Independent but stronger together.
What is “DINKED”
A group of like minded record shops, working together to promote the rich culture of record shops and the unique position they hold in their communities
We aim to secure exclusive editions of new releases alongside an excellently curated set of archival releases.
Truly unique, desirable & exciting releases.
Here are details of forthcoming Dinked releases. contact us on 029 20 224905 to order these ASAP as VERY limited!
DINKED EDITION 31
JEFFREY LEWIS & THE VOLTAGE
‘BAD WIRING’ (Moshi Moshi)
DINKED EDITION LP £22.99
• Exclusive Pale Blue vinyl
• Exclusive Die Cut cover
• Bonus 7” (2 additional tracks ONLY available on Dinked Vinyl)
• Artworked inner bag
• Sticker Sheet insert (note: these will also be in standard vinyl version)
• Numbered Edition of 550
• + Download
Jeffrey has received jaw-dropping praise from practically every major news and music outlet over the years, as well as awed testimonials from the likes of David (Silver Jews) Berman, Jarvis (Pulp) Cocker, Ben (Death Cab For Cutie) Gibbard, Will Oldham and others… and this new album “Bad Wiring” makes it completely clear why. In all of indie-rock there is no force like Jeffrey Lewis. Although mostly recognized for his lyrical skills (as well as his illustration/comic book skills), the secret weapon in Lewis’s arsenal has been his slow evolution from DIY folkie in the late 90s to barn-burning indie-rock live sensation. New band name The Voltage is a bit of a slight-of-hand, as the musicians are the same bassist, Mem Pahl, and same drummer, Brent Cole (also of the Moldy Peaches), that Jeffrey has been touring the world with for the past four years as “Jeffrey Lewis & Los Bolts.” But Jeffrey continues his tradition of using a new band name for each release… and as Jeffrey says, “everybody knows most good bands have a ‘v’ in their name… Velvets, Nirvana, Pavement, Vaselines, Violent Femmes, Camper Van Beethoven, Modern Lovers, etc!” Recent Jeffrey Lewis band names like “The Rain”, “Los Bolts” and “The Voltage” are also in reference to the fact that Jeffrey’s middle name is Lightning, the result of being born on the Lower East Side in the 1970s to hippie parents. It was almost his first name but got moved to the middle name when he was born!
The album was recorded and produced in Nashville by Roger Moutenot, the man responsible for producing all of the classic Yo La Tengo albums. Moutenot, who also worked on Lou Reed’s “Magic and Loss” album, and Sleater Kinney’s “Hot Rock” album was definitely the right man to capture these twelve new Lewis songs in the studio. As Lewis explains, “As an experience of working with a producer, it was a dream come true. I obviously worship a number of the records Roger had produced in the past, so I specifically sought him out. The fact that he’s in Nashville was just accidental, we would have traveled to record with him anywhere. Now when people hear we made our album in Nashville, everybody’s like, oh, I guess this is your country album…”
With the endlessly creative musical variety on display from Jeffrey Lewis & The Voltage, and Lewis’s writing as sharp as ever, “Bad Wiring” could be the greatest album of Jeffrey’s 18-year career. Having one solid band line up for a few years in a row has certainly helped. Keep an eye out for a couple other interesting Jeffrey Lewis projects to be released in 2019: Jeffrey’s new giant-size comic book issue (Fuff #12) and Jeffrey’s first book Revelations in the Wink of an Eye: My Insane Musings on Watchmen from Conspiracies to Stupidities. But mostly look for Jeffrey Lewis & The Voltage to be playing at a venue near you, on their UK pre album-release tour in September!
DINKED EDITION 30
‘Sweet Princess // Boundary Road Snacks and Drinks’ (It’s Ok)
‘Sweet Princess // Boundary Road Snacks and Drinks’ (It’s Ok)
DINKED EDITION LP: £14.99
· Heavy weight, transparent with black splatter vinyl
· “puffy” sticker set
· Signed by the band
· Download card
· Limited to 400 copies
Boundary Road Snacks and Drinks & Sweet Princess compile together Dry Cleaning’s first two EP releases on vinyl.
Firm friends for years, the band (Lewis Maynard, Tom Dowse, Florence Shaw & Nick Buxton) only started making music after a party in 2017 inspired a collaboration. They wrote instrumentally to begin with and six months later Shaw, a university lecturer and picture researcher by day, joined on vocals with no prior musical experience. They recorded their acclaimed debut “Sweet Princess” EP before playing their first show only last year.
Boundary Road Snacks and Drinks takes its name from the location and context of a shared genesis, and marks a significant chapter for the band as the last tracks to be written in their original rehearsal space.
The collection features the singles ‘Magic of Meghan’ and ’Sit Down Meal’.
DINKED EDITION 29
‘Fenella‘ (Fire Records)
DINKED EDITION LP: £23.99
● Limited Edition ‘Ink Spot’ Vinyl
● Individually Foil Numbered
● Limited to 500 copies
‘Fenella’ is the latest project from Jane Weaver – musical polymath and one of the most respected electronic composers of recent times – and her long-term bandmates Peter Philipson and Raz Ullah.
Having already released three critically-acclaimed LP’s within the last five years Weaver’s creativity continues to expand ever further into the (modern) kosmos with this reimagined soundtrack to Marcell Jankovics’ cult animation Fehérlófia.
Released in 1981, Fehérlófia is a remarkable animation based in ancient folklore with a narrative culled from mythical tales of the Scythans, Huns and Avars.
Weaver’s richly emotional and psychedelic music offers a perfect contemporary dialogue with Jankovics’ astonishing visual aesthetic.
A mixture of ambient textures, menacing drones and spine-tingling vocals combine to create a lavish soundscape saturated with hypnotic moods and cinematic atmosphere.
Fenella’s self-titled LP is a continuation of Fire Records re-imagined score series.
DINKED EDITION 28
‘Seeker‘ (Merge Records)
DINKED EDITION LP: £25.99
- Edition of 450
- Exclusive translucent green + black swirl vinyl LP
- Includes exclusive bonus 12″ with “Arsonist” b/w “Tsinosra” pressed on translucent red + yellow vinyl
On October 25, Mikal Cronin will release Seeker, his fourth and finest full-length to date. Recorded live with a crew of close friends and engineer Jason Quever at Palmetto Studios in Los Angeles, it finds Cronin pushing his often devastating power pop into darker territory—from the isolation of “Show Me” to the desperation of “Fire” to the unadorned heartache of “Sold.”
It comes with a backstory that feels like fate. Cronin writes:
I was stuck. I’d had a rough few years. Relationships end, begin, and end again. I had to stay active, tour with other bands, make music through various other avenues—writer’s block is real and it can crush you, scratching at an itch you can’t quite get. I needed to clean up, to stop leaning on external crutches to get through the anxiety. I needed to grow the fuck up.
I needed a change.
I went to the woods, to Idyllwild, a small town in the mountains of southern California. I spent a month in a cabin there, alone with my cat, Ernie. It was so quiet and peaceful. I got weird looks at the store. I got bug bites that didn’t heal for months. I walked around a small lake a few times. I wrote. I took literally something that’s usually a hypothetical, something every artist thinks about doing. It worked: A large majority of Seeker was written and demoed there.
But then I had to go, immediately. An arsonist had sparked a series of fires and the woods exploded. I saw the flames coming up the hill as I packed up all my instruments and recording equipment. Ernie hid under the bed and was the last to go. I got him in the car just as the police came up the street to help with evacuations. I ended up home in LA a few days early; a small blessing because I was losing my mind a bit.
Once I was back, I was ready to make something. I needed help. I found Jason [Quever] and his studio. I collected as many friends as I could and brought them in to record live with me. I needed the energy of a group of people in a room playing together—a simple concept but one that I had never tried with my own songs. Most of the record is backed by Ty Segall’s Freedom Band. I play bass in this band. We had been touring and playing together for a long run over a few years, so it seemed natural to stick together.
I aimed for nature. I wanted organic sounds. I wanted to bring you into the room. Jason and I talked about The Beatles’ White Album a lot when placing mics. I brought a charred pine cone from the woods to the studio, just in case it would help. Fire—specifically its cycle of purging and reseeding the landscape—is a central theme to the record. Death and rebirth.
I was looking for something: answers, direction, peace. I am the seeker.
DINKED EDITION 27
‘Memory Streams’ (Gondwana Records)
DINKED EDITION LP: £23.99
• Translucent blue vinyl LP
• Poster of album artwork designed by Duncan Bellamy
• Spot gloss cover
• Limited to 500 copies
“Portico Quartet stake claims to territory occupied by Radiohead, Cinematic Orchestra and Efterklang”. The Guardian ***** Portico Quartet return with Memory Streams, their fifth studio album and one that continues the journey that first started with 2008’s Mercury nominated debut Knee Deep in the North Sea. It’s a creative path that has seen the band embrace new technology and explore ambient and electronic influences alongside minimalism, jazz and beyond. It is a process that has encouraged change. Each album has seen the band expand its palate or explore new trajectories. From the gentle charm of their breakthrough’s inimitable mix of jazz, world and minimalist influences, to the tight-knit brilliance of Isla, the electronic infused eponymous Portico Quartet to 2016’s return Art in the Age of Automation (the band’s most electronic statement to date) they have never been a band to look backwards. Each record has been its own world, its own statement and offered its own meaning. It’s the mark of a band that has always both stood apart from any scene and been prepared to challenge its self and find new things to say and to push the limits of what they could do.
It is an approach that has encouraged the band to plough their own furrow. Drummer Duncan Bellamy notes that “For better or worse I think we have always been quite an isolated band. Perhaps that comes from never feeling like we really belonged to or fit in to a scene when we first started making music” While for saxophonist Jack Wyllie ” I feel more connected to other musicians these days and those relationships influence the sound we have in some way. But I wouldn’t say we feel a part of scene, it still feels quite out on its own, which is cool, because it helps the music feel unique”.?
The band’s new album, Memory Streams is part of the same continuum and yet, as the name hints, there is a sense here of a remembering, shards of past influences, hints of ideas re-forged. For Wyllie, Memory Streams “feels in some ways about the identity of the band, about the records we’ve made before, and the memory of them” whereas for Bellamy it suggests “a torrent of imagery, accessing and reliving archived memories, perhaps not even your own”.
Sonically, the album embraces the classic Portico Quartet sound pallet of drums, saxophone, bass and HangDrums, but nonetheless the sound has modulated, become more modern, whilst still channelling the beauty and mystery which has always marked the very best of Portico Quartet’s music. It’s the sound of a band at ease with its self who after a dozen years of recording and playing together are able to simultaneously explore and embrace their own identity.
Memory Streams also marks a return to a more predominantly band orientated sound than AITAOA and its partner release, the mini-album Untitled. Bellamy says “we wanted to create something that had texture, fibre and space to it. Something that felt vivid, real and alive”. During recording the band re-amped a lot of the sounds on the record, a process which lends a sense of depth and spaciousness to the sound. Wyllie adds, “We tried to reduce the pallet to what really identified the band and also as a way to help us write – it’s not easy if you have unlimited possibilities. But it was also was an interesting challenge as it was about writing something new, that felt like a development, whilst also drawing on the past”.
Memory Streams opens with With, Beside, Against which has an expansive, quietly unfolding quality that makes it the perfect album opener and was also one of the first tracks they wrote for the album. Signals is a creeping, mysterious track that captures the spirit of the record. It’s hypnotic, rolling quality builds throughout with shades of a classic Portico Quartet tune but with a ‘tougher’ edge. The outstanding Gradient is a more produced piece. Mixing lo-fi and beautifully recorded acoustic parts together it grows from a simple, repeated Hang-Drum motif, outwards into a searching hypnotic crescendo. Ways of Seeing is a synthesis of minimalism and more dancefloor-oriented rhythms. A lone pulse from the drum machine cuts through a haze of chiming, swirling Hang-Drums and pads built from shards of looped saxophone.
Memory Palace is a distant echo of the motif from Gradient, and is a bare, slow piano piece shrouded in a mist of saxophone noise. The punchy Offset is all about motion and tension and Bellamy’s drums pound in response. Dissident Gardens is an intricate, hypnotic track in 3 parts. Almost prog like in rhythm but has a strong minimalist element to it with Farfisa organs as the repetitive top lines. Double Helix begins with string swells, it stops and jolts as if someone is switching TV channels before locking into a deep groove. The beautifully sparse, emotional heft of Immediately Visible sits in a powerful lineage of Portico Quartet tracks such as Line, Rubidium and Beyond Dialogue. It was largely improvised in the studio and offers the perfect ending point for the album with its sense of journey and deep well of feeling. An album that locates their music in an age where we have unfettered access to a vast and ever expanding archive of imagery and ideas, Memory Streams both embraces and builds on Portico Quartet’s own unique music and legacy and locates their music firmly in the present.
DINKED EDITION 26
‘Tainted Lunch’ (The Leaf Label)
DINKED EDITION LP: £19.99
• Transparent pink vinyl LP (Ltd. to 400)
• Bonus glow in the dark vinyl 7” with two tracks exclusive to Dinked Edition
• Double sided poster
• Printed inner sleeve
• Individually hand-numbered
Heavy metals. Disco Peanuts. CCTV in the break room.
A little something to get you through the week. There’s enough to go around. Revenge is a dish best served bold. Melt in the mouth disco basslines on a fragrant bed of feedback. Try it with the boom bap tapenade. Here for a good time, not a long time.
If you made your way out of Whale City with your faculties intact, this one’s for you. Clams Baker, Lightnin’ Jack Everett, Mr Salt Fingers Lovecraft and The Witherer have been joined by Quicksand on cutting board and cheese wire and commis chef Cheeks on vibes. They’ve been cooking. Michelin stars. The finest ingredients money can buy: Kool Keith and Iggy Pop. Funk, punk, hip-hop and lounge rock. Love is real.
Band biographer and revered botanist Dr Alan Goldfarb describes the album as “a sample hole through which to taste another universe. A dramatic warning. A gilded aroma. It is a tale of wanton desire and limitless treachery. A tale of disillusionment – the refusal of exploitation.”
Tainted Lunch was recorded in just four days, with soupe du jour Dan Carey (Kate Tempest, black midi, Fontaines DC). Warmduscher continue to live on their razor-sharp wits. Or as Clams Baker puts it “there’s no way to stop now”. Delivering the goods you never knew you needed.
If you can’t stand the heat, get out of the kitchen.
Tainted Lunch will be released on CD, black vinyl, limited edition indies only red vinyl with poster, and as a pink vinyl Dinked Edition with poster and exclusive glow-in-the-dark 7” single with two unreleased tracks.
DINKED EDITION 25
‘LAHS’ (Mexican Summer)
DINKED EDITION LP: £19.99
• Exclusive opaque mint green vinyl
• ‘LAHS’ perforated 6 x postcard set
• Hand numbered LP
• Limited to 400
• Download card
“A ship in harbor is safe, but that’s not what ships are built for” the saying goes. But
suppose the proverbial harbor is Los Angeles — a place not particularly known for being
the origin of adventures. From the Spanish Conquistadors to the countless starry-eyed
nobodies hoping to make it big, LA is usually the destination.
So it’s no wonder the Allah Las became fascinated with both the carefree spirit and
glitter-in-the-gutter lifestyle of their hometown. After three records mining its lore and
lure (from the desert to the sea) they have become global ambassadors of not just a
place but a location.
Having taken their compact California on the road across the world (making stops in
North, Central, and South America, Europe, South Africa, Australia, Russia, East Asia
and beyond), they couldn’t help but peek through the other end of the telescope.
On their fourth LP, drummer Matt Correia, bassist Spencer Dunham, and guitarists
Miles Michaud and Pedrum Siadatian turn their collective gaze outward and toward
the horizon. Simply titled LAHS (a reference to a common misspelling of the band’s
name), their forthcoming release on Mexican Summer finds the band turning in their
most cohesive and ambitious work yet.
The Allah Las seem to be transmitting from a place not found on any map. Those
familiar with the band’s work will recognize their skillful melding of melodies and moods,
but through that lens we see them venturing into new, exciting territories. Indeed, their
growth not just as songwriters, but as performers, arrangers, and producers — is clearly
Correia croons in Portuguese on “Prazer Em Te Conhecer” (Nice to Meet You), which
evokes George Harrison while also sounding like a rare 45 from a Brazilian flea
market. The breezy sweetness of “Pleasure” could pass for a song by Spanish folk
darlings Picnic, were it not for the wistful wisdom in Dunham’s delivery. “Polar Onion”
takes us through the inevitable lows one encounters on a long journey, as Michaud
laments “drown in the sea, I fill my cup – but it’s not enough”- a caricature of the
lonesome cowboy seeking and occasionally glimpsing enlightenment.
One of the most notable evolutions from their previous work is a razor-sharp focus on
the groove. We hear the rhythms of Krautrock influencing songs like “Houston” and
“Electricity,” with steady and precise drumming that create complexity from repetition.
Whilst both “Roco Ono” and “Star” incorporate elements of disco and soul into Allah
Las universe, highlighting an airtight rhythm section unafraid to tap their toes.
Opener “Holding Pattern” conveys what the title suggests; you’ve almost arrived, you
can see the ground, but you’re not quite there yet. Airy, ethereal harmonies chant the
title, holding you in suspense- and eventually give way to an entirely different mood just
before the fade- as if telling the listener “we’ve landed safely.” The persistent shuffle of
“In The Air” drives the song forward, while Siadatian’s echo slapped voice bounces
along on top, describing “images that can’t compare to the real thing in the air.” Electric
guitar and mellotron trade licks, mirror each other's kinetic ascending and descending
lines and calling to mind the playful jubilance of Kevin Ayers in his prime.
“We’ve been traveling a lot the past couple years and I think that played a role in
influencing the broader variety of songs on this record” Correia explains. And this is
precisely what sets LAHS apart from its predecessors — a record inspired less by time,
but by place. “LAHS to me feels like a soundtrack to the past 5 years or so. A sort of
audio postcard to anyone who wants to listen.” This sentiment is echoed in the album’s
artwork — a collection of exotic postcards, postmarked from equally exotic locals
(designed by Matt Correia & Robbie Simon).
Tracking was done mostly by the band at their own studio in Los Angeles, allowing them
more time and space to experiment with tunes and tones. Producer/Engineer Jarvis
Taveniere (Woods) was brought in to help polish it off, resulting in a sound both crisp
and clear while keeping with the warmth and atmosphere the band are known for.
The Allah Las have left the harbor. The infectious wanderlust that fuels these thirteen
songs continues to propel the group forward across new frontiers, as they collect and
catalog all they find and return with plenty of inspiration in tow. With LAHS we not only
discover what souvenirs they’ve brought back for us; they’re inviting us aboard and
taking us along for the ride.
~Frank Maston, June 2019
DINKED EDITION 24
‘Fireraisers, Forever!’ (Tapete)
DINKED EDITION LP: £24.99
- Limited pressing of just 400 copies, worldwide
- LP + exclusive bonus 7” (exclusive tracks = ‘Chain Smokin’ – Vic Godard/Subway Sect cover / ‘Even This Could Be Beautiful’).
- LP & 7” both pressed on exclusive opaque blue coloured vinyl
- Printed inner sleeve
Here comes the beat of the broken street…’Fireraisers’ as in those with flames in veins – had enough of the never ending spiral of stupidity and hate and greed and religious/political hypocrisy– the inexorable rise of the moron mind and those sleepwalking in their lazy hives letting THEM do this to US… a modern rite to burn away all this to the ground and see what nice flowers rise up from the ground… we imagine an army of disenchanted, beaten down kids becoming modern anarchist magicians drawing dumb sgylls of dada retribution … ‘if we all spit together we can drown the bastards’.The last LP was a gentler, inner, melancholic hug at 2 am and perhaps we would’ve continued to go down a sweeter road but the state of the world has meant we were compelled to turn the fuzz up and make something more brutal and instant. In defiance to our last LP – now it’s late night sadness turns to the angry morning. First take beats ethics. Two weeks of late afternoon 45s listening parties with The Rationals/Nerves/Messthetics/Back From The Grave garage/Fading Yellow comps/The Jam/Dead Moon – whatever had the urge. Trying to figure out how Rufus Thomas would sound if he joined the Swell Maps … condensing it all mixing and absorbing then forgetting it all and propelling the psychic mix tape into an albums worth of angry pop drops and slow howls.Recorded in a living room in North London with James Hoare (The Proper Ornaments/Ultimate Painting) with the help of Joseph Harvey-Whyte (Hanging Stars) pedal steeliest. Then turned into the record it is by drummer/producer M.J. Taylor who also produced our LP ‘Realistes’ – the closest cousin to this one … songs about the evil greedy mirage of world religion, Victor Jara and those poets and teachers killed for believing in love and words, about the forgotten who are blamed for everything and can’t rise up from their knees to fight back, about the high street Kali-Yuga, occult terrorists with low IQ but high ESP, about the Godfrey Brothers, about Lou Reed’s mourning dog on a road trip trying to bury his masters mullet somewhere in the desert, about those stuck in the glory days of their past myopic of the present and all the other usual losers and romantics we always bang on about – with added melody and stomp … giving no real answers but pointing fingers and prodding you in the back … in defiance of just staying silent and letting the morons win.So Comet Gain is still alive longer than we should – still trying to be a collective and an idea emerging every now and then with the same grumpy erratic sounds – this one’s louder than the last one but sometimes maybe quieter. It’s made from an amazement that the hate mind is winning and we’re not doing anything about it – we’re still voting for these bozos and not burning the whole ugly facade to the ground. And it’s filled with love and rage. And its about 40 minutes long which is always a good thing.
DINKED EDITION 23
‘Stars Are The Light‘ (Sacred Bones)
DINKED EDITION LP: £23.99
- Limited exclusive edition of 500
- Yellow Dinked colour
- OBI strip with DINKED logo
- Print hand numbered
Stars Are the Light, the luminous seventh album by the American psych explorers Moon Duo, marks a progression into significantly new territory. From a preoccupation with the transcendental and occult that informed Ripley Johnson and Sanae Yamada’s guitar-driven psych rock, and reached its apotheosis in the acclaimed Occult Architecture diptych, Stars Are the Light sees the band synthesize the abstract and metaphysical with the embodied and terrestrial.
Branching out from Occult Architecture Vol. 2, the album has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. These are songs about embodied human experience — love, change, misunderstanding, internal struggle, joy, misery, alienation, discord, harmony, celebration — rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos.
Taking disco as its groove-oriented departure point, Stars Are the Light shimmers with elements of ’70s funk and ’90s rave. Johnson’s signature guitar sound is at its most languid and refined, while Yamada’s synths and oneiric vocals are foregrounded to create a spacious percussiveness that invites the body to move with its mesmeric rhythms. With Sonic Boom (Spacemen 3, Spectrum) at the mixing desk in Portugal’s Serra de Sintra, (known to the Romans as “The Mountains of the Moon”) the area’s lush landscape and powerful lunar energies exerted a strong influence on the vibe and sonic texture of the album.
On embracing disco as an inspiration, Yamada says, “It’s something we hadn’t referenced in our music before, but its core concepts really align with what we were circling around as we made the album. Disco is dance music, first and foremost, and we were digging our way into the idea of this endless dance of bodies in nature. We were also very inspired by the space and community of a disco – a space of free self-expression through dance, fashion, and mode of being; where everyone was welcome, diversity was celebrated, and identity could be fluid; where the life force that animates each of us differently could flower.”
DINKED EDITION 22
Tropical Fuck Storm
‘Braindrops’ (Joyful Noise Recordings)
DINKED EDITION LP: £23.99
- Limited exclusive edition of 500
- Highlighter Yellow & Electric Blue split-colour vinyl
- Includes bonus 7” featuring a Missy Elliott cover
- Includes download
Highly anticipated second album, 1.5 years after their critically acclaimed debut LP. Featuring members of the now-defunct band The Drones.
Recommend If You Like: King Gizzard and the Lizard Wizard, Nick Cave, The Slits, Protomartyr, The Drones, Gang of Four, IDLES.
“I’ve invented fake news as a genre of music,” Gareth Liddiard observes with a laugh. Heʼs talking about “Maria 63”, the closing track on Tropical Fuck Stormʼs sophomore LP ‘Braindrops’. The song takes aim at the once-marginalized alt-right conspiracy theories that now seem to be a driving force behind the rise of fascism in global politics. “It may be the most stupid song ever written,” Liddiard jokes. Heʼs wrong, “Maria 63” is emblematic of Tropical Fuck Stormʼs keen ability to mine the extreme edge of pop cultureʼs periphery for potent musical and conceptual spice.
Tropical Fuck Storm were formed around 2017 in the city of Melbourne, Victoria along Australiaʼs south-eastern coast. The band released their debut long-player A Laughing Death in Meatspace on Joyful Noise Recordings in 2018. Each of the bandʼs four members bring considerable experience to the group. Liddiard and Fiona Kitschin were part of the long-running and critically-acclaimed act The
Drones, while Erica Dunn and Lauren Hammel have performed in a variety of well-received projects. Perhaps itʼs that wealth of rock and roll experience that allows Tropical Fuck Storm to so expertly deconstruct and distort the genreʼs norms. “Everything we do, we try to do it in a weird way. The whole album is full of weird beats, and just weird shit everywhere,” Liddiard explains. He cites Doc at
the Radar Station-era Captain Beefheart as a key sonic touchstone, and Braindrops certainly shares the Captainʼs penchant for pounding abstract grooves. Tropical Fuck Storm have achieved a uniquely off-kilter sound on Braindrops
Liddiard partly credits this to the groupʼs use of unconventional equipment, “We use lots of techno gear to make rock and roll because rock and roll gear is boring, and all sounds like Led Zeppelin.” Liddiardʼs own description of Tropical Fuck Stormʼs sound is nearly as interesting and evocative as the music itself. He describes the LPʼs title track as “Fela Kuti in a car crash,” and talks of creating a sonic atmosphere that “sounds like chloroform smells” for “Maria 62”. A recurring theme on Braindrops concerns the various ways the human brain can be manipulated and controlled for exploitative gain. The bracing “The Planet of Straw Men” is a study of human behavior inside the
social media comments section, a place where otherwise reasonable people are seen gleefully engaging in psychotic chest-thumping rhetoric. Listening to Braindrops is a jarring and exhilarating experience, full of pulsating grooves, dissonant experimentation, and unsettling dystopian plot-lines.
Braindrops is an unrelenting work, from an unrelenting musical ensemble. “Tropical Fuck Storm is a full on thing,” Liddiard offers. “Everything we do, we do it to death.”
DINKED EDITION 21
HERE LIES MAN
‘No Ground To Walk Upon‘ (RidingEasy Records)
DINKED EDITION LP: £27.99
• Limited to 400 copies
• Exclusive colour pressing (opaque purple with yellow swirl)
• Custom Tote Bag with Band/Dinked/Label Logo On it
• Custom Here Lies Man Patch
• Signed 8 x 12 Band Photo
Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat?
Since that time, Here Lies Man has expanded and expounded upon their sound and ideas of heavy riff rock and psych within the ancient rhythmic formula of the clave. The L.A. based band comprised of Antibalas members have toured relentlessly over the past 2 years, while also releasing a second album, You Will Know Nothing and an EP, Animal Noises, both in 2018.
No Ground to Walk Upon is their third album, due in August 2019. It continues with an ongoing concept of HLM playing the soundtrack to an imaginary movie, with each song being a scene. The lead single “Clad in Silver” is the soundtrack snippet of a journey to the imaginary place called home, which can never be arrived at. With every step, the character imagines getting closer, but it is a hallucination that fades in and out of perception.
DINKED EDITION 20
‘Something Like A War‘ (Female Energy )
DINKED EDITION LP: £26.99
- Limited pressing of just 400 copies
- Exclusive yellow vinyl.
- Three exclusive, signed art prints.
- Individually hand numbered.
“Kindness returns with their third full length album titled “Something Like A War” set for release on 6 September, 2019. The album is a culmination of years spent collaborating with the likes of Robyn, Jazmine Sullivan, Seinabo Sey and Cosima among many others. Produced entirely by Bainbridge, the record is a collection of works representing a period of reflection and transformation over the course of 4 years following their second record “Otherness.” Now based in London, the album was recorded in several locations, while Kindness was primarily based in New York during the writing and recording of the album. Following a series of select shows in June, Kindness will embark on a world tour in late 2019 with a new live band.”
Kindness, who uses they/them pronouns, has remained busy since Otherness, working across several projects: they co-produced five tracks on Solange’s album A Seat at the Table, and contributed production, writing, and vocals to Blood Orange’s Freetown Sound and Negro Swan albums in addition to production on Robyn’s latest album Honey. A sought-after DJ, radio host, writer, collaborator, and lecturer on everything from musical craft and heritage to queerness and history, they’ve spent the last several years performing as a DJ at venues across the world, from Palais de Tokyo to the Guggenheim Museum, hosted their own radio show on Red Bull Radio in 2016 and 2017, lectured at the Boiler Room in New Delhi and moderated Robyn’s Red Bull Music Academy lecture at MOMA in New York. They were recently featured in Solange’s Calvin Klein advertisement, shot by Willy Vanderperre, alongside friends Dev Hynes, Kelela and Caroline Polachek.
DINKED EDITION 19
‘Animated Violence Mild’ (Sacred Bones)
DINKED EDITION LP: £29.99
- Exclusive numbered edition of 500 units only
- Exclusive “blood red” coloured vinyl
- Exclusive tote bag
- Exclusive Sticker
- Exclusive print
“In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep.
Animated Violence Mild was written throughout 2018, at Blanck Mass’ studio outside of Edinburgh.
These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief – the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it.
I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated — brought to life by humankind. Violent — insurmountable and wild beyond our control. Mild — delicious.
This is perhaps the most concise body of work I have written to date. Having worked extensively throughout my musical life with dramatics, narrative, and ‘melody against all odds’, these tracks are the most direct and honest yet. The level of articulation in these tracks surpasses anything I have utilized before.” -Benjamin John Power
DINKED EDITION 18
‘DUDU‘ (Captured Tracks)
DINKED EDITION LP: £17.99
- Exclusive 180g gold vinyl
- Exclusive Dinked Obi strip
- Hand numbered pressing of 300
New York’s B Boys (Andrew Kerr, Brendon Avalos, Britton Walker) find inspiration in the chaos that surrounds them: the aggressive attitude and sonic lawlessness of the city they live, work, and breathe in every day. Their raw, yet meticulous style is characterized by rhythmic complexity, commanding riffs, and introspective lyrics that are as playful and self-aware as they are cutting.
Across two acclaimed releases on Captured Tracks—2016’s No Worry No Mind EP and 2017’s debut full-length Dada—B Boys explore solitude and self-reflection through sharp, high-energy shouts and melodic mediations. Now, the sprightly sarcasm and acerbic commentary continues on the band’s highly anticipated sophomore LP, Dudu. Recorded by Gabe Wax (Deerhunter, Ought, Crumb) at Outlier Inn, and mixed by Andy Chugg (Pill, Pop. 1280, Bambara) to be released on July 26, 2019.
B Boys have toured the U.S. and Europe extensively, supporting acts such as Parquet Courts, Merchandise, Shame, Sunflower Bean, and Thee Oh Sees.
Influenced by The Clash, Wire, and Talking Heads, Dudu finds B Boys picking up where they left off, pondering quotidien grievances while examining the bigger picture. On tracks like “Cognitive Dissonance” and “Automation,” subtle tensions meet agonizing pressure that softly build, then explode. “I Want,” featuring Pill’s Veronica Torres, is a bright, feel-good critique of capitalism and greed.
There’s a lot of noise in the world, but what are we actually saying? On Dudu, B Boys take time to laugh, scream and chant their way through the absurdity of it all.
DINKED EDITION 17
‘Weather‘ (Mom + Pop x Ninja Tune)
DINKED EDITION LP: £18.99
- Limited to 350 Copies
- Worldwide exclusive pink coloured vinyl.
- Exclusive signed 12 x 12” print & hand-numbered inner print.
- + download
The highly anticipated release of Tycho’s ﬁfth studio album “Weather” is an exciting progression from his previous output, with most of the new tracks being vocal lead, while still retaining the signature Tycho sound. The sonic shift is enhanced by collaborations with two young exciting new voices, 23 year-old singer-songwriter rum.gold based in NYC and vocalist Saint Sinner who will be joining the live band following their time in the studio. The release will see Ninja Tune and Mom + Pop (Flume, FKJ, Courtney Barnett) partner up for this exciting new chapter in the artist’s career.
DINKED EDITION 16
“HiiDE” (DEATH WALTZ ORIGINALS)
DINKED EDITION LP: £24.99
• Numbered edition of 450
• 180g clear vinyl with white splatter
• exclusive Dinked Edition sleeve – Holographic card with white typography and debossed
• Exclusive Dinked sticker sheet
• Exclusive Dinked insert
• tracing paper obi strip
• download card
£24.99 Released Friday 5th July 2019 Death Waltz Originals presents BABii – HiiDE
Sound system). BABii produces incredibly forward thinking electro tinged pop/R&B which
features skittering beats and incredibly thick, layered synths with heavy bass with a semi
industrial feel to them. The lyrics are dark yet the vocals are sweet. Despite its incredible
pop hooks the whole LP drips with an undercurrent of darkness. BABii wowed SXSW this
year playing 8 shows in 7 days and being compared to everyone from Grimes to FKA
Twigs and while those comparisons give you a jumping off point they also feel lazy as
BABii definitely inhabits her own unique world and Death Waltz Originals are very excited
to give you your first dive into it.“What sets the BABii project apart – the album, the aesthetic, the sonics and
the GLOO community – is the uniform attention to detail; the pursuit for
perfection, even when the tools to achieve it aren’t automatically to hand.”
Loud & Quiet“we’re swept into BABii’s glitzy lair, where the beat is in our bones, the
perfectly pitched chimes have infested in our mind, and there’s no going
back.” The 405“it’s a sumptuously textured slice of electro-pop, with glimmers of pre-Art
Angels (pre-Elon) Grimes in its measured introductory notes and fairy-like
vocal” Line of Best Fit“These clandestine sessions yielded a thrilling thing: weaving urban
electronica and cool, wafting vocals that veer between sombre and sweet.”
Aesthetica Magazine“Startling, wholly unique electronic pop, her work drifts between art galleries
and clubs, shifting context while retaining that vivid voice.” Clash
“Synths dance around snapping, ultra-tight percussion and vocal chops,
generating the ultimate beautiful-meets-banger vibe” Nest
DINKED EDITION 15
“Stonechild” (Memphis Industries Ltd)
DINKED EDITION LP: £23.99
- Mirror board sleeve
- Signed 12 x 12 lyrical scrawl art print, by Jesca
- White and black 180g marble vinyl
- An exclusive flexidisc featuring non-album song “Waking Andreas”
A culmination of life and musical experience, uncompromising in its vision, STONECHILD, the new studio album from Jesca Hoop is a self-described “compassion project.”
Released on July 5th by Memphis Industries, STONECHILD is Hoop refined and defined. Beautiful, subtle and stark, her fifth album, the follow up to 2017’s highly acclaimed ‘Memories Are Now’, is her best yet.
Despite being a long-term resident of Manchester, Hoop, has until now, returned to her native California to record. This time round however, “it was” according to Hoop “time to step out of my comfort zone, my safe place”, venturing south to Bristol to team up with producer John Parish (PJ Harvey, Aldous Harding, This is the Kit). Parish’s minimal and purist approach helped clarify Hoop in her ideas and subtly yet effectively realigning her sound. The simplified arrangements draw focus to the fundamental sophistication of the songs.
While Hoop’s trademark finger-plucked guitar and ethereal textures remain, the songs and their presentation are ever more direct. Parish “was a gentle collaborator until he killed one of my darlings” Hoop jests. “I’ve never been so brutally edited, and I wasn’t shy about expressing my discomfort at the sight of my work on the cutting room floor. He said, you will forgive me, and in some way, I think I actually enjoyed that treatment…being stripped back to the bare basics…albeit painfully”. STONECHILD ventures further into fresh territory with other voices joining the narrative, with Kate Stables (aka This is the Kit) Rozi Plain and Lucius singing the choruses and expanding the sensual depth of the sonic bloom.
STONECHILD, Hoop says, is intended to “wrap its arms around our human planet spinning in its increasingly precarious wobble”. These rich and curious songs derived from themes of our troubled times speak Hoop’s heart and mind from her empathetic yet tough loving centre point. With writing so fluid, so natural the result is an album where everything is truly meant.
DINKED EDITION 10
“Oh My God” (Dead Oceans)
DINKED EDITION LP:£24.99
+ exclusive opaque red vinyl 2LP + download
+ bespoke art (different coloured lettering)
+ bonus CD
+ 12 x 12″ print
+ Limited to 500 copies
INDIES Limited Edition Blue LP : £19.99
CD : £9.99
This is Kevin’s opus – a 2LP concept album on spirituality and religion. Throughout his four solo albums and myriad records of various collaboration, Kevin Morby has recognized in his work the ubiquity of an apparent religious theme. Though not identifying as “religious” in the slightest, Morby—the globetrotting son of Kansas City who has made music while living on both coasts before recently returning to his Midwestern stomping grounds—recognizes in himself a somewhat spiritual being with a secular attitude towards the soulful. And so, in an effort to tackle that notion head-on and once-and-for-all, he sat down in his form of church—on planes and in beds—and wrote what would become his first true concept-album: the lavish, resplendent, career-best double LP Oh My God.
“This one feels full circle, my most realized record yet,” he says. “It’s a cohesive piece; all the songs fit under the umbrella of this weird religious theme. I was able to write and record the album I wanted to make. It’s one of those marks of a life: this is why I slept on floors for seven years. I’ve now gotten the keys to my own little kingdom, and I’m devoting so much of my life to music that I just want to keep it interesting. At the end of the day, the only thing I don’t want is to be bored. If someone wants to get in my face about writing a non-religious religious record?
Thank god. That’s all I gotta say.”
DINKED EDITION 09
W. H. Lung
“Incidental Music” (Melodic Recordings)
Dinked LP £25.99
+ 180g Double LP in Gatefold Jacket
+ Pressed on Bone coloured vinyl
+ Includes an exclusive 260gsm Art Print
+ Printed On The Rough Side of 350gsm Card
+ Limited to just 400 copies
+ Includes Download Code
+ Hand Signed and Numbered By The Band
STD 2LP: £22.99
H. Lung’s arrival at their debut album has been less conventional than most. A trait shared with the music they make, which weaves between shimmering synth pop and the infectious grooves of 70’s Berlin. The band never had any intention of playing live when forming, aiming instead to be a primarily studio-based project.
That approach was challenged when they released their debut 10” (Nothing Is) in 2017, which meant that they were quickly in demand. Booking requests started to flood in and W. H. Lung found themselves cutting their teeth on festival stages that summer. Though whilst some new bands may have let that interest change the course of the project, W. H. Lung stayed true
to their original reticence and worked mainly as a studio band with their formidable live shows kept sporadic.
W. H. Lung have allowed this album to naturally gestate over the course of two years . The result is a remarkably considered debut – the production is crisp and pristine but not over-polished, the synths and electronics radiate and hum with a golden aura and the vocals weave between tender delivery and forceful eruptions. There is a palpable energy to the songs, as experienced in 10 glorious minutes of opening statement ‘Simpatico People’.
“I think it’s important to erase the distinction between ‘high’ and ‘low’ culture,” states Joseph E. This colliding of worlds not only exists in the potent mix between whip-smart arrangements, lyrics and seamlessly danceable music but also in the fact that they are named after a cash and carry in Manchester. As Tom P. explains, “I thought it was funny juxtaposing those kind of austere associations with W. H. Auden and other initialed poets, writers, artists, etc. with the fact that it’s really just a Chinese supermarket.”
DINKED EDITION 08 – FLAMINGODS
‘Levitation’ (Moshi Moshi)
DINKED EDITION LP : £21.99
- Exclusive glitter gold vinyl
- exclusive Embossed sleeve
- signed & numbered 12 x 12 art print
- very limited 400 pressing
STD BLACK LP: £17.99
LTD YELLOW LP: £18.99
International psych explorers Flamingods are back with brand new album ‘Levitation’coming out on via Moshi Moshi Records.
Inspired largely by the disco, funk and psychedelic sounds coming out of the Middle East and South Asia in the 70s, the album channels these influences through a vision soaked in mysticism, positivity and sun-drenched imagery.
During the process of writing and recording ‘Levitation’, Flamingods for the first time in four years found themselves living in the same continent, it’s this new unified feel that defines the confident and eclectic sound of the album.
‘Levitation’ is the follow-up to Flamingods’ breakthrough 2016 album ‘Majesty’ and follows their ‘Kewali’ EP release for Moshi Moshi in 2017 and a one-off release with Dan Carey for his Speedy Wunderground singles club. During this time they’ve performed live sessions at 6Music (with Gilles Peterson & Lauren Laverne), KEXP, Boiler Room and have been travelling the globe spreading their exotic psychedelia to the masses and getting people dancing from Austin to Amsterdam.
DINKED EDITION 07 – ROZI PLAIN
‘What A Boost’ (Memphis Industries)
DINKED EDITION LP : £24.99
- glow in the dark vinyl with download (same colour as indies-only version)
- exclusive alternate glow in the dark screen-printed cover (artwork to follow once designed, as with You Tell Me release)
- very limited 300 pressing
STD BLACK LP (+ MP3): £16.99
INDIE EXCLUSIVE GLOW IN THE DARK LP (+ MP3): £17.99
Rozi Plain has been making music since her brother taught her a few chords on the guitar aged 13. Raised in Winchester, she spent a few years studying art and painting boats in Bristol, where she began collaborating with long-term friends Kate Stables (This Is The Kit) and Rachael Dadd among many others on a thriving local scene. It was there that Rozi made her first two albums, 2008’s Inside Over Here and 2012’s Joined Sometimes Unjoined, each works of deliciously sad and beautiful pop full of heart-wrenching harmonies dotted with unexpected instrumental flourishes. Released in April 2015 on Lost Map and featuring contributions from Hot Chip’s Alexis Taylor among others her last album Friend was a deeply meaningful and wonderfully measured ode to memory, place, companionship and music’s remarkable power as an emotional salve.
DINKED EDITION 06 – SNAPPED ANKLES
Stunning Luxury’ [The Leaf Label]
DINKED EDITION LP: £19.99
Exclusive gold vinyl + additional gold & foiled third outer sleeve, pink outer sleeve,
gold inner sleeve, hand-numbered + sticker + CD
BLACK LP (inc CD): £15.99
LTD INDIES neon pink vinyl LP (inc CD): £17.99
Snapped Ankles have taken on the guise of the very agents of their community’s demise – the property developers and brokers who heat the market on the promise of ‘Stunning Luxury’. With their adopted warehouse habitat under constant threat, the woodwose have taken this sharp-suited incarnation in order to infiltrate. The resistance starts here.
From humble forest beginnings via bohemian East London on debut album Come Play The Trees, Snapped Ankles are moving on. The log synths have been transformed into gaudy “To Let” and “For Sale” signs, which have become the new instrument of choice for the discerning woodwose. The sounds they eke out of the housing bubble are as frenzied and
unstable as you’d expect. Dystopian bangers. Illicit thrills. Stunning Luxury moves quickly through life in the capital: microdosing mindfulness in the morning, a poisoned nod to the marketing department, investment portfolios and death by same day delivery.
The primal rhythms and forest chants are all present and correct. On the surface it’s hedonistic business as usual – a communal dance for the ages. But there’s a sense of discomfort too. There’s subversion, but it’s not clear who’s subverting who. There’s a message, but it’s often fragmented. Keep dancing. Keep foraging. Perhaps the woodwose are
human after all…