.” 5/5 MOJO
‘THEE SACRED SOULS’
LP / LP (DINKED) / LPX (BLUE) / CD (DAPTONE RECORDS)
“Thee Sacred Souls offer music of terrifyingly high quality. This fully formed debut is incontestable evidence of an important new act.”
8/10 UNCUT
‘SOD’S TOASTIE’
LP / LP (SPLATTER) / CD (MELODIC)
”
The Cool Greenhouse, my new favourite post-everything existential music happening. Hooray!’’
HENRY ROLLINS
‘CHERRY’
2LP / CD (JIAOLONG)
‘’Dan Snaith’s joyous new album as Daphni lets its first-thought-bestthought spirit shine...this might be the most fun there is to be had on a dance record this year.’’
8.2 PITCHFORK
‘DECIUS VOL.1’
2LP / 2LP (PURPLE) / 2CD (THE LEAF LABEL)
‘’Decius gets the groove going in a different way - they kind of come at you out of the dark.‘’
IGGY POP
‘ONE IN A MILLION’
2LP / CD / CD+T-SHIRT BOXSETS
(BLACKGROUND RECORDS)
First vinyl pressing since 1996.
One In A Million remains as one of the most influential albums in Hip-Hop and R&B and proved to be a major breakthrough in Aaliyah’s career.
‘EXPERT IN A DYING FIELD’
(YELLOW) / CASS / CD (CARPARK RECORDS)
“The Beths are not the only guitar pop band carrying this particular torch but they might be the best at the moment.”
ALBUM OF THE WEEK BROOKLYN VEGAN
Matt: From cult club promoter and DJ at Electric Chair & Homoelectric, to festival director and bar / restaurant owner; Instagram (anti)influencer, kebab reviewer, lockdown saviour and Worldwide FM radio star — Luke Unabomber’s cultural legacy, for a constantly growing fanbase of “misfits, queers and late night disenfranchised” continues to flourish. Off the back of his recent, universally adored radio shows we get É Soul Cultura, a magical compilation that finds our nocturnal spirit guide gifting us a wide-selection of lost sounds; tracks that have fallen through the cracks of the mainstream and into the 5AM folklore of the musically obsessed. A self-taught and unbridled manifesto of the obscure and over-looked. The right tracks at the wrong speed, music from machines, organic live jams, it’s as eccentric and eclectic as its curator, guided purely by the ethos of records that sound good on Es — alluded to in the compilations title as well as a cheeky homage to the Brazilian Disco É Cultura labels.
Devotees of Petrčane and Tisno will nostalgize the early morning scents, lapping waves and call to sun lounger invoked by Robson Jorge & Lincoln Olivetti’s “Eva”; Aficionado stalwarts will fondly remember the first time they heard Brand New Heavies’ “Lunar Dub” spun at Zumbar; ‘Chair heads rejoicing over the basement funk of “Robot Man”. Meanwhile in Sheffield, the Kabal mob pogo to Southern Freeze. Cowdrey’s presence at pivotal moments of dance music’s development and history goes some way to explain the depth, colour and charisma of the set presented before us.
If you know Luke — either personally (I think most of Manchester claimed to be on Luke’s infamous Electric Chair guestlist at some point), or through his hilariously candid Insta personality — you can’t help but feel that the collection is informed by countless after parties, digging trips, maverick chance meetings and “allback-to-mine” scenarios. Equal parts Hulme Crescents, Adriatic sunrise and red lit basement; it reflects 37 passionate years of staying up late, jumping down musical rabbit holes and sharing moments with rightminded wrong-uns. A local legend turned national treasure, evangelical about music’s ability to heal and unite us dirty, beautiful creatures of the night.
As the 5AM city sleeps and the strobe lights are slowly turned off, we gather on the wrong side of town in a transcendental journey alone together. We are the late night disenfranchised holding on in various after parties, flats, lofts, random kitchens and basements into the outer cosmos with É Soul Cultura. Music from exotic tear jerkers, Afro-spiritual jazz, cosmic Brazilian celestial grooves, machine street soul, dark horses, lost B-sides, £1 bargain-bin bombs, hidden gems, late night Italo dubbing, deep velvet N.Y.C garage, bass buggin sonic futurism, wrong speed 33BPM pitched up +8 new beat, majestic sunset strings, sweet vocals from heaven, no half steppin jazz dancing in outer-space and odd numbers. Yes… magical moments, together, holding on in witness protection suburban cul-de-sacs and Castle Court flats. Cosmic É high, 3000ft above the city getting evangelical to murky, wonky timeless beautiful music. This thing of ours dreaming of better days. Fail we may, sail we must, the sun will come up again.
I first encountered PR in the summer of 1986. I remember Martin the anarchist and Philippa Jarman kindly dishing out the tunes in its Piccadilly Gardens location next to what is now M&S. I was a house boy then and having just arrived from Sheffield I remember all my frequent visits in those early days. I bought all sorts, including those seminal house sounds of Chicago compilations. I also fondly remember Andy McQueen eagerly awaiting the most recent Smiths’ releases with joy. It felt intuitively eclectic and somehow connected all the dots in this huge mosaic counter-culture of ours. Justin and I, 1994, when we were skint used to pool our money and buy all the recent imports together and each of those tunes we would carefully put on a pink sticker denoting a shared tune. I think he has them all. 36 years later, PR still has that beautifully independent and passionate love for amazing music from all the corners of this infinite room.
Viva Piccadilly!
Luke Una.
Darryl: Much like its sister album from last year, Pop Psychédélique, there’s one thing you can guarantee when you slap this platter on the shop stereo; somebody will come up to the counter and ask if they can buy it!! Garage Psychédélique does exactly what is says on the sleeve, dishing out the absolute best in garage psych since 1965.
EXCLUSIVE: DOUBLE VIOLET AND PURPLE COLOURED VINYL.
Laura: Compiled by Ruben Windflower, these songs soundtracked evenings of his youth spent up on a hill overlooking London, swapping mix tapes with his mates, and they still stand up today. Meandering through English folk, Americana, West Coast garage and laid back soulful grooves this is the perfect soundtrack to a night of lying back staring at the stars.
PICCADILLY
DOUBLE TRANSPARENT CLARET & ATLANTIC PEARL VINYL.
Matt: Mega comp of comedown downbeat, sunrise indie-dance and woozy morning moods; curated by our good friends and musical heroes Pete Wiggs and Bob Stanley who really seem to know how to organise a collection with sincere and heartfelt sentiment. Unmissable! 5.
Paul Hillery: So, what is this Folk Funk & Trippy Troubadours thing anyway? Well, it’s tricky to put a finger on. Folk-funk had been around for a while, so I added and Trippy Troubadours to give me a little wiggle room from the genre police. To me, the folk-funk groove sounds like it has one leg shorter than the other; let’s call it a funky limp.
Matt: Skilfully joining the dots of sound system culture from its very beginning ‘til now would seem like a daunting task for anyone. But guided by the Black identity of the majority of sounds, Soul Jazz offers up a catch-all release that takes us from roots reggae and soul to jungle and dubstep without ever losing sight of the subwoofer.
Barry: Featuring MCR’s Ruf Dug alongside ex-Emeralds Mark McGuire and shop favourite Phil France, this stunning selection sees the best names in lysergic electronica, spiritual rhythms and deep, rich ambience come together into one perfectly manicured and effortlessly brilliant trip.
Matt: Never afraid to veer away from the norm. The Detroit innovator instantly breaks convention by commissioning all-exclusive content from his Motor City brothers and sisters. Not only does this add to the collectability of the compilation, it gives his community a platform and shines the spotlight on artists I haven’t even heard of.
Barry: How Do You Are? return to the ol’ stomping grounds of laid-back Balearic and swaying Yacht Rock for this, the fourth of their alwaysworthwhile Too Slow To Disco franchise. Expect dusky grooves, beachside beats and shimmering, soulful pads aplenty, all enriched with that horizontal chill and sun-drenched saturation.
Barry: There are few better qualified on this subject than the wonderful Vivian Goldman. Unsurprisingly, there are some big names here, but it’s the lesser known gems that really take this to another level. A perfect compilation, and an essential document of a vital scene.
Darryl: This is the second installment of tracks that were played on heavy rotation at the SEX boutique on King’s Road through 1974–1976. A rich musical kaleidoscope (from The Animals to Max Bygraves to Billy Fury to Mott The Hoople) of 23 jukebox bangers compiled again by the legendary Marco Pirroni.
Matt: 22 tracks from the Chicago stalwart’s personal collection spanning disco, boogie, funk and gospel. Under The Influence save us time and (lots of money) by not only sourcing these lesser known gems and highly coveted offerings, but cleaning up the masters and presenting them to us in their best possible fidelity.
Barry: While Norris is best known for his impeccable ambient excursions and crisp, shiny electronica, here he puts together a wonderful selection of off-piste psych folk and funk gems. An essential for any fans of the genre and a brilliant starting point for those unfamiliar with the era or sound.
Barry: As one of the greatest labels within the electronic sphere, it’s no doubt that Bureau B are well positioned to give us an exhaustive highlights reel of this nebulous genre. Things get heavy, gritty and grooving in equal measure, but it’s always focused on the less heralded lights of the burgeoning scene, and throws up a great number of superb lesser heard gems.
Barry: My favourite subsidiary of the krautrock empire has always been the slower, more thoughtful arpy-synth business, and We Are The Children Of The Sun revels in the more heady, stargazing sound that sits somewhere between Balearic and Electronica. It’s a wonderfully conceived collection, and yet another reason why BBE sits right at the top of the compilation game.
Darryl: Season 4 of Stranger Things really caught the public imagination both for the unforgettable action and the music, it even propelled Kate Bush back to the number one spot with “Running Up That Hill”. The soundtrack features many more retro classics from the likes of The Cramps, Talking Heads, Metallica, Siouxsie And The Banshees and err Falco!
Barry: Vynehall’s contribution to the long running Fabric canon sees the producer give us an undeniable stormer of a club mix, lurching from basement grooves to dub, peppered with funk and broken beat. A constantly evolving, stylistically diverse offering that while disparate, is never any less than narratively perfect.
Matt: Modern supremo Dave Lee refuses to retire from his console; rolling out another jam packed and unmissable selection of disco, boogie, soul and house — all new productions featuring a wealth of talent old and new.
Darryl: A collection of tracks from the esteemed Blue Note vaults reworked by a selection of the rising stars in the UK’s jazz, soul and R&B scenes. An iconic catalogue given a fresh reinvention by the likes of Theon Cross, Binker Golding, Nubiyan Twist and many more.
Barry: You always know you’re in good hands with Back To Mine and this time sees London disco favourites Horse Meat Disco pull out an absolutely simmering collection of late night funk and disco classics, as well as a good few lesser heard gems. Superb.
ALBUMS RELEASED BY MUTE IN 2022
STUMM11...........Duet Emmo...........Or So It Seem s
STUMM134...........Barry Adamson...........Oedipus Schmoedipus
STUMM159...........Recoil.........Unsound Methods
STUMM173...........Recoil...........Liquid
STUMM178...........I Start Counting........Re Fused
STUMM193...........I Start Counting...........Ejected
STUMM225...........Liars...........They Were Wrong, So We Drowned
STUMM246...........Liars...........Drum ’s Not Dead
STUMM279...........Recoil...........subHuman
STUMM290...........Polly Scat tergood...........Polly Scattergood
STUMM394...........Swans...........Public Castration is a Good Idea
STUMM468...........Daniel Blumberg...........The World To Come
STUMM472...........Laibach...........Was Sind Das Volk (Ein Musical Aus Deutschland)
STUMM473...........Nicolas Bougaïeff...........Begin Within
STUMM474...........QUINQUIS...........Seim
STUMM475...........HAAi...........Baby, We’re Ascending
STUMM476...........Pole...........Tempus
STUMM478.................Yann Tiersen...........11 5 18 2 5 18
STUMM481...........Terence Fixmer...........Shifting
Matt: Not only did Lee Perry guide reggae through its uncharted path toward planet dub, he practically invented dance music as we know it today. Using the mixing board as an instrument, placing emphasis on producer over musician, utilising studio effects in new inventive ways to create a sound far detached from its original source — techniques we now take for granted but at the time were completely revolutionary.
A hugely talented eccentric whose tumultuous life never really affected his output — despite burning down his own studio; having fractious relations with various record labels; and falling out with collaborators The Congos, the religious Dreads of Jamaica and numerous other key figures from the music scene — his signature cow grunt (vocalised by Watty Burnett), mix-downs swathed in tape delay and his irreplaceable vocals would rarely be absent from the airwaves, soundsystems or record players throughout a five-decade long career which consistently broke new ground.
Gifting vocalists like Bob Marley,
Junior Murvin, Max Romeo and countless others, now house-hold names a tangible Black Ark magic and propelling them into the spotlight; he’d also be a key figure in spreading dub music’s influence far and wide. His work with Adrian Sherwood and UK post-punk groups is perhaps most famous, but even more recently he’s enticed a whole new, younger and global generation of clubbers and soundsystem heads with collaborations within dubstep, techno and bass music genres (see: “Lies” by Sherwood & Pinch, or “The Observer In The Star House” with The Orb, for example).
King Scratch, marking one year since the producer’s passing, revels in some of his best work over the years and comes with extensive sleeve notes and illustrations — an in-depth celebration of, arguably (and most probably contentiously!), Jamaica and dub music’s most pivotal (and undeniably charismatic) icon. It focuses mainly on his Black Ark years, with the box set containing tracks running right up till 2002 (I’m hoping and assuming there’ll be a part 2 next year!) There are some tasty unreleased versions too, for those who thought their discography was complete. A stunning release that can be recommended as an entry point for newcomers, or a catch-all of his greatest hits; even the most ardent Scratch devotee will find something to treasure amongst the King Scratch bounty.
unique approach to production pushed his music beyond previously perceived boundaries. His vision and talent has had a significant impact on the musical landscape of today, inspiring many of the world’s greatest musicians including the likes of The Prodigy, The Rolling Stones, The Beastie Boys, The Clash and Diplo who carried his sound forward. The aim of this release was to pay homage to a legend the year after his passing. We certainly hope that we have done him proud
Lee Scratch Perry’s astounding legacy will never be forgotten.
Andy: Revolver is the moment where the Beatles turned their back on the hysteria and announced they weren’t going to tour anymore, but instead were going to concentrate solely on The Music. Out went boy-meets-girl and any country or rock’n’roll songs, in came psychedelic pop with deep or abstract words and a dizzying array of styles. The influence of drugs can’t be ignored when appreciating these new sounds, and what we have is basically a band actually creating the zeitgeist, up in the crow’s nest of the great ship Counter Culture, sailing to who knows where. It’s their best album.
Darryl: It’s A Shame About Ray was the perfect indie “feelgood” album with bouncy, shiny, happy songs and the indie poster-boy drawl of Evan Dando creating a seamless pop masterpiece. This reissue includes a slew of extra material lovingly put together by Fire Records for the album’s 30th anniversary editions.
Andy: This is an amazing find and incredible document of one of the greatest songwriters of the 20th century. Lou Reed’s widow Laurie Anderson feels these home recordings need to be preserved and though Lou had just hooked up with John Cale there is none of their arty explosive, scuzz and sleaze here; these are just pure songs, surprisingly in the folk idiom (though this is 1965 and it’s just an acoustic guitar so it clearly makes sense), simply laid down as works in progress. If you’re a Lou Reed fan, (and who isn’t?), this is a must!
Barry: So, this is where it all started. It was clear from the starting notes of “Dreaming Of You” that this Wirral Quintet was onto something special, so it’s no surprise this 20 year anniversary (really?!) reissue sounds just as fresh today as it ever did. It looks pretty special too! An essential addition to any collection, and a seminal piece of northern England’s musical history.
Matt: Much needed anthology of this oft-overlooked, multi-talented national treasure. Quietly responsible for so much magic across UK reggae, lover’s rock, street soul, post-punk and even pop. Focussing on his reggae-based work with vocalists from Janet Kay to Delroy Wilson; it also contains photos and hand-written tales from this fascinatingly enigmatic character.
Barry: This version sees The Clash’s genre defining Combat Rock plus some unheard gems from the sessions before the album, including demos of the Combat Rock sessions. A good insight into the making of that seminal work, and an album that holds up just as well today as ever. An often underheralded masterpiece.
Liam: Reissued as part of the 30th anniversary celebration of their debut album Nowhere, this is a collection of Ride’s first EPs Ride, Play, Fall and Today Forever, 4 EPs is a slice of essential music history and a must for any shoegaze fan! To be honest, it’s worth it alone just for “Drive Blind.”
Darryl: The fifth release in the Switched On series, and amongst the 15 tracks spread across 2CDs and 3LPs it features the amazing collaboration with Nurse With Wound in the form of the monolithic kosmische groove of “Simple Headphone Mind”.
Will: Perhaps the best-regarded album by the master himself hits a halfcentury! A record that needs no introduction, The Rise And Fall Of Ziggy Stardust… gets a lovely reissue falling in line with the recent Bowie 75 pressings, perfectly showcasing the rockin’ singles and soulful deep-cuts alike.
Andy: A first ever official career spanning collection of tracks from the legendary singer-songwriter. Kicking off with his incredible Glastonbury live performance of “Hallelujah” this brilliant 17 track collection includes all the classics; “Bird On The Wire”, “Suzanne”, “I’m Your Man” and many more.
Barry: Super cool French duo The Limiñanas have straddled the genres of psych, shoegaze, French pop, and garage since their inception, and Electrified perfectly showcases their craft with these classic tracks and rarities.
Darryl: Light In The Attic reissue one of the most iconic albums of all time. The effortlessly cool and sultry swagger of Nancy Sinatra combining effortlessly with the songwriting genius of Lee Hazlewood on these duets. Hazlewood’s deep gravelly delivery acting as a perfect foil to the sweet vocals of Sinatra.
Andy: The Charlatans are often under-appreciated within the hysteria of the whole Madchester thing, but let’s not forget that their first LP debuted at number 1 on the real life pop charts! The following summer they played Reading and tore it apart with this blistering set which also featured the best two songs from their (at the time) still not released follow up record.
Darryl: Presented as a four LP box set and a deluxe two CD reissue of the band’s fifth and final album. Featuring 45 tracks (including 28 previously unreleased ones) Terror Twilight: Farewell Horizontal offers up an exhaustive celebration of this much loved album.
Darryl: Folk/blues/rock duo Smoke Fairies have been Piccadilly favourites since they released their debut single back in 2008, and the 18 tracks on Singles shows that admiration was not unfounded with this unbelievable collection of tracks.
Darryl: The third album from The Heads found the band in ferocious form, free flowing psychedelic noise rock that saw the Bristolian four-piece at the peak of their powers. These 20th anniversary editions are presented as an all encompassing 4LP/2CD box set as well as separate double LP and CD editions.
Darryl: Stepney was the enigmatic composer, producer, and arranger, famous for his signature “baroque soul” sound as featured on classics like “I Am The Black Gold Of The Sun”. Step On Step is a collection of newly unearthed basement solo home recordings.
Paul: Back in the 60s Bobbie Gentry was renowned as one of the first female country artists to actually compose her own material, and The Girl From Chickasaw County backs up her songwriting abilities with a career spanning collection of classics including the likes of “Ode To Billie Joe”, and “Fancy”.
Darryl: Dais continue their Coil reissuing series with Musick To Play In The Dark², a hallucinogenic piece of occult electronics that was termed as “moon music” by co-founder John Balance. Recorded during sessions for the first MTPITD this was another essential release amongst their late-era output.
Millie: “Wherever jazz is — I is…”
I hope over the years the preconception of noisy unpalatable jazz has crumbled to its knees, enter the new generation of contemporary jazz makers adding their stamp to the genre, this is the kind of insider club you want to be a part of.
I could go on about Kokoroko endlessly, I feel like I’ve spoken about them a lot in this booklet already, can you tell they are my favourite album of the year? Maybe you’ve flicked past those pages already in your keenness to absorb all the music knowledge so hold on a moment, Could We Be More is a truly beautiful celebration of Afrobeat and Jazz music and exploring the definition of home. Spreading happiness and a joyous energy, there are many words that would describe this album but the one I linger on is beautiful.
Makaya McCraven holding second place is the album to get yourself lost in, evoking the feeling of floating through the sky, just calmness being directed from all angles is what I’m trying to get across. Beautifully composed instrumentals, influences from all over and a feeling of completeness, I suggest you listen in full to escape the hustle and bustle of the world for an hour.
Latecomer of the year, Ezra Collective almost didn’t give me time for a full listen before the big decision but they really have nailed this, it feels like a true collaboration of talent, featuring Kojey Radical and Sampa the Great. You can detect the different feel they’ve brought this time around but without losing the energy and liveliness that’s so infectious and unique in their sound.
Millie: The crème de la crème of this year’s hip hop guide is all to be discovered in this list, ladened with heaps of talent as to be expected. Form an orderly queue guys, we can’t dish this out fast enough.
Crowned the king of hip hop, Kendrick Lamar can’t be knocked off his pedestal at this point and is completely unrivalled in my opinion. Impeccable beats throughout, with impactful meaning beneath each line exploring imperfection, family, toxic masculinity, civil right movements and transphobia to scratch the surface. Storytelling has always been a strength for him, the complexity in the emotional subject matters show his growth as a musician, and if you don’t like this as much as DAMN then you need to put that killer of an album aside and appreciate that this is next level. Kendrick Lamar has cemented himself as the greatest artist of our generation.
Danger Mouse & Black Thought have stormed into second position featuring across the board on our staff favourites and a modest second place in the overall chart. It’s a slick concoction of Boom Bap hip hop and a lil’ soul making it an instant classic. If you haven’t given yourself the pleasure yet I suggest you dive in, with the slickest samples around and just two incredibly talented artists doing what they do best.
Other albums which are cream of the crop for 2022 include Loyle Carner who dropped late into the year but surpasses all expectations with his quick fire verses and comment on the current societal issues, while Sudan Archives needs a whole platform of her own. Ridiculously underrated, I’ve been a fan since her first EP over five years ago now and I’ll sit back with my popcorn while she blows up in the industry, it’s about time already.
Barry: This year has been another stunning year for electronic and ambient music, still presumably flourishing from the movement away from clubs (for obvious reasons) over the past couple years. We’ve heard most of the names in this list before, Cate Brooks for example putting out two amazing LP’s under both the Cafe Kaput and Advisory Circle monikers in 2022, a familiar listen for many of those with electronic-leaning tastes. Full Circle, a double 10” on Ghost Box hits exactly the same highs as 2018’s Ways Of Seeing and is possibly for my money, a career best.
The new Pye Corner Audio LP has everything that made Jenkins’ dusty tape works of olde and his mid-period groove-led Elektron worship great, but with the added guitars of Ride legend and all-round lovely chap Andy Bell. We had a lovely visit in the shop from both Andy and Steve when Ride played in MCR and Andy mentioned this LP, from that moment I knew it would be a wonderful thing. Throbbing percussion sits lower in the mix, but there’s a wonderful hazy progression to the sound, with the work of both artists not only coalescing beautifully but effortlessly forging new paths as well.
Castles In Space has had a stormer of a year too, with a whole host of stunning LP’s hitting the shelves, including Field Lines Cartographer’s Dreamtides and the new magazine with Neil Of Electronic Sound, Moonbuilding. The big ones on the shop floor though have been both Gordon Chapman-Fox’s Warrington New Town Development Plan LP (and reissues) and Dean Honer and Kevin Pierce’s Sound Of Science LP, both wonderful evocative listens, and more than worth checking out.
You always know you’re in for a winner with Basinski, and his newest LP with Janek Schaefer is a superb electronic masterpiece. Elsewhere some of my past favourites Bonobo and Frahm return for two wonderful new outings. Add to that the undeniably brilliant Hannah Peel (when is she not brilliant though?) and the constantly surprising new Plastikman / Chilly Gonzales LP and you have firm evidence that electronic music is here to stay, and forging new paths at every turn.
Matt: It’s been a difficult year for the humble twelve inch. As manufacturing costs continue to rise, Brexit-woes plague shipping schedules, and import taxes exponentially ramp up retail costs; it’s been monstrously hard for small labels to gather momentum with 12” dance singles. Now even more content is available digitally and for some customers, with the rise of living costs, the price can no longer be justified. Albums, thankfully, have managed to negate some of this sentiment but I want to stress here how important and culturally significant the dance 12” is.
Whether it’s Baby D — “Let Me Be Your Fantasy”, My Mine’s “Hypnotic Tango”, Todd Terje’s “It’s The Arps” or DMZ001 (Loefah & Digital Mystikz infamous “Twisup / B”); or for myself Daniel Wang’s BALIHU001 — club obsessed record collectors remember exactly where they purchased or acquired these scene defining moments. They cherish their existence in their record bags, cursing yet growing to love each tiny blemish or scratch it collects upon repeat plays through the years. Their artwork becomes iconic, to the point a well seasoned DJ simply senses its presence through a glimmer of the spine. Without delving into the whole digital vs. vinyl argument either; in my personal opinion the spiritual warmth and pleasure you get through a well pressed vinyl record on a decent club system is unparalleled.
What I’m saying is, its hard out there; but just like film photography cannot be forgotten over zillion-pixel digital replacements; I hope that the 12” single survives the current economic crises and continues to be the go-to format for tunes that change people’s lives. There’s new, exciting developments with manufacturers and record labels really trying to work within low carbon, eco-friendly methods which will hopefully keep the format alive and well when we move on to better times.
Meanwhile, please don’t forget the greatest friend the dancefloor has ever had. It’s a love affair fewer people might be experiencing but having seen first hand the astonished acknowledgement from the younger generation when slapping on a particular ‘sick tune’ physically, with your hands, onto a turntable, I can’t bear to see us handover the vinyl DJing artform to the sole realm of the digital controller.
Oh and one other thing! Yes, honestly, we ALL love bandcamp here (two of our staff are highly productive on it). But I’ve noticed this year increasingly labels and acts taking the lion’s share of new releases to sell directly. This can’t be frowned upon, especially given the situation I’ve detailed above. However we’re in a strange situation when (more than) occasionally their customers don’t get releases when they should, and when they do they’re sometimes damaged through transit. It seems obvious to me that labels are simply taking on too much — they don’t have the set up, shipping contracts and packing department that we (and lots of other record shops have). What I’m saying is we have an infrastructure to keep customers happy (we’ve been doing it for years), and maybe by taking on too much, dare I say it, greedily, labels are jeopardising the love of vinyl new releases by not delivering at a professional standard. I completely understand the need to sell direct, and the bandcamp platform is in no way to blame for this scenario; but can everyone just remember that us humble record shops have been keeping customers, both mail order and over the counter, happy for years. Ensuring records are delivered on release dates to a well-packed and as cost-effective standard as possible. And I’ve not even mentioned how musical discussions with real people (uncovering REAL underdiscovered gems that’d go unnoticed online) supersede the algorithm and the internet’s method of feeding you culture, EVERY TIME. OK — rant over!
No new genre names for 2022 (boooo! – Ed), and plenty of familiar faces in our top 20. Hard for anyone to get close to Two Shell at the moment (who give me feelings like when I first heard Burial & Sophie) and that Kieran Hebden track, “Looking At Your Pager” has slayed festivals all year. Local firm Red Laser have a mind bending ode to hardcore breakbeat / early rave compiled by DJ Absolutely Shit out now* and Bibio gifted us curveball album dance track of the year with “S.O.L.“ off “BIB010”. For more gently grooving dances, Public Possession introduced us to the talented Aiden Ayers, Nu Genea dropped their much anticipated second album and Jason Boardman kicked off Before I Die with two sterling releases from J-Walk and Tungusku. Toytonics remained continuously prevalent with new disco and house hybrids throughout the year; Magou’s “Who Is Magou” perhaps their highest watermark. Meanwhile Beatconductor returned to mashing-up drinking establishments with a new 7” series (GATT), and Salford City Records revisited the waltzers and fairgrounds via Angels, Bowlers and Helter Skelter with their piano house / rave reissues from the early 90s. *due imminently at time of press!
Not strictly a dance label I know but this beacon of independence and creativity needs a special mention as it stands proud against mediocrity and banality in music, much like our favourite underground imprints always have. Based in Todmorden from the pub / venue of the same name, the label’s wide-variety of outsider music has kept us highly engrossed all year. Limited runs, fancy wax and a high quality roster spanning multiple genres mean this is buy-on-sight for myself and many more. High points of their diverse catalogue include an unmissable Crazy P track, “Make Me Feel It”, a crazy indie-dancer by The Orielles remixed by Lounge Society (“Euro Borialis”), appearances by Jarvis Cocker and David Holmes plus local noise merchants Gnod colliding with North West bass peddlers The Dub Smugglers. Big ups GLS!
“Follow your passions to forge your own path and create your own system. Don’t be afraid to fail. In music we prosper — in art we trust.” Waka.
Andy: It’s been another top year for music books, and with our Ryan at the helm we’ve stocked all of the best of them! The hugely intelligent but fiercely Pop, Bob Stanley, has weighed in with the mother of ALL books. If you want to know what happened before 1955 and the birth of rock’n’roll then it’s all here; every last bit. Ragtime, blues, jazz, show tunes and on and on, Bob researches like a mad geek but dispatches his findings like the eternal pop boy he really is. I think he’s the best out there and this book is the place to start for all deep music lovers.
A far more emotionally involved read is Miki Berenyi’s extremely personal memoir. As co-front woman of Lush, she navigated her group through those crazy Brit Pop times but the real pull here is the pain of her deeply troubled childhood and the incredible strength of character it took for this brilliant artist to transcend those difficulties and shine. She’s so candid and a really good writer too. As is, naturally, Jarvis Cocker: equal parts wit, inspiration
and a love of the mundane (which he feels can always be turned into magic) his book is precisely what you’d expect if you were a fan of Pulp. And who isn’t?
Someone who the young Jarvis would most definitely have approved of is The Fall’s Mark E Smith. Kevin Cummins, the best Mancunian pop photographer ever, has compiled this beautiful book of pop’s greatest ever curmudgeon and it’s absolutely splendid. Resident The Fall specialist Matt (sorry Darryl!) reckons MES himself would by far have preferred this visual representation of his life, as opposed to some never to be trusted journo’s take on things. I agree.
A quick mention for The Wu Lyf Archives, a fantastic document of that most mysterious of Manchester bands, and onto the most involving book of all: James Brown’s Animal House. Our Matt (again!) says that what Sex Pistols did for rock, James and his pals did for music journalism. It’s a simply inspirational read.
2022, what a year! An unbelievably busy new release schedule has kept us all on our toes throughout the year, the weekly prep days of Wednesday and Thursday seemingly becoming more and more intense with every passing week. Whilst RSD being split over two separate days was less than ideal for both us and our punters, hopefully it convinced the organisers that RSD needs to be a one-off special day in future years!
Since our last EOY booklet we’ve bid an au-revoir to Javi and had a few new faces joining the team, welcome Liam, Ethan and Tim! As you’ll see in their respective charts they come loaded with a fairly diverse range of musical interests so if you’ve not done so already say hello next time you pop in the shop.
On a personal note it’s been great to finally see the shackles released on foreign travel. Lety and I have taken full advantage, visiting Copenhagen, Mallorca, Sorrento, Herceg Novi, and finally a long weekend in the wife’s old stomping grounds of Philadelphia (Happy 50th Dave!) Here’s to plenty more travels next year!
VARIOUS ARTISTS: GARAGE PSYCHÉDÉLIQUE (THE BEST OF GARAGE PSYCH AND PZYK ROCK 1965-2019)
VARIOUS ARTISTS: MUSIC FOR THE STARS (CELESTIAL MUSIC 1960-1979)
PYE CORNER AUDIO: LET’S EMERGE!
PANDA BEAR & SONIC BOOM: RESET
DUNCAN MARQUISS: WIRES TURNED SIDEWAYS IN TIME
CATE LE BON:
After what seemed like a slow start, it turned out to be another year of great releases once again, making it almost impossible to narrow down to just 20. As always my top 5 is pretty much set, but the rest are constantly jostling for position in my record box. A few compilations have hit the mark this year too: The second SEX compilation is a favourite this year along with the two excellent Two-Pier Records compilations: Music For The Stars and Garage Psychedelic, with all three mining a rich seam of classic guitar music from the last 50 odd years. There have been great singles / EP’s this year from Eyes Of Others, Joyería, NewDad and Sprints (who were also one of my live highlights of the year) and I’m looking forward to hearing more from all of them next year.
Outside of the shop, my Summer was book-ended by trips to Barcelona in March to watch the Volta A Cataluña (cycling in case you didn’t know) and Mallorca in October to actually do some cycling. So great to skip the rainy city for some Mediterranean sunshine after such a long time.
Once again I’d like to thank you all for your support over the past year. It’s been a tricky few years for everyone and who knows what lies ahead, but at least we always have music to steer us through.
Like Manchester’s ever changing skyline, its nocturnal environments have changed rapidly this year. The peeps behind YES opened New Century Hall and I’m seriously impressed. TWH opened an occultist bookshop, bar and event space Peste. The Northern Quarter is unrecognisable from when I used to DJ at Odd… And we became surely one of the food capitals of the world with countless eateries, restaurants and pop up style food halls across the city – I’ve never eaten so well in my life! There’s Kampus, Canvas – I can’t keep up! Defo feels like a new chapter for good ol’ Mancunia with mixed emotions both good and bad as it shuns its postindustrial past and rapidly becomes a fast burgeoning cosmopolitan city. I’d just love to know who can afford all these high rise flats?!
New movements up north too: The Derby Arms became THE after-the-after party spot (with raves starting at 10AM Sunday!) and whilst I’m still yet to visit The Loft they seem to be killing it with the younger clubbers and fresh bookings. Gotta shout the Earthly Pleasures mob for putting on a killer party at Old Abbey Tap House. Props to George and Green Island Festival in Hulme for the late Summer fun. Red Laser fully enlisted me as resident DJ and we’ve been having a mega buzz at both The White Hotel & Six Trees throughout the year. And if anyone was lucky enough to attend that special Laurent Garnier set in the Pink Room to only 300 people in October you’ll realise why I still adore YES and its vibrant calendar.
2022 has seen my inner goth return as Boy Harsher and Just Mustard give each other a run for their money in the world championship of doom and gloom (aka. the fight for the top spot in my end of year chart). Mystic Jungle’s Deviant Disco (does what it says on the tin), vol.2 of a weird and wonderful Bureau B comp featuring a selection of experimental German pop songs, and PVA with their upbeat electroclash debut balance things out a bit though. Elaine Howley’s lo-fi ambient pop debut also has a bit of a sombre feel to it but it is absolutely beautiful and I implore everyone to give it a listen! Manchester tastemakers and favourite percussion pals Talking Drums dropped not one but three great 12”s (Talking Drums Vol. 5 and Drum Chums Vol. 4 and 5 are all, as expected, more than worth your money — you know what to do!). All that’s left for me to say is that it’s still bloody hard to rank your favourite records and as always I’m left wondering how many good ones I might have missed this year!? I hope I’ll never find out…
It’s been a brilliant year for music, not that I’ve been in touch with a lot of it, having taken off a quarter of the year for other duties. Though I may not have had the deep dive through the multi-genre pool that being in the shop allows, it’s always important for me to be able to keep abreast of updates from my favourite artists and labels. It’s with some comfort then that my top albums of the year have also been a big hit on the shelves, with the Pye Corner Audio record with guest spots from Andy Bell coming in at a solid No. 1.
I’ve always been a big fan of Andrew Wasylyk, and his latest record on Clay Pipe is the perfect development of his wonderfully evocative sound. Elsewhere synths reign with both Dean Honer’s Sound Of Science and Polypores pulling out some amazing records too.
As ever, I’m constantly impressed with the synth music scene, in both quality of output and warmness of reception, a great environment for artists and musicians alike, and a veritable treasure trove of superb labels.
As the years fly by, I’m still in awe at how music speaks to us and is a tonic through the good and bad. I found out I have PCOS late into the year and I’ll harp on about it as it’s so common yet many people haven’t heard of it. It’s meant some lifestyle changes so work colleagues have witnessed me shovelling down almond butter in the corner of the kitchen and now I’m newly converted to Matt’s mushroom tea hype. Music has played a huge role in these changes; Kokoroko is the best for a calming stretch and an instant mood booster. It’s a dream of an album, evoking positivity and is my number one by quite a way.
I’ve just returned from Lisbon which was a beautiful city and a welcomed break, I heard snippets of Beyoncé’s ‘Cuff It’ from a tuk tuk hurtling down cobbled streets and a guy blasting Kendrick in the warm evening, two other favourites of the year. Kendricks’ Mr. Morale is an album I keep returning to, incredibly powerful and emotive, it’s a different style but I love it. And Beyoncé, well do I need to say much more? Fierce as expected. Until next year! Xx
It’s been a pretty special year for me in terms of music. I began working here at Piccadilly back in August and I experienced my first ever Glastonbury — which in turn turned me into one of those people who never stop banging on about how it’s the greatest place on earth. Highlights included seeing my favourite band (Foals) headlining The Other Stage, watching Big Thief in the blistering heat, Kendrick’s legendary headline slot and most importantly becoming a Confidence Man convert. As for gigs themselves, standouts for me have to be DIIV at the Ritz and Deafheaven at Gorilla, both left me wondering if I should finally invest in some ear protection at the ripe old age of 26... Oh, and I also helped in the creation of the WU LYF: LYF ARCHIVES 1998–2012, which you may have seen in our end of year book chart *hint hint*.
I also want to say a big thank you to everyone here at Piccadilly for welcoming me with such open arms, it’s been a dream!
Hopes for 2023? For My Bloody Valentine to finally release some new music, a boy can dream right?
I first got into the music of Michael Head when I saw the video for “Jean’s Not Happening” back in 1984. Stripey t-shirts (which seemed to stand for something, ha!), cool motorbikes and pure 60s iconography, all topped with Mick himself, so young and handsome, singing this incredible pop song whilst his brother John played this blistering, tumbling guitar; it made a deep impression. The accompanying LP, swiftly bought, included a free 12-inch single (never a good sign and a clue to what would follow) which I’d casually thought was some huge 60s classic when I’d heard it on the Radio 2 years earlier, but was amazed to learn it was actually written by the same guy. That track was “Thankyou” and still remains one of my all-time favourite songs. If you don’t know both these records, please look them up; they’ll help you understand the talent of the man, and why nearly 40 years later I’m still talking about him today! Stardom passed Mick by, but “success” isn’t final, “failure” never fatal, it is the courage to continue that counts, and Michael Head has just released the best LP of 2022.
It seems this is the year for me that all the things I bought when I first started working here are now reissued as 10th anniversary editions. That was quick, a little too quick actually. Anyway, I can’t complain as I’m reunited with Mac, Tops and later in the year a much-anticipated Wild Nothing repress.
I won’t dwell on the past too much though as we’ve been blessed with some massive new releases as well. Confidence Man has caused a stir amongst the masses as its unapologetic pop cheese splits the crowd down the middle. I personally can’t get enough. As a wise man once said, “If you don’t like it, it’s because you think you’re too cool to like it”. On the other hand, the intellectual wackiness of Jockstrap was an unlikely contender for mine and Andy’s chart but there’s a couple of really stand out tracks on there that’ll be hard to follow.
My own musical projects have slowed down a little while I focus on studying but I’m glad we have some fresh faces (and not so fresh faces, sorry Barry) in the shop working on their own musical endeavours. It’s a lovely little musical ecosystem here.
NILÜFER YANYA: PAINLESS
It has been an interesting year, seeing the return of some of my favourite artists, as well as presenting new sounds to cleanse the palette once again. Wet Leg’s self-titled debut, which I have to say took some warming to, now sees me scrambling around the net searching for tickets to their next show. More familiar artists such as Fontaines D.C. and Black Midi have not disappointed, bringing a healthy dose of guitar fueled chaos to this year’s soundscape.
It was a surprise to see The Red Hot Chili Peppers ambitiously release two LPs in the same year, even more of a surprise to find the band has returned to form at this stage in their career. Nice to see a group not take themselves too seriously yet at the same time come through with something worthy of its place in the collection, a sentiment echoed by The Chats who have been flying the flag for the filter-less with their latest record ‘Get F*cked’
All in all, there has been a lot of variety this year, ranging from high velocity bangers that send you spinning on the dancefloor, to more considered and thoughtful pieces that help pass the time when staring through train windows. A luxury which these days is difficult to come by.
VARIOUS ARTISTS: MUSIC FOR THE STARS (CELESTIAL MUSIC 1960–1979)
2022? What was that about? It’s been good to have music as an anchor amongst the chaos. Anyway! It’s not as if I’ve been trying to avoid Brazil, but it is a bit eerie how it keeps finding its way into my life when it wasn’t part of the plan. São Paulo too, again!? Would be nice for that to result in a return trip to that city; while I love my hometown and its Irish Sea neighbour, I prefer not to be stuck in Poundland for an entire year and I’m getting itchy feet. I also got a very positive and totally unexpected lesson (that nothing really is personal) from another citizen of that country. Happy for all of that anyway. And the unpredictability of life.
Local heroes Gogo Penguin at The Pink Room in Yes were the live highlight of the year, while it’s also been gratifying to see Nilüfer Yanya, Georgia Ellery (Jockstrap), Wet Leg, Yaeji and Teneil Throssell (Haai) among many others continuing the erosion of what was once a very male dominated music industry, something also reflected in Piccadilly Records’ workforce and demographic. Long may that continue.
Loads of love to everyone! xxx
2022: We re-emerged from ‘you know what’. Life remains tough for many but, as ever, music is the answer — and the past 12 months didn’t disappoint, with so many excellent records hitting the racks week after week. Among my favourites were great releases from Michael Head and Jack White, and I was lucky to see both of them live, too. Watching Michael at Gorilla, down the front with our very own Andrew McQueen, was wonderful. Plus, squeezing in a trip to Paris to see Jack play at the Olympia, and getting to meet him backstage, was probably the highlight of my year. And yes, I gave him a Piccadilly Records enamel badge! Another travel highlight for me was going to LA for the first time, back in February, then popping to NYC on the way back. Record shopping at In Sheep’s Clothing and A-1 records respectively was dreamy. A trip to London for the launch of the Unloved record in the basement of Caia with David Holmes playing records was awesome, too.
It was great to see an old, modernist building full of musical history come alive again in the shape of New Century Hall, a Grade II listed 1960s beauty of a hall where I got to see Gabriels live — a gig that really was something else. There was barely a dry eye in the house. Here’s to 2023
As much as I would love to dedicate this and indeed all other word counts to writing about how much I love Suede’s new record Autofiction, apparently some other noteworthy things happened in 2022.
A list of the best gigs I’ve ever been to could probably be constructed from this year’s pickings alone, with Nine Inch Nails, Kurt Vile, Pixies, Lemonheads and Dinosaur Jr. all putting on mind-bending shows that have changed the way I think about performing music — something you will be able to witness next year when Humongous Fungus start playing live.
Talking of which, I have progressed a lot as a musician this year, as evidenced by the release of our best material yet in the form of July’s Sleeper EP on Bandcamp, of which I couldn’t be prouder. While recording everything on my own in nine days wasn’t a great time, any artist will recognise the huge vindication that comes with experiencing a finished project for the first time — some of those tunes are all-timers that I’ll keep with me for a long time. I can’t wait to keep developing the foundations we’ve laid down so far on our way to becoming the Best Band in the World.
2022 has been one of the more peculiar times of my short life so far, between a move to Manchester for University, starting my first couple of jobs (including this one) and the beginnings of my band squelch! Hopefully by the time this booklet comes out I’ll be trying to force our EP down everyone’s throat.
Musically this year peaked for me back in February, where I soaked up all the misery present throughout this year’s Black Country, New Road record before declaring Yeule’s Glitch Princess as one of my favourite albums ever on first listen. I then proceeded to give up on financial responsibility in favour of going to every gig that caught my eye. 60-something artists later and I’m happy to report that I’ve not a penny to my name and it was absolutely worth it. I also developed a weird yet passionate adoration towards off kilter Bandcamp emo that sounds awful to anyone with any common sense, and so I’ve let it populate the bottom half of my list.
Hopefully the year to come will be filled with more niche internet music to obsess over, (far) more gigs and more experiences I can’t write about for legal reasons.
Travelling down to Nottingham in May to see my number one band this year, Confidence Man, was definitely my music highlight of the year. Somehow convincing my mum to drive us down there and back on a random Tuesday night, when she hadn’t even heard their music. Consequently, she also became hooked due to their quirky stage energy, and never fails to have their CD on repeat in the car.
I circled back to Leeds festival this year and completely fell back in love with Little Simz and Joy Crookes, witnessing their incredible flair after their albums were essentials in my list last year.
A year of getting back on aeroplanes, I flew to Rome with my college and it was truly like a dream. We watched live jazz music and drank Sangria beside the Colosseum in the evening, and were pleasantly surprised with a street performer completing the atmosphere whilst we were eating some gorgeous pasta in a lovely little side-street restaurant. Music continued to connect me with my people this year, making me so very excited for what this next year holds as I move into it with amazing people surrounding me and some truly wonderful music to accompany it.
2022 was all about one thing for me — our new dog Sidney! A five month old pup from Manchester Dogs Home — brand of dog as yet un-determined but we suspect he might be a staffy crossed with a horse, such is the phenomenal rate of growth we’ve seen so far — his sheer lankiness is like no other bull-terrier I’ve ever seen. In the immortal words of ZZ Top, “he got legs, he knows how to use ‘em!”
The Danger Mouse & Black Thought LP is the best rap album I’ve heard since...well, DANGERDOOM back in 2005, another Danger Mouse collab, that time with MF DOOM. Although DM’s greatest collaborator was Penfold of course, with their endless triumphs over Baron Greenback in the mid 80’s. Loads of amazing reissues this year, but the big one for me was Ride’s 4EP’s — heard together as one set, those 16 early tracks make a phenomenal double album.
On the work front, I bagged some lovely new clients — thanks to the folks at The Royal Exchange Theatre, Jazz North, Welcome Edition, and Stockport’s coolest new venue, Bask, for the opportunities. Also, to long term clients such as Un-Convention, Contact Theatre and of course Piccadilly Records, for whom I’ve just designed this booklet for the 14th time — I hope you all like it!
Finally, happy birthday to my missus Sara who turns 50 on Christmas Day this year!
ON CLASSIC BLACK VINYL AT THE BARGAIN PRICE OF £11.99!
This year sees another superb selection of EOY favourites committed to vinyl for your budget priced listening pleasure. I remember TVAM playing at the launch of our end of year booklet way back in 2018, and thinking they were destined for great things, turns out that “great things” was kicking off our end of year compilation in 2022! (and writing one of the best albums we’ve heard all year too, obviously).
From the distorted kosmische groove of “Piz Buin”, we segue into the similarly machinated throb of “Ploys” by Working Men’s Club before things take a more relaxed turn with the off-kilter jangle of shop favourite Cate Le Bon from February’s Pompeii
I have to admit I hadn’t listened to that much Kokoroko when we were selling all their 12’s last year, but Could We Be More was where it really clicked for me, and I’d consider the brilliant “We Give Thanks” as the finest cut from the whole album. I’m pretty sure there isn’t a track from Luke Unabomber’s top-spot compilation I wouldn’t be happy to see here, but to have King Errisson’s “Space Queen” and Pye Corner Audio’s “The Warmth Of The Sun” closing out the A-Side seems like the perfect shot / chaser. We’ve got post-rock leaning arty indie from caroline in the intoxicatingly climactic “Dark Blue” before the beautifully melodic “Stevie” from Warpaint’s Radiate Like This moves us into more airy downbeat territories. Next up we’re pulled into even more psychedelic realms by Gwenno’s Superb “An Stevel Nowydh” before the masters of modern psychedelia The Orielles present one of the more jagged but most alluring cuts on their brilliant Tableau. King Hannah’s “All Being Fine” grooves away perfectly before handing over to the unbeatable Michael Head & The Red Elastic Band to bring us home with “Gino And Rico”. What a collection!
