Indie / Alternative

The fifth album from shoegaze giants Slowdive contains the duality of a familiar internal language mixed with the exaltation of new beginnings. everything is alive is transportive, searching and aglow, the work of a classic band continuing to pitch its unmistakable voice to the future. Six years after the group’s monumental self-titled album, everything is alive finds Slowdive—vocalists and guitarists Rachel Goswell and Neil Halstead, guitarist Christian Savill, bassist Nick Chaplin, and drummer Simon Scott—locating evermore contours of its immersive, elemental sound. The new record began with Halstead in the role of writer and producer, working on demos at home. Experimenting with modular synths, Halstead originally conceived of everything is alive as a “more minimal electronic record.” Slowdive’s collective decision-making ultimately drew the group back towards their signature reverb-drenched guitars, but that first concept seeped into the compositions. “As a band, when we’re all happy with it, that tends to be the stronger material,” Halstead says. “We’ve always come from slightly different directions, and the best bits are where we all meet in the middle.” The convergence of five unique characters has made the sound. “Slowdive is very much the sum of its parts,” Goswell adds. “Something unquantifiable happens when the five of us come together in a room.” The group’s projected studio sessions for everything is alive, in April 2020, were naturally scrapped, and when the group finally did meet up, six months later, at Courtyard Studio, where they’ve historically recorded, the mood was jubilant. (Finally, they had a proper reason to leave the house.) That was the beginning of a multi-year recording process, which moved from Oxfordshire and into the Wolds of Lincolnshire and back to Neil’s own Cornish studio before extending into February 2022, when the band brought in mixer Shawn Everett (The War On Drugs, SZA, Alvvays) to mix six of the record’s eight tracks. Owing to their deep history, there’s a palpable familial energy to Slowdive in 2023. everything is alive is dedicated to Goswell’s mother and Scott’s father, who both died in 2020. “There were some profound shifts for some of us personally,” Goswell says. Those crossroads are reflected in the many-layered emotional tenor of Slowdive’s music; everything is alive is heavy with experience, but each note is poised, wise, and necessarily pitched to hope. Its unique alchemy subtly embodies both sadness and gratitude, groundedness and uplift. Reflecting on “kisses,” which may be Slowdive’s surest pop moment yet, Halstead said, “It wouldn’t feel right to make a really dark record right now. The album is quite eclectic emotionally, but it does feel hopeful.” everything is alive, is exactly what the title suggests: an exploration into the shimmering nature of life and the universal touch points within it. Spanning psychedelic soundscapes, pulsating 80’s electronic elements and John Cale inspired journeys, the album lands immediately as something made for the future; which figures, as their fanbase has grown younger and younger as time has gone on, and their influence on forward thinking musical artists continues to prevail. For a genre that is often thought of as divisive, and often warrants introspection, here Slowdive show their craft as the masters of it by pushing it outwards, beyond the singular; the end result being a record which feels as emotional and cathartic as it is optimistic.

An exploration of misplaced desire and all-consuming romantic obsession, told through a series of beautifully constructed leftfield pop songs. La Porte, the second studio album by Charlotte Kouklia aka Charlène Darling, finds the artist and her group building a self-contained musical world via French and English language vocals, and a minimalist backing of guitar, organ, bass and drums.

At times recalling the feminist post-punk of The Raincoats, the avant songcraft of Brigitte Fontaine, or the psychedelic vignettes of Cate Le Bon, in truth Charlène Darling sounds like herself. The arrangements are playfully experimental, dubbed out percussion bubbling over the stripped back instrumentation, or rough tape edits disrupting lush harmonies, but never losing sight of the earworm hooks that make these songs so addictively listenable. Step through the door and walk right in.

Charlotte is one quarter of the band Rose Mercie. After a beguiling series of DIY tape and CD-R releases, her first widely distributed solo album, Saint-Guidon, was released in 2019.

boygenius is Julien Baker, Phoebe Bridgers, and Lucy Dacus
All songs written and performed by boygenius except "Ketchum, ID" by boygenius and Christian Lee Hutson
Bass on this recording by Anna Butterss
Drums on this recording by Elizabeth Goodfellow
Recorded at Sound City, Van Nuys, CA
Engineered by Joseph Lorge
Mixed by Collin Pastore except "Me & My Dog" mixed by Joseph Lorge
Mastered by Heba Kadry at Timeless Mastering
Photo by Lera Pentelute

Available on vinyl for the first time in over 15 years! The Runners Four is Deerhoof's double-LP concept album about friends banding together as honorable outlaws in a corrupt world, deciding what to save in an apocalypse, passing secret messages of warning and hope from a remade future back to a soon-to-be-destroyed present. Abundant with lyrical allusions to the flood, where cargo hold claustrophobia inside meets a watery chaos outside, it was written and self-produced by Satomi Matsuzaki, John Dieterich, Chris Cohen and Greg Saunier while they holed up in a rented Oakland rehearsal room for the winter months 2004-5. On pink and blue vinyl."a heavy football, a no-half-stepping opus, a defining statement…The Runners Four should occasion a moment to notice how a little band has gotten its scale and balance right: producing strong and inexpensive-sounding records in its own studio, making coverts through frequent touring, changing its sound every six months or so. It's not easy, especially without becoming part of any movement…" - The New York Times"Deerhoof…has succeeded at something that's very hard to do: It has made records and built a devoted international following on the sheer power of its imagination. And it's a mad, wild imagination..." - The Boston Globe"Deerhoof has forged yet another delightfully odd pop gem, multifaceted and sparkling with creativity." - Rolling Stone"Deerhoof…makes the difficult wonderful." - The New Yorker"At first, The Runners Four is close to incomprehensible. Songs stop as soon as a hook seems to form; rhythms shift and cut like they're running for their lives…but when the mystery lifts and the melodies finally stick—and they do—the album has the undeniable power of complete originality." - TIME

Their first album to chart in multiple countries around the world, Unknown Mortal Orchestra’s sophomore record II was released in 2013. Featuring the significant American hit ‘So Good At Being In Trouble’, it received plaudits for its funky, groove-laden blend of DIY indie-rock, classic Sixties pop and psychedelia. Tenth anniversary edition features an unreleased song from the same sessions (‘Two Generations Of Excess’), the era’s B-sides and the five acoustic tracks from the contemporaneously released ‘Blue Record’ EP.

Numero Group boxset providing chapter and verse on American slowcore pioneers Duster. Although short-lived, the trio dealt in uniquely spaced-out post-rock soundscapes over the course of two albums, one EP and a handful of singles and compilation contributions around the turn of the millennium.

...The three albums “Tentai”, “After” and “Tracks” are a sort of hop, skip and jump in the band's trajectory. “Tracks” can also be seen as their third great leap forward, after “Kukangendai 2” and “Palm”. The vocal part is completely gone, and each self-contained track is even more diverse, more abundantly imaginative. Some of them could even be described as "pop" or "danceable". They have clearly entered a new phase.

“Tracks” brings to the fore the undercurrent of Latin flavor (?) in their post-“After” work, and demonstrates the most varied rhythmic patterns ever. The change is undoubtedly led by the drums, but the band's mode change, from making "differences" to making "waves", also comes from the bass and guitar. I'm honestly surprised at their evolution, by how they've come to handle their groove, be it horizontal, vertical or diagonal.

I wouldn't say that it's a new sound for them, however. Tortoise, for instance, also went through similar style changes. But the progress of Kukangendai is based on different motives and mechanisms. One must be the change of musical tastes and preferences of its members. Another, more importantly, is their use of difference and repetition. The gap-making repetition has the potential to generate countless variations of sound effects, so that new music naturally arises from what they've done, not necessarily or primarily under the direct influence of other artists.

Some tracks in the new album may sound, say, somewhat Latin, and seem too foreign to Kukangendai's music thus far. But they don't mean to introduce such a sound in the album or to approach any preexisting genre. They're creating something on their own and it just happens to resemble another. And that's the same as what happened to their style in relation to minimal music, math rock, footwork and so on.

Kukangendai is a band of difference and repetition. They make (or listen to) a difference in repetition and make a new repetition in the difference; they repeat a repetition (with difference) and a difference (with repetition) to yield an unexpected sound and euphony. Difference and repetition is music. “Tracks” mirrors the vibrance, the robustness of the band at this moment in time, and it's the highest achievement possible for these peerless musicians.

― Atsushi Sasaki

This music helps me understand how I’m feeling, which is the secret, and there are others. Maybe a product of lyrics sung as if into my ear alone. Or, I hear what I want to hear, or can. That dear experience of understanding your words one way even when I know I’m wrong, like that first line in “Take Mine” which is stuck in my head as: “I wanted to tell you I follow girls like you all the time.” Something about this slip speaks to me, for me, and it’s a kind of magic to open sense up to possibility. These songs are full of similar moments that reach deep, disorient with their candor, and linger long, into lightness. Little truths hook and curl. Is there actually a place where I could fall behind with you? Where we can measure time by creeping vines? I’d like to. Because she did blow in on a cold wind, and how did you know? Precious images, misplaced memories, that this album has captured, nurtured, shared. - Natalia Panzer

Fresh from supporting Blur at Wembley, Sleaford Mods return with a EP of six new tracks. Emerging from the same environment that created the duo's Top 3 album UK GRIM, the songs of More UK GRIM share the incisive lyrical vision and forward-thinking electronics that won acclaim for the LP. Tracks including Under The Rules, Old Nottz and Big Pharma not only continue Mods' era of dancefloor dominance, but with insight and wit, outrage and compassion, they critique yet celebrate our turbulent times.

Weaving between self-built zithers, drones, clarinets, slide guitars and drum machines, ‘Sun Arcs’ presents a unique sound space formed by an inventive approach to acoustic folk and jazz. The starting point of ‘Sun Arcs’ saw Jason travel for a week alone to Andersabo, a cabin set in the Swedish woods just outside of Unnaryd, known also as the music project, festival and residency space which has been run by Dungan since 2016, hosting artists like Sofie Birch, Johan Carøe and Ellen Arkbro. Whilst writing 1-2 pieces per day, a conscious decision was made to leave behind everyday distractions and shut out the outside world to instead focus on the natural passage of time as Dungan recalls: “My only sense of time came from these daily walks out in the woods with my dog, and an awareness of the sun’s path as it moved across the sky each day.” The album’s immersive world unfolds with the opener ‘Dallas’, a musical synthesis of these two disparate spaces (Texas and Denmark), the touchstones of Dungan’s life. A folk-esque single acoustic builds to a flowing arrangement of clarinets, organ and cello drones coupled with percussion. ‘Green-Yellow Field’ chimes in as the first of two solo oriented zither recordings twinned with the dreamlike title track ‘Sun Arcs’, both densely rich as cascading and overlapping harmonic tones resound. ‘Bloom’ emerges with a krautrock psyche before an eruption of cello drones, slide guitar and free-ranging zither playing, ushering in the anticipation of spring. “The title and the feel of the song comes simply from my summers in Sweden – when the plants and insects are opening up everywhere, and there’s this almost too-intense feeling of life outside.” With half of the recordings conceived in Andersabo, Jason returned to Copenhagen to form the album's centre piece ‘Rain Cycle’ which features a tempered Roland drum machine alongside shifting zither improvisations. ‘Writing’ explores the shimmering harp-like qualities of sweeping playing figurations with Dungan mapping out adjusted tuning “zones” on the zither for unconventional but creatively liberating effects. ‘Fur’ captures the feeling of openness and the momentum of time, seeing Dungan perform waves of solo clarinet, often in one takes and embellished with textural drones, a zither solo, and layers of guitar. ‘Wavelength’ the album's closer is fondly inspired by the film works of Michael Snow and Don Cherry’s seminal live album ‘Blue Lake’ (1974), as it builds out from a drone-generated zither chord and features an alto recorder solo. Dungan found a deep connection to Cherry’s stripped back performance ethos, focusing on the core beauty of minimal instrumentation creating a genre-less meeting between folk and jazz. A dialogue is formed between the solo and the bandlike performances, interlinked in a geographical duality with all finding a sense of commonplace as musical sketches of visited landscapes. The bountiful instrumentation ebbs and flows as further layers emerge with Dungan constructing his material by recording and reviewing, adding and subtracting. Musically it portrays a life led by an American person living in Scandinavia, responding to both the local music and landscape while looking back to American influences. Dungan concludes: “Both places feel like “me”, I think on some level the music is always some kind of self-portrait.” ‘Sun Arcs’ depicts the intricate balance of nature’s cycles and the paths outlined by the seasons, from a winter dormancy to a warm sun drenched scene. The album scales new heights and further defines Dungan’s musical narrative, inhabiting a unique space in left-field, improvised and experimental music, bearing his most accomplished compositions to date. A singular and visionary expression, drawing on an array of instruments and sound worlds with a renewed sense of joy and discovery. The album's rich tapestry was mixed by Jeff Zeigler (Laraaji, Mary Lattimore, Kurt Vile / Steve Gunn) and mastered by Stephan Mathieu (Kali Malone, KMRU, Félicia Atkinson).

Say She She, the soulful female-led trio, stand rock solid on their discodelic duty with their boundary breaking sophomore album Silver. The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. Following the NYC siren song, the trio was pulled from their respective cities — Piya from London, Nya from DC, and Sabrina from NYC — to Manhattan’s downtown dance floors, through the Lower East Side floorboards, and up to the rooftops of Harlem, where their friendship was formed on one momentous, kismet eve. Silver was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian). Musical inspirations include Rotary Connection, Asha Puthli, Liquid Liquid, Grace Jones and Tom Tom Club. Ultimately, Silver oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. Say She She fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

Formed in 1991 by David Callahan (vocals, guitars, samplers), also known for his work with The Wolfhounds, and New York musician Margaret Fiedler (vocals, guitars, samplers), Moonshake, named after Can's work, has released its debut album, Eva Luna, in a deluxe edition remastered from analog 1/2" tape. Moonshake, a band formed in 1991 and named after Can's work, reissues their debut album "Eva Luna" as a deluxe edition on blue vinyl, remastered from analog 1/2" tape!

Duster is made up of two members, C. Amber and E. Parton, with occasional help from their friends on drums and recording duties. Stratosphere is mainly recorded at their home on four track. At times, they sound like Pavement and other times like Seely with higher pitched male vocals. Stratosphere demonstrates their guitar-based focus, riding on the flow of duel picking guitar melodies. With many guitars switching dynamic roles and riding on tunings, Duster sounds a bit like early Sonic Youth. Bass and drums act as the bottom, while guitars playfully find their melody by feeding off one another, throwing notes back and forth. The four-track recording element brings a wonderful space warmth or humidity to Stratosphere, which keeps you flying in the air or floating in space. A hard task with a four-track recording is the recording of the vocals. For atmospheric affect, it works. The voice provides texture to the plucking guitars, but no lyrics are understood. They act as instruments. Along with guitars and vocals, many great manipulations with tape noise as background effects exist on Stratosphere. "Echo Bravo" is definitely the highlight of the record. A long build of noise and whiny guitars rev up the track with a steady drum machine beat creating stress and tension. When is it going to give? Then, it finally busts. Distorted guitars in a heavy breakdown find their cues. Vocals appear 2:45 seconds in to deliver a depressing calming element in the lazy delivery. The record may be a bit long for some listeners, clocking in at 53 minutes. Stratosphere is best listened to at different times; tracks may be isolated or the record can be divided in parts. Duster are at their finest when they play with dynamics. Many tunes have a loud and a soft part, but they are never predictable. The transition is always interesting or takes you by surprise. ~ Francis Arres

Say She She, the soulful female-led trio, stand rock solid on their discodelic duty with their boundary breaking sophomore album Silver. The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. Following the NYC siren song, the trio was pulled from their respective cities — Piya from London, Nya from DC, and Sabrina from NYC — to Manhattan’s downtown dance floors, through the Lower East Side floorboards, and up to the rooftops of Harlem, where their friendship was formed on one momentous, kismet eve. Silver was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian). Musical inspirations include Rotary Connection, Asha Puthli, Liquid Liquid, Grace Jones and Tom Tom Club. Ultimately, Silver oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. Say She She fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

DIY pop master from Saitama, JAPAN. love psychedelic pop/anime/dreamy pop

“YIAN” (燕), means swallow in Chinese, and is part of “Siew Yian,” the name given to Chua by her parents to preserve her connection with her Chinese heritage. Just as the migratory songbird lives between places, so did Chua, the artist living in the in-between of the English, Malaysian and Chinese cultures that make up her heritage. In the absence of Mandarin as a mother tongue, music became a way to express the parts of herself that couldn’t be described in words; “YIAN” emerged as a way to heal.

A deeply introspective and fully realized vessel of creative expression (Chua self-produced and engineered eight of the ten tracks), “YIAN” emerges as less an album than a worldview, a commitment to learning and uncovering one’s own selfhood honed over Chua’s lifelong reconciliation with her own personal history and identity.

Hovering somewhere at the intersection of Nirvana and Neil Young, Rex exploded—or drifted, rather—onto the slowcore scene in the mid-1990s. Taking its cue from bands like Codeine, which drummer Doug Scharin was a part of, Rex managed to synthesize the dynamic eruptions of grunge, twinkling guitars of folk, and sprawling string arrangements of chamber pop on its seminal 1996 album, C. In recording C, Scharin, along with bandmates Curtis Harvey and Phil Sprito, created an untamable and uncategorizable beast. The album’s 11 tracks clock in at an hour and 7 minutes, most often winding from folk warbles to distortion-drenched power chords and back. End-to-end, listening to C feels like being granted access to one of the band’s most unfettered jams.

The Endless Coloured Ways is a collection of songs by legendary singer/songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences. From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic"Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music"Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically we were asking them to reinvent the song. First of all it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records

In the late 1980's, Kramer brought Daniel Johnston into his Noise New York recording studio and produced the LP that remains - to this day - his masterpiece; "1990". Prior to these recordings (his very first in a "professional" studio), Daniel was an underground/'outsider' artist with an extraordinary catalog of cassette-only releases, a small but infinitely loyal cult following, and a fast-widening range of established artists covering his songs and proclaiming him to be the best songwriter of his generation. They were right. "1990" (originally released on Shimmy-Disc) brought his rapturous songs to new ears. In American Indie Music, there was the world before "1990", and the world after. It was a watershed moment in the musical arts. There was nothing else like it. There still isn't. Daniel's place in history will be studied for centuries to come. He had many disciples, but no peers. His songcraft stands alone in the American songbook. Following the global success of "1990", Kramer travelled to West Virginia the following year and produced "ARTISTIC VICE", a very different LP of songs featuring a full band that Daniel had been performing concerts with while living at his parent's home. The recordings were made in their garage over the course of 3 days on a barely functional 8-track tape machine. The resulting LP was the perfect follow-up to "1990", and set Daniel on a path that would bring him a major label deal with Atlantic Records, and the attention he'd always deserved both as a songwriter and as a visual artist. It wasn't long before his drawings began to appear in art galleries, and eventually his work was featured at the renowned Whitney Biennial. The rest is history. Daniel left us on September 11, 2019. We will never see the likes of him again, but we can experience his music anew with "I KILLED THE MONSTER", available now for the very first time on Vinyl following its initial 2006 CD-only release. Kramer re-Mastered all 21 songs from the original CD, and hand-picked 11 of his favorite songs for this limited-edition Vinyl LP release. The Cassette and Download versions include all 21 songs. (Note: This is the first Cassette release from Shimmy-Disc since the 1990's. We love Cassettes. TAPE, is where it all began. We are thrilled to bring this archival format back to the Shimmy-Disc catalog. Nothing sounds as good as tape, and we have spared no expense in bringing the highest quality product to the avid Cassette collector.) This "Various Artists" compilation of songs by Daniel Johnston filters the Texas genius's snow-globe sad-pop confections through the mercurial lens of indie rock and anti-folk. Daniel's painfully honest lyrics and gently ecstatic melodies easily lend themselves to the interpretations of others, whether it's the genius collaborations of Danielson & Sufjan Stevens ("Worried Shoes") or Jad Fair & Kramer ("True Love Will Find You in the End"), the honest-to-goodness real-life realities of Kimya Dawson ("Follow That Dream") or Jeffrey Lewis ("Adventures of God As a Young Boy"), or the proto-psychedelic pop of R. Stevie Moore ("Cathy Kline") and home-grown Shimmy-Disc artist Lumberob, or Kramer himself with the definitive version of the song he considers Daniel's very best, "Bloody Rainbow". Produced by Kramer in 2005/2006, the LP closes with his daughter Tess singing Daniel's seminal tearjerker, "It's Over". Recorded when she was 13 years old, it's the perfect song to bring the curtain down on this indispensable LP.

Spurred on by emergent footage of a recent live performance, Efficient Space delves deeper into the world of Spanish shoegaze outfit Bélver Yin, now solely helmed by founding member Pedro L. Ortega. An intimate collection of new recordings, Para Mi Madre is a parting gift to his mother, fulfilling a promise made in her final days. Bélver Yin’s story begins at the turn of the ‘90s, blooming from a fixation with British ethereal alt-pop (Cocteau Twins, The Chameleons, The Cure et al.). Utilising guitar, bass and drum machine rhythms to record the cathartic 1991 debut Luz Bel, their quintessentially Mediterranean angle on slow, reverb and echo-laden atmospherics found a home on fleeting label Noisex Music. Despite radio play and concerts around Spain, lack of distribution led to the album being largely overlooked, until Efficient Space’s faithful reissue in 2020. With this newfound interest stoking Ortega’s fire, the wealth and strength of Para Mi Madre’s expressive impulses will woo fans and newcomers alike. Patiently moving from pastel hues, sepia-tones and balearic nostalgia, its crystallised instrumentals give a knowing nod to the wide-eyed possibilities of youthful summers as much as they do world-weary respite. Not wallowing in gloom, the deeply personal and spirit-stirring memorandum documents Ortega coming to terms with the loss of his greatest champion.

SIDE-A
01. That Was Illegal
02. You Still OK?
03. Like A Fable
04. You Have Time But I Don’t
05. Sad Errand
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SIDE-B
01. Star
02. Floating Weeds
03. Thickness of Love
04. One Day
05. The Whereabouts Of Romance

Written & Produced by Shintaro Sakamoto

Exclusive Mesh-Key release of Sakamoto's brilliant third solo album, with completely different art from the Japanese release. Comes with full-color inserts with lyric translations, and digital download cards.

After 20+ years with psych legends Yura Yura Teikoku, Shintaro Sakamoto’s third solo album is a bonafide masterpiece of warped steel guitar, ambient disco and AOR soul.

“Like a language of Sakamoto’s own…made with a ship-in-the-bottle-like focus.” Pitchfork (7.8)

“Love If Possible is the pay-attention-moment. Not enough know. More should know.” Under The Radar

“Perfectionist pop for the extraterrestrial bachelor pad.” Spin