{"title":"Dinked Editions","description":"\u003cp\u003e\u003cstrong\u003eDinked Editions.\u003c\/strong\u003e Limited and exclusive vinyl variants from the official Dinked series. Numbered editions, alternative artwork and special coloured vinyl pressings.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eLimited, exclusive vinyl pressings. Only available from the UK’s best indie shops.\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3 data-section-id=\"1qpar5x\" data-start=\"1588\" data-end=\"1611\"\u003eWant First Dibs?\u003c\/h3\u003e\n\u003cp data-start=\"1613\" data-end=\"1696\"\u003eSign up for our \u003cstrong data-start=\"1629\" data-end=\"1646\"\u003eDinked Alerts\u003c\/strong\u003e and never miss an exclusive. These sell out fast: \u003cstrong\u003e\u003ca href=\"https:\/\/southrecords.activehosted.com\/f\/1\" target=\"_blank\"\u003eSign Up\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e","products":[{"product_id":"kurt-vile-bottle-it-in","title":"Kurt Vile - Bottle It In","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cp\u003eTravel can inspire in surprising ways: Kurt Vile discovered as much making his first record in three years, the eclectic and electrifying Bottle It In, which he recorded at various studios around the country over two very busy years, during sessions that usually punctuated the ends of long tours or family road trips. \u003c\/p\u003e\n\u003cp\u003eEvery song, whether it’s a concise and catchy pop composition or a sprawling guitar epic, becomes a journey unto itself, taking unexpected detours, circuitous melodic avenues, or open-highway solos. If Vile has become something of a rock guitar god—a mantle he would dismiss out of humility but also out of a desire to keep getting better, to continue absorbing new music, new sounds, new ideas—it’s due to his precise, witty playing style, which turns every riff and rhythm into points on a map and takes the scenic route from one to the next.\u003c\/p\u003e\n\u003cp\u003eUsing past albums as points of departure, Bottle It In heads off in new directions, pushing at the edges of the map into unexplored territory: Here be monster jams. These songs show an artist who is still evolving and growing: a songwriter who, like his hero John Prine, can make you laugh and break your heart, often in the same line, as well as a vocalist who essentially rewrites those songs whenever he sings them in his wise, laconic jive-talkin’ drawl. He revels in the minutiae of the music— not simply incorporating new instruments but emphasizing how they interact with his guitar and voice, how the glockenspiel evokes cirrocumulus clouds on “Hysteria,” how Kim Gordon’s “acoustic guitar distortion” (her term) engulfs everything at the end of “Mutinies,” how the banjo curls around his guitar lines and backing vocals from Lucius to lend a high-lonesome aura to “Come Again.”\u003c\/p\u003e\n\u003cp\u003eThese journeys took Vile more than two years to navigate, during which time he toured behind his breakout 2015 album b’lieve I’m goin’ down, recorded a duets album with Australian singer-songwriter-guitarist Courtney Barnett, opened for Neil Young in front of 90,000 people in Quebec, famously became a clue on Jeopardy, hung out with friends, took vacations with his wife and daughters. “I’ve been bouncing around a lot and recording all over. My family would meet me in the middle of America, and we’d go on a road trip somewhere. 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As one half of Field Music, Peter Brewis has been honing the craft of pop songwriting for almost fifteen years, whilst Sarah Hayes has been exploring contemporary folk in her solo work, and the world of indie-pop via her band Admiral Fallow. 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It’s not hard to picture the narrator of these songs as a distinctly Murakamian character: He moves through time by himself, bemused by and insulated from a world he doesn’t quite seem to have been made for. Everyone Sagar encounters here — including himself — seems to be a step removed from present reality, whether by technology (“Anything At All”), solitude (“Just Like My”), or sweet fantasy (“Like Mariah”). The record is stitched together by a series of instrumental interludes, synthesizer explorations whose haziness adds to the suspicion that this is all an uncanny dream.\u003c\/p\u003e\n\u003cp\u003eWhich isn’t to say that Sagar is unmoored in his own world. In fact, much of Helium is the result of what he calls “a much clearer mental state” than the one he’d experienced shortly following Fresh Air’s completion. “I had a better idea of the sound that was working for this record and what it was turning into as I was writing the songs,” he says. 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And yet, until just two short years ago, McBean had lived his entire adolescence and adult life without a proper driver’s license, that first and most coveted ticket to personal independence. When he did finally take the wheel in 2017, he essentially became a 48-year-old Sixteen Year Old, blowing out the doors off the DMV like a pyrotechnics display at a W.A.S.P. gig. Black Mountain’s new album, \u003cem\u003eDestroyer\u003c\/em\u003e, named after the discontinued single-run 1985 Dodge Destroyer muscle car, is imbued with all that wild-ass freedom and newfound agency (and anxiety and fear) that comes with one's first time behind the wheel. McBean, welding mask pulled over his Alan Watts beard, has even been rebuilding a 1985 Destroyer in his step-dad’s garage all spring — building it from its frame, putting in weekends of work to have this beast ready for sunnier days. And wouldn’t you know it: when the \u003cem\u003eDestoye\u003c\/em\u003er's engine gives its deep snarl and the stereo rattles with Metallica's $5.98 EP, McBean is fully in the driver’s seat. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDestroyer\u003c\/em\u003e is structured around that first time behind the wheel of a hot rod. The fat, charging “Living After Midnight” riffs of opener “Future Shade” is, according to McBean, “Straight outta the gates. FM radio cranked.” He ain’t kidding. The song, and all of Destroyer for that matter, seems to exist at that crucial nexus of the early-to-mid 80s Los Angeles when a war between punk and hair metal was waged. Black Flag’s My War tried and failed to keep the peace. But in the trenches, some hybrid ghoul was beginning to form in bands like Jane’s Addiction and White Zombie. 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By day, ever the polymath, Le Bon painstakingly learnt to make solid wood tables, stools and chairs from scratch; by night she looked to a second-hand Meers — the first piano she had ever owned — for company, “windows closed to absolutely everyone”, and accidentally poured her heart out. The result is an album every bit as stylistically varied, surrealistically-inclined and tactile as those in the enduring outsider’s back catalogue, but one that is also intensely introspective and profound; her most personal to date. This sense of privacy maintained throughout is helped by the various landscapes within which Reward took shape: Stinson Beach, LA, and Brooklyn via Cardiff and The Lakes. Recording at Panoramic House [Stinson Beach, CA], a residential studio on a mountain overlooking the ocean, afforded Le Bon the ability to preserve the remoteness she had captured during the writing of Reward in Staveley, Lake District. 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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. \u003c\/p\u003e\n\u003cp\u003eAcross two acclaimed releases on Captured Tracks—2016’s \u003cem\u003eNo Worry No Mind\u003c\/em\u003e EP and 2017’s debut full-length \u003cem\u003eDada\u003c\/em\u003e—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, \u003cem\u003eDudu\u003c\/em\u003e. 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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. \u003c\/p\u003e\n\u003cp\u003eRecorded 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. 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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.\u003c\/p\u003e\n\u003cp\u003eSo it’s no wonder the \u003cstrong\u003eAllah Las \u003c\/strong\u003ebecame 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.\u003c\/p\u003e\n\u003cp\u003eHaving 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.\u003c\/p\u003e\n\u003cp\u003eOn their fourth LP, drummer \u003cstrong\u003eMatt Correia\u003c\/strong\u003e, bassist \u003cstrong\u003eSpencer Dunham\u003c\/strong\u003e, and guitarists \u003cstrong\u003eMiles Michaud\u003c\/strong\u003e and \u003cstrong\u003ePedrum Siadatian\u003c\/strong\u003e turn their collective gaze outward and toward the horizon. Simply titled \u003cstrong\u003e\u003cem\u003eLAHS\u003c\/em\u003e\u003c\/strong\u003e (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. \u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003eAllah Las\u003c\/strong\u003e 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 audible.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCorreia\u003c\/strong\u003e croons in Portuguese on “Prazer Em Te Conhecer” (Nice to Meet You), which evokes \u003cstrong\u003eGeorge Harrison\u003c\/strong\u003e while also sounding like a rare 45 from a Brazilian flea market. 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The Guardian *****\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003e 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. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt 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\".? \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe 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\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSonically, the album embraces the classic Portico Quartet sound pallet of drums, saxophone, bass and Hang- Drums, 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 2\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eMemory 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. 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