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Bombino Azel

Primal Scream Chaosmosis

Eagulls Ullages

Trentemøller Fixion

The Avalanches Wildflower

Moby Play

The Divine Comedy Foreverland

DIIV Is The Is Are

Radiohead A Moon Shaped Pool

Cavern Of Anti-Matter void beats/ invocation trex

Jack White Acoustic Recordings 1998 - 2016

Martha Wainwright Goodnight City

www.pias.com/uk

www.piccadillyrecords.com


INTRODUCTION This time last year I remember finishing my staff chart off, thinking that it would be one of the hardest decisions I’d have to make for a while. It’s a testament to the quality of releases we get in each week that it becomes harder and harder to pick our daily Piccadilly playlist without standing in front of the racks for at least eight headscratching minutes.

With that in mind, I think we’d all agree that although it’s been a fantastic year for music, it has equally been a sad year for musical (and not-so musical) legends. We’d like to take a moment to pay our respects to Bowie, Prince, Alan Vega and the rest of an all too long list of departed musicians who have kept us all happy through so many years.

‘When in doubt, pull Whyte Horses out’ is a phrase that I’ve never said or even heard but it would be an appropriate saying considering the group’s inevitable march to our number one spot. There aren’t many things we all agree on, so it’s almost a given that if every one of us likes something, it’ll be pretty high up the list. I defy anyone to criticise the warm, feel-good vibes of this jangly indie delight, and we hope you agree with our choice. With Cate Le Bon, Wild Nothing and Whitney joining them in the top 20, there’s still a lot of love for something that makes you smile, and that in itself makes me smile. Again. Like one massive cluster-smile.

Speaking of keeping us entertained for many years, I think you probably all know by now that Philippa recently left the shop after being part of the business for thirty or so years. Reading back over last year’s booklet it seems strange that I should now be writing about the departure of someone who left such kind words about my arrival but a year ago. Obviously things change, and we wish her the best of luck with her future plans - not that we don’t get to see her every now and then anyway!

It’s clearly not just me who’s been entranced by synths recently, with Pye Corner Audio and Cavern of Anti-Matter both brimming with oscillators, and featuring high up in our top albums. They may well beam in from different ends of the ZX Spectrum, but are just as mesmeric and hypnotic as each-other. Psych continues to speed along an upward trajectory with Thee Oh Sees and Goat both delivering stunning albums which have been well received by you and us in equal measure! Elsewhere there are swooning country ballads from Miranda Lee Richards, jazzy abstractions from Badbadnotgood and GoGo Penguin plus dreamy ambience from Wilson Tanner and Julianna Barwick. Then there’s David Bowie’s final outing, the prescient ‘Blackstar’. Just before you rush to turn pages and check out the charts here’s a quick shout out to all the distributors and record labels who advertised in the booklet, all the bands and artists that made our favourite records, and not forgetting the ever-patient Mark Brown who’s come up with another cracking booklet design yet again! Lastly, thanks to Republic Of Music Distribution who’ve made us another great CD sampler, including tracks from Hinds, Miranda Lee Richards, Jenny Hval, Gold Panda, Tim

I have seen a couple of new arrivals in my year and a bit of loyal and dedicated service (if I do say so myself). Both Millie and Mine are informed and passionate additions to the fold, and have managed to fit into our diverse and dysfunctional musical family perfectly, pulling out records and cheerily enthusing over their favourite sounds. Between our top 20 Compilations (a good starting point for any genre), Reissues/Collections, Soundtracks (new for this year!), and the aforementioned new album chart, you shouldn’t be left wanting for something new to listen to. Whatever else goes on in this crazy world, we’ll still have music and we’ll still have each other. As a great band once said; ‘Its gonna take a lot to take me away from you.’ Cheers everyone. Here’s to another great year! Barry. Burgess & Peter Gordon, Teenage Fanclub, Pure Joy, David Holmes, Psychic Ills and more, we hope you’ll agree it’s another corker! It’s FREE (while stocks last) with any LP / CD purchase from our Top 20 Albums, Top 20 Compilations, Top 10 Reissues / Collections or Top 10 Soundtracks charts. Darryl.


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PICCADILLY RECORDS ALBUM OF THE YEAR 2016

AS IF ALL OF DOM’S FAR-FLUNG EXCURSIONS AND EXCAVATIONS HAVE BEEN CORRALLED AND DISTILLED INTO SIMPLE, YEARNING, BEAUTIFULLY CRAFTED POP SONGS

Andy: We’ve all known Manchester music luminary Dom Thomas for his work with Andy Votel at Twisted Nerve and also his extraordinary home-made psychedelic compilations he‘d bring into the store. In both guises he excelled in the mysterious, exotic, and occasionally impenetrable. This was far-out stuff. Until now! Suddenly there is a pop group and they’re called Whyte Horses. Reconvening to a dilapidated cottage in rural Italy, with only an acoustic guitar, female buddy and some battered analogue recording gear, Dom set about creating what would become the psychedelic dream pop diamond we’re celebrating today. Friends came to visit: Manchester stalwarts Jez from Doves and the exceptional Jim Noir, but it was Belle And Sebastian’s Chris Geddes and The Go!Team’s Ian Parton who left the deepest impression.

PICCADILLY RECORDS EXCLUSIVE

For a limited period only, buy either the vinyl or CD of ‘Pop Or Not’ and get a free Dom Thomas mixtape, ‘I Remember Long Winters Too’ as a CD bonus disc. A stream of conciousness taking in northern soul, indie demonstration records and other music from around the world for the melancholic months ahead.

The former brought an impeccable indie-pop aesthetic (tasty flavours, occasional tweeness!) but this was propelled by the insatiable, cacophonous melodic joi de vivre which defined and lit up the early Go!Team sound. All this magic was totally below the radar until the arrival of ”Snowfalls” last year. A 7” smash, seemingly from nowhere; timeless and beautiful. Something was happening, but a year went by, until, mystery perfectly intact, here comes ‘Pop Or Not’, perfectly formed, in May 2016. It sounds as if all of Dom’s far-flung excursions and excavations have been corralled and distilled into simple, yearning, beautifully crafted pop songs. It combines everything we love in music: massive Mary Chain chord changes, prime-time Roses melodies, ebullient drumming and a 60s sense of love and possibility. When mixed with girl-group, easy-pop, library stylings and more than a sprinkling of enchanting psych fairy dust, you have a classic record which bounces from one really catchy song to another, all the way through. Perfect.


THE TOP 100 ALBUMS: ALBUM OF THE YEAR

Q&A WITH DOM THOMAS FROM WHYTE HORSES

Congratulations! How’s the album been received around the globe? To be recognised by Piccadilly is an accolade that matters to us, the record is a bi-product of Manchester and I wanted this album to represent the city. In all honesty I’d felt let down by the quality of music coming out of Manchester in recent years, there’s been nothing that’s excited me musically in the last ten years. We’ve always had to make our own sunshine up here because theres not much else other than football to get euphoric about. I think because we have that grey veil over us most of the time we set out to make a positive set of songs and that can appeal to anyone. The record seems to be gaining attention as much overseas as here, I think it’s a universal record because it’s all based on feelings and melody. When I hear a killer tune it doesn’t matter to me what language it’s sung in, if it touches you in some way it’s done its job. You’re known for your work as an excavator, curator and chronologist, but when did you first start writing songs? I’ve only started to finish songs in the last 5 years, it’s a relatively new career to me. I’ve had a lot of time to find out what matters to me musically. Having no formal musical training has helped me shape my sound because I do it instinctively, I’ve always been aware of the parts I like and what I’d like to change in a song, I suppose it’s the difference between what you like and what you love. My only training for songwriting was listening to music and cherrypicking the best bits of what I liked, I got bored in thinking ‘I could do better than this’ or ‘why does that chord not change there’, that sort of thing, so I had to get on with it and start making records. A song isn’t an exact science, sometimes they need a year or two spending on them, each one has its own rules. When I used to run a record label it was frustrating for me hearing bits of good music here and there but not throughout a whole album, so Pop or Not was the chance for me to try and make my perfect album. If I’m being honest the world of crate digging and rare record ownership bores me, there was a time I enjoyed finding obscure music but having to socialise with the type of

people that want to show off their record collections doesn’t turn me on in the slightest. Is the band just you, or are there other permanent members? Whyte Horses can be whatever it wants, it started off as a studio project, an idea. At the heart of it there’s me and my brother-in-law Ali and another good friend Owen who’s the drummer. We’ve been the core since inception, others will come into the fold for the next record. The live setup is made up of some of our friends who’ll be revealed at the next show. Who were your favourite artists, or major inspirations that informed this record? I’ve always been interested in artists that don’t have a defined sound. Os Mutantes can shapeshift endlessly but you still know it’s them, the Beatles were masters at that and to a degree so were the Roses. At this point in history what does a band do? We’re in an age where everything has been done and it’s become almost impossible to be original in any way. I read something about Grime being an innovative music form but to me it’s completely derivative, like everything now. We’ve been referred to as a vintage rock band or other similarly simplified tags, but it’s contemporary music that sounds outdated to me. I want to be able to take whatever sounds I like and make them into my own. I’d rather we had a timeless quality in our approach to making records. The influences for writing can come from everywhere and mostly they’re image based or feeling based, not from listening to other music. Pop or Not was originally based on a concept that began as a social commentary but then became more fantastical, I like to let the songs feed into one another. Where do you see Whyte Horses going in the future? Are there more albums planned? Theres another record written pretty much already, its got a loose concept again, I know how its going to pan out and I’m ready for it. There’s a one-off show in Manchester at The Dancehouse with a load of guests at the end of November and we’ve just roped in a school to record the whole Pop or Not album with a children’s choir which we’re going to release before the end of the year. I’d like to get more kids singing our songs, give the new generation some decent melodies to get into their heads.

This is an excerpt, the full Q&A with Dom is available on our website.


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Darryl: How is this possible?! Another year and another Thee Oh Sees album being proclaimed as their best yet. Thee Oh Sees albums have been near constants in the Piccadilly EOY Top 20’s since 2010’s game changing ‘Warm Slime’ LP, and now the massively prolific John Dwyer and co. incorporate for the first time the dual drumming rumble of Ryan Moutinho and Dan Rincon. Possibly their most diverse album to date, ‘A Weird Exits’ kicks off on familiar ground with ”Dead Man’s Gun”, an urgent and jerky rhythm section combining wonderfully before the nasal-hair-burning guitar lines and Dwyer’s vocal howls bring the house down. ”Ticklish Warrior” takes this one step further with the filthiest and thickest riffs ever heard riding a galloping groove — a face melting noise belter that’ll have the mosh pit in a frenzy. Then things start to turn a bit weirder — aided by agitated synth spooks and noises, a Can style shuffle sees the dual drumming coming to the fore on the instrumental ”Jammed Entrance”, before things get further strung out on the epic ”Plastic Plant”, with its gnarly vocals and soaring guitars firing molten sparks out of the kosmische stratosphere. ”Gelatinous Cube” returns to the guitar heavy sound, a Sabbath-esque ”Iron Man” style intro lurches into an urgent headrush of noise and spectacular clattering drums, before we get chance to breathe again with the meditative slow burner ”Unwrap The Fiend, Pt. 2”.

Photo © JPD

All of this leads to the album’s cornerstone, ”Crawl Out From The Fall Out” a downtempo spiritual jam that stretches out for almost eight minutes melding cello drones, loose limbed drums, drifting soundscapes and cool whispered vocals. Album closer ”The Axis” drifts along in a similar cosmic trance aided by an eerie organ sound before dissolving with a final piece of guitar shredding amp destruction. Their best album? Most definitely…. at least until the next one! 10 THINGS JOHN DWYER IS LIKING AT THE MOMENT 1. all things philip k dick..lots of new editions of his work ..all worth your time 2. jd emmanuel ..synth heaven 3. decline of western civ dvd box set finally (be sad for dude from wasp , laugh with lemmy) 4. ”high-rise” ben wheatley ..this man is the boss right now as far as im concerned 5. Apprentice Destroyer the bay area best kept secret band of slayers 6. Camping - julia davis ..a hero of mine 7. boris and arkady strugatsky..”roadside picnic” and ”the dead mountaineer’s inn” 8. it rained in Los Angeles this week, i have to mention this 9. Doom PS4 (reissue) except it crashed when i was on the final boss :( but otherwise , kill kill kill 10. Museo Nacional de Bellas Artes de La Habana.. got to go to cuba, and this museum has such an amazing inspiring collection and A/C holy shit


THE TOP 100 ALBUMS: TOP FIVE

Patrick: A great man once said, ”Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it.” Ferris was right, and this gorgeous collaboration from Australian dream team Andras Fox (Wilson) and Eleventeen Eston (Tanner) is a calming journey into the heart of the horizontal. Enjoying a southern hemisphere summer of good food and good weather in Tanner’s native Perth, the friends soon settled into the carefree jam sessions which gave birth to the ambient beauty of ‘69’. Setting up camp where the Swan River meets the Indian Ocean, Wilson and Tanner tuned into nature, translating the warm sun, sea air and blue sky into a true postcard from paradise. Lithe clarinet dances around tranquil piano, relaxed guitar decorates velveteen synth textures and unhurried percussion makes an occasional appearance, as if to remind us that time’s still passing. Employing an innovative alfresco recording technique, Andy and John invited members of the local animal community to join the party, saving a blue swimmer crab from the flames of the barbecue and encouraging him to claw the ivories whenever the feeling took him. Organic, considered but still sounding completely natural, ‘69’ is a true ambient masterpiece, alive with emotion, in touch with its feelings but never overwhelmed. The undeniable highpoint in the new age of New Age and a stunning addition to the already essential Growing Bin catalogue, ‘69’ truly is a gift to us all. Perfection sounds like this.

When Andy told me he was going to Perth to hang out with John and maybe jam a bit I was instantly excited. I was one of Andy’s biggest fans anyway and John’s Delta Horizons tape had been one of the most played albums in our household in 2014 and 2015. I told a friend in a Facebook chat that they are my Aussie dream team and when I finally heard the recording it sounded like a dream come true. I could easily hear the sun, good food, the beautiful sky and a whole lot of freedom in these songs. That relaxed happiness spiced with a tear of tristeza… what could be better? Mmmh, maybe a Growing Bin Release charting #3 at Piccadilly? Watch out for more music from these fantastic guys and Growing Bin next year! Basso, Growing Bin Records.


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Barry: A dystopian, pulsing suite of crackled after-dark melodies and industrious percussives. Bitcrushed arpeggios and tinny off-kilter crescendos form into an exponential multiplication of their understated solo roles. Tracks like ”Autonomization” perfectly display the mastery of building from scratch, piece by piece until a wall of formidable heft is built, layering cyclic synth patterns over a dusty kick drum, before being bolstered by a clicking clave and resonant something-0-something sweeping bass loop. This sort of direction has been hinted at in previous work (”Vorticism” on the Superstitious Century 12” was both its highlight and most prophetic composition) but here it is perfectly balanced, righteously confident and impeccably realised. ”Approach” is another ‘Classic’ PCA moment, but to his credit, completely different.

Both Stasis and Sleep Games (the previous LP on Ghost Box) found me exploring the concept of slumber. I’m fascinated by the way it can distort time, compressing or stretching it out. I tended to work on the music in the small hours, not always by choice. I sometimes seemed to be in a slightly altered frame of mind, and I think that seeped

Warbling synth trills are at once disarming and defining, adding a sense of urgency to the cosmic pads bubbling and swaying below. Move a little further on from the first half (I’m certain you will, as I have done at least a hundred times) and there seems to be less drama about proceedings, ”A Chance” is a soaring and transfixing synthetic bubblebath, cleansing and relaxing the muscles before the hypnotic throbbing bass of ”Electric Eye”. That’s what this is all about, tension and resolution, fight and flight. One seems pointless without the other; the light seems that much lighter when the dark is around the corner. Impeccably realised and eminently satisfying, this is dance music for a slowed-down shadowy future.

into the music somehow. I feel that I went further in that direction with this LP, also exploring ideas about forced altered states such as suspended animation and sensory deprivation. On a more pragmatic level, I expanded my studio setup somewhat during the recording of Stasis and I found myself exploring the new avenues that this opened up. Martin Jenkins, Pye Corner Audio.


THE TOP 100 ALBUMS: TOP FIVE

Darryl: After bursting onto the scene with the explosive and thrilling splendour of ”Light Up Gold” (a Piccadilly Records Album Of The Year back in 2013) Parquet Courts seemed to be on a mission to alienate with a succession of somewhat ”difficult” releases, the ‘Monastic Living’ EP in particular was a real head scratcher! But thankfully with ‘Human Performance’ the Brooklyn based four piece have rediscovered their smart pop edge. Kicking off with the upbeat and catchy ”Dust”, the band immediately plug in to their trademark ”Americana punk” showcasing an uber cool sound that brings to mind the perfect New York lineage of Sonic Youth, Television and The Velvet Underground.

I remember I was reading Ulysses when I wrote my bits for Human Performance. We did very little sleeping, but I read when I woke up and before I went to bed. Its very important, when in the throws of daily creative ritual, to have some sort of auxiliary practice in order to ground you, and keep things from becoming too abstract. Ulysses is full of very flawed, human-to-a-fault characters that reinforced certain concepts of the record for me. That book, like the album Human Performance, was there for me when I needed certain questions answered about the mistakes we make in life, and how we redeem ourselves from them. When we recorded Sunbathing Animal, I cooked for the band

Almost every track on ‘Human Performance’ screams ”Single” potential; we have the goofball pop of ”I Was Just Here”, ”Berlin Got Blurry” and afore mentioned ”Dust”; the slacker-rock (dare we say Pavement influences?) of ”Paraphased”, ”Outside” and ”Keep It Even”; the jaunty rumbles of ”Pathos Prairie” and ”Captive Of The Sun”; the mellow hazy-psych of ”Steady On Mind” and the uptempo but chilling ”Two Dead Cops”. The title track chronicling a relationship breakdown is a serious song of the year contender with its introspective verses and explosive shouted choruses; and then we have the album’s centrepiece, ”One Man No City”, a six minute plus drawn-out long-jam epic combining bongos and the jagged guitars of ”The Gift” period VU. Lastly, ”It’s Gonna Happen” is a perfect finale, a brooding refrain that leads out with the reflective ”…it’s gonna happen every time so rehearse with me in mind…” ‘Human Performance’ is Parquet Courts reaching a songwriting peak, refined and intelligent off-kilter Brooklyn art-rock.

a lot, made big meals when others were working on their parts, but this time around we mostly just made sandwiches and ordered delivery. Everybody had their own room in the studio and whenever we werent together writing, we were in our chambers working on things for the next song. I would work late into the night and then settle things down by cracking open the book and making some marginalia to look at the next morning. That was a year ago this month, and I look back on the book and the time writing the record very fondly, and will likely forever associate them with one another. Andrew Savage, Parquet Courts.


THE TOP 100 ALBUMS: TOP TWENTY

Ryan: Jack Tatem gifts us with yet another classic album, it seems this time round he’s focused on a more organic sound, putting aside the machine driven 80s sheen found on his last record ‘Nocturne’ and instead turning to Motown grooves and a more honest production ethos. There’s still that classic Wild Nothing sound though, plenty of dreamy hooks, treated guitars and shimmering synths. ”Reichpop” opens the album on a Steve Reich inspired kalimba, the guitar follows closely behind cradling us gently into that familiar sound and before we know it we’ve hit ”Japanese Alice”, a gorgeously warm driving pop gem. Probably the most instant on the LP in my opinion. ‘Life Of Pause’ plays around with some weirder song structures and because of this is less immediately welcoming as previous records, but just wait until you settle in. You’ll be finding new favourite songs with every listen.

Millie: As Cate Le Bon said herself, the album ‘Crab Day’ is a tribute to the absurdity of modern life. The mixture of jaunty guitars which travel on a continuous loop and outlandish and obscure lyrics are a perfect match. Le Bon’s vocals climb into several different pitches as her low profound vocals contrast with fluctuating high notes with a lovely prominent Welsh twang. The song ”Wonderful” has a jolting surge of energy, the guitars glitch into a whirlwind of experimental heights. The album is filled with the brilliance of nonsensical dada-esque song-writing, it doesn’t require an explanation; you just need to fully embrace the eccentric and unconventional ways. The originality of Le Bon’s magnificent metaphoric lyrics creates a striking and refreshingly different approach to music, nobody else can quite write a song like ”I’m a Dirty Attic” reaching the realms of the unusual yet still completely wonderful.

Andy: Miranda Richards is a San Franciscan musician who began by learning Mazzy Star songs on guitar. Moving to LA and hooking up with the Brian Jonestown Massacre is part of her early story, as are two records from 2001 and 2009, but all that was leading to this, her stone classic, third album masterpiece! If there was a folk/indie/country/baroque/psych/pop idiom then this album would be the latest in the line and right near the top! Think 10,000 Maniacs, Cowboy Junkies, or go one deeper and suddenly Richards has blossomed into a modern day Sandy Denny! Eight long, meditative, mesmerising tunes of doom, magic and beauty, this album floats in a softly psychedelic haze where lyrical riddles are never answered and macabre fairy tales weave an epic spell. Her voice is incredible: rich, pure and completely believable. And there’s not one weak song. This is a proper album, a musical journey. Step inside!


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Silvestre: Hypnotic, deep and mesmerizing. These three adjectives arguably define the form and function of minimal techno. This album is no dross as the genre has become. In contrast, Transport has been crafted by two well-seasoned techno maestros who bring their own influences to this masterpiece, a deeply satisfying convergence of Detroit and Berlin. Von Oswald, precursor of dub techno (Basic Channel, Chain Reaction, et al) and Atkins (widely credited as the originator of techno) join forces to demonstrate that the genre is not passé and can still surprise. Appropriate for both dancefloor and home listening. Those into dubby ambient and deep techno will not be disappointed as every track is standout material which should be added to any serious music collection.

Barry: You’ve heard Stereolab right? Well, this is Tim Gane of said band distilling the driven, head-nodding, hypnotic intensity of their greatest work into an instrumental synth powerhouse. Motorik beats and soaring arpeggios form together into a rocking but predominantly electronic cacophony of driving rhythm and ecstatic melody. The whole of ‘Void Beats / Invocation Trex’ is lucid as a whole, but entirely dissectible and enjoyable piece by piece. ”Insect Fear” is a cosmic and psychedelic trip through hammond-laced rock and Kosmische sequencing, perfect for vocals but even better without, leaving the push and pull of parts to form a sort of call/answer scenario, as one fades out the other comes roaring in. ”Pantechnicon” is as grand as it sounds, and could easily be a flying-car laden skyscrapered skyline, viewed from a sunny panorama. An unbelievable and irresistible vision quest.

Dave: Throughout his career David Bowie has died many deaths, only to rise again from the ashes of his former self, reincarnated and rejuvenated. On ‘Blackstar’ we find him at his most obtuse but still brilliant. After three lost decades it’s easily his best album since the heyday of the Thin White Duke. It really is remarkable that after so much time spent at the wheel he’s been able to produce something so vital and NECESSARY. It’s a record that’s gained poignancy since its release of course and as a fan, it can be a difficult listen. There are signposts throughout to suggest that he was, at the very least, aware that he might not be making many more records. He may be gone but, like Lazarus before him, has risen again and endures through his music, so, thanks for all the good times David, they will never rot.


THE TOP 100 ALBUMS: TOP TWENTY

Laura: Documenting trips to Kosovo, Afghanistan and Washington DC with photographer Seamus Murphy, this album is a protest album of sorts. A natural progression from ‘Let England Shake’, it looks at the aftermath of American political decisions, acts in the name of progress, both home and abroad and the often negative consequences. Dealing with war, death, displacement and poverty amongst other things, you know it’s never going to be easy listening. The songs are at times bleak but there’s empathy, defiance and conviction in Polly’s delivery that married to a swamp-blues soundtrack embellished with funereal keyboards, wailing sax and field recordings, makes for a powerful, intoxicating album. Seeing her perform live in the Summer completely sealed the deal for me. Her performance was completely captivating and emphasised the power of the album and also what an exceptional musical force Polly Harvey is.

Millie: Julianna Barwick’s third album is filled with ghostly, breath-taking compositions pieced together with delicate vocals. The haunting and fixating notions are developed from the ominous looping chords which are most prominent in the song Nebula. Harrowing and captivating Barwick’s vocals are truly angelic. Many songs feature heavy and sharp synth-lines that blossom into a shadowy spiral of fragile reverb and eerie hymn-like echoes. The opening song ”St. Apolonia” has an incredibly calming presence and at times transcends into moments of inaudible whispering (inaudible meant of course in the most beautiful sense). It’s almost as if the songs are so emotive that words are unnecessary and Julianna Barwick’s voice blends in with the magnificent soaring instrumental segments. ‘Will’ is a precious find and is full of conviction; an album to be cherished as one of the most sensitive and tender releases of the year.

Matt: Bringing jazz’s traditional formula kicking and screaming into our time & space are MCR trio GoGo Penguin: a group that’ll appeal to millennials, jazz vets and broad-minded young folk alike. Freely accepting (and utilizing) the influence of contemporary technology, before revisiting ideas as an acoustic, piano-led ‘band’; ‘Man Made Object’ sees the melancholic, contemplative and sublime moods of the jazz cannon thoroughly explored with sophistication and musicality throughout. Much of the album references the forward thinking emotion of early Boards Of Canada, or the electro-acoustic free jazz of Kieran Hebden; but through detailed, clean recording, deft, sympathetic production and ultra-tight arrangements it feels and sounds like we’re live, in front of a proper band, in their very element of proficiency. Seeing musicians this ‘in the pocket’ and symbiotically, rhythmically connected is rare, and breath-taking to say the least.


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Andy: Whitney are a seven piece, Chicago based band, formed around the duo of Max Kakacek (of the Smith Westerns) on guitar, and singing drummer Julien Ehrlich (from Unknown Mortal Orchestra.) ”No Woman” was a stunning introduction. What followed was this perfect LP of impeccably crafted tunes, interlocking guitars, honeyed horns and swinging bass. Whitney invoke the pastoral, easy vibes of the West Coast, singer/songwriter, Laurel Canyon era. Neil Young, but also Creedence and even The Band spring to mind. This is married to the sweetest, Southern soul grooves; strings and brass to the fore: pure feel, pure melody. There’s a meandering, jam-band, live in a room ethos, somehow expertly edited into 10 perfectly formed, pop song nuggets. If I neglected to mention that ‘Light Upon The Lake’ is a break-up record, that’s because whilst it is lyrically soul-baring it is never navel-gazing, the sadness over-ridden by the celebration. Brilliant.

Dave: BadBadNotGood follow up last year’s shop favourite and breakthrough record ‘Sour Soul’ with their new album, ‘IV’. After meeting at music school in Canada, BBNG caught the attention of Odd Future supremo Tyler The Creator after uploading a video of their interpretation of the Odd Future back catalogue to YouTube. Described by their tutors as being of ‘no musical value’ it opened the floodgates for them after going viral and they’re now the Hip Hop band of choice, backing Frank Ocean at Coachella amongst others. On IV, BBNG soundtrack a late night in a seedy, New York City, basement bar. In one corner, Don Draper schmoozes a client, while across the room a collection of NYC’s finest nod their heads knowingly as Future Islands front man Sam Herring, contemplating the black hole of his existence through the bottom of a whiskey glass sings the album’s stand out song ‘Time Moves Slow’.

Martin: Preoccupations is an apt moniker for a project born of anxiety. That this Calgary outfit (ex-Viet Cong) draw their inspiration from a brooding, fearful era — an authoritarian government and very real nuclear threat cast an anguished shadow over early 80s post punk (in this case early Psychedelic Furs, Cure, Joy Division, Bauhaus) — is entirely consistent too. There is a spark in the void, however. Matt Flegel’s lyrics might read like an ideal therapy case study, betraying a sense of isolation and insecurity in the face of the universe, but where this offering differs from Viet Cong’s is in its broader palate and brighter delivery. Not exactly pop mind, but there is — albeit tense, knotted and urgent — a brilliant melodicism to ‘Preoccupations’. This finds its most perfect expression in ‘Memory’, a two part, twelve minute merging of Swans sunset with Joy Division sunrise that would grace even the latter’s output.


THE TOP 100 ALBUMS: TOP TWENTY

Laura: Wild Billy Childish, under various guises, has been ploughing his own very individual furrow through rock’n’roll for forty years. ”SQ1” is prime Childish: a raw, stripped back hybrid of classic garage rock and punk. It is, if you like, a musical autobiography of sorts, in that songs like ”A Glimpse Of Another Time”, ”CTMF” and ”SQ1” sum up the whole history and ethos of Billy’s music. He happily proclaims that they’ve stayed at ‘square one’, and why not? Sometimes a handful of chords and pummelling drums is all you need! It’s earned him plenty of ‘celebrity fans’ along the way as documented in his own inimitable fashion on ”A Song For Kylie Minogue”, and who can argue with the line ”The reason we didn’t sound like The Smiths, is because we wanted to sound like this”. If anything sums up Wild Billy Childish, it’s that statement!

Patrick: In the words of hapless Sky Sports pundit Chris Kamara — ‘unbelievable Jeff’. Somehow, The Avalanches pulled off the unprecedented achievement of following up a classic debut album with something even better! The fact that it took them sixteen years surely only makes it more remarkable. As it leads us from the crowded streets of the big city to the pastoral calm of the countryside, ‘Wildflower’ emerges as a dreamy collage of all the warmest bits of pop music, with the day-glo silliness of ‘Since I Left You’ still alive and well. Where their debut was defined by an unprecedented quantity of samples, ‘Wildflower’ sees Robbie Chater and Tony Diblasi enlist a close knit group of collaborators and vocalists to lend their sampledelic symphony a greater sense of togetherness and community, revealing the heart and soul beneath the psychedelic haze. It’s a wonderful thing, in the truest sense of the word.

Mine: Psychedelic world music collective Goat are a favourite among Piccadilly staff and customers alike so it comes as no surprise that their new album has made it into our end of year chart. What is surprising though is to hear the word accessible in connection with the band but Goat’s third long player ‘Requiem’ is certainly their lightest and most approachable to date. The afro beats that dominated ‘World Music’ and the acid rock elements featured on ‘Commune’ make way for 60s inspired, pan flute accompanied catchy folk songs. Unlike its predecessors, ‘Requiem’ sounds unhurried and cheerful and has a laid-back feel to it. It is a complex but dynamic outing that sees the band heading into a new direction without losing their unique sound of otherworldly tribal grooves and voodoo sing-alongs. As Goat themselves say, ”all music is world music and all other genres are old fashioned”.


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THE TOP 100 ALBUMS: TOP FIFTY

 Laura: Given events in his personal life prior its release, it’s understandable that this album is a sombre affair. Although accompanied by a film, it is an album in its own right, rather than a soundtrack. Having said that, the orchestration which forms the backdrop to Nick’s rich, half spoken – half sung narratives, has a similar cinematic feel to the haunting, atmospheric film scores that Nick and Bad Seed Warren Ellis excel at. No one does darkness better than Mr Cave.

Barry: This is a swooning, cosmic psych delight. Swaying bass and distant guitars meld together beautifully into a cauldron of reverb and delay. Reminiscent of early Floyd freak-outs and modern psychedelic indie bastions, swooning melodies and slide guitar abound. Acid-soaked summer sounds.

Laura: Working with veteran composer and musician Peter Gordon, Tim Burgess explores more experimental and avant soundscapes than in his Charlatans / solo guise. His softly sung vocals float over pulsing beats while keyboards bubble and whoosh, saxophones wail and trombone, congas and guitars drift in and out of the mix.

Andy: These songs build and build, swept into shape by Johnny Greenwood’s London Contemporary Orchestra strings, peppered with psych-folk and even dub reggae vibes. It’s heavy, (let’s face it) depressive, but eminently listenable. One for diehards, but crucially, the casual listeners too. One of the last bands standing that truly matter to their people. They just don’t disappoint!

Andy: We all loved Cass’s ‘Dropping The Writ’ album from ages ago, but I must admit my interest had dwindled somewhat. Until now! This is an absolutely stunning record full of gorgeous melodies, floaty vibes and even a mild sense of the funk flitting throughout. An amazing album!


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Patrick: I quite liked Ray’s Stephen Stills inspired debut, before distancing myself entirely when my mum told me she’d heard it on Radio 2. Ten years of cool indifference later and my girlfriend plays me ”In My Own Way”. Suddenly I’m right back in Camp Lamontagne, strung out to an LP of dreamy, drifting acoustic gems in the spirit of early Floyd.

Barry: ‘The Bride’ is an emotional rollercoaster of an album. Wistful and whispering in places, and elsewhere filled with tumultuous joy. The dismay of loss is felt as equally as the joy of the negation of said loss. This is a journey not to be undertaken lightly, its many themes and faultless execution is wholly typical of Bat For Lashes but taken to the Nth degree. Exciting and rousing and very visceral, but much like life, filled with unease and doubt.

Barry: Pritchard delivers a dazzling new album for Warp Records. Featuring serene electronic trills and sweeping ambience, mixed with acoustic guitar pieces and the vocal talents of a perfect selection of guest artists, this is a varied and engrossing selection of electro-acoustic masterstrokes.

Barry: Perfectly sculpted Americana-tinged acoustic guitars are bolstered but never overpowered by frenetic violin slashes, while molasses-slow drums perfectly compliment the unhurried and confident instrumentation. Walker and band have got a lot of bettering to do if they’ll ever top this, but going on previous form, I’m sure they will. An absorbing and rewarding listen.

Andy: I was a massive ”johnny-come-lately” with this guy, whilst my shop customerfriends had been extolling his virtues for years. Well, they were right! This is proper, deep, cavernously produced Americana with a subtle psych twist, and again, just huge, huge songs throughout. There’s a lot on here and it is all good.


THE TOP 100 ALBUMS: TOP FIFTY

Barry: I think the first thing that hits you about this is Dacus’ voice, it is both enchanting and direct, filled with emotion but almost disarmingly monochromatic, saturated with feeling but structurally unyielding. Place this on top of the headnoddingly groovy bluesy distorted guitars, and galloping drum licks, and you have an end-of year contender. I couldn’t imagine anyone who likes any sort of rock/indie/ country not enjoying this.

Dave: Bit of a slow burner this one, it’s worked its magic on staff and customers alike and now barely a day goes by without it being on the shop CD player. Tyler, who also plays with Silver Jews and Lambchop is a guitarist who loops his tracks to create a multi textured sound that takes you on a gentle stroll through the Tennessee hills.

Patrick: After whetting our appetites with the Aperol Spritz of his recent ”Tabarin” 12” on Highwood, Phil Mison returns with the first Cantoma LP in six years, a gorgeous collection of summery moods and sultry grooves called ‘Just Landed’. Guitar in hand, the Café Del Mar legend leads us through shimmering heat haze to a distant horizon where azure waves meet an endless blue sky.

Millie: Bon Iver takes a new approach for his latest album, taking influences from heavy electronic sounds and a long list of collaborators. Stylistically different, it’s best to have no preconceptions and listen with fresh ears as it’s a marvel of an album with a diverse sound. Just brilliant!

Millie: ‘Citizen of Glass’ is a breathtakingly delicate album. It features the most beautiful percussion and enchantingly fragile and graceful vocals, reaching heights of soft billowing harmonies that are so easy to fall in love with. The song ”Familiar” is a heartfelt orchestrated treasure.


MON E Y

M . WA R D

Suicide Songs

More Rain

“a glorious cry from the heart that delivers real emotional wallop”

“swinging and sweetly affecting... all unabashed romanticism and guileless honesty”

GUARDIAN

UNCUT

EXPLOSIONS IN THE SKY

PAVO PAVO

The Wilderness

Young Narrator In The Breakers

“atmospheric and beautiful... prettier than anything they’ve done before”

“like Brian Wilson running amok with the BBC Radiophonic Workshop”

Q

GUARDIAN


THE TOP 100 ALBUMS: TOP FIFTY

Mine: Ulrika Spacek’s debut album is an addictive roller coaster of blissful psychedelia, hypnotic melancholy and raucous, repetitive kraut rock. Heavy and droning in some places, dreamy and pensive in others, its atmospheric soundscape makes it an album to get lost in.

Sara: Conceived over copious amounts of wine and influenced by watching the Monkees ‘Head’, this was never going to be run of the mill. A psychedelic journey through the minds of Les Claypool and Sean Lennon, it’s a surreal listen with moments of trippy, Beatles-esque joy, concealing some dark lyrical themes.

Patrick: Inspired by birds of paradise and their tropical habitat, Leon Vynehall crafts pitch shifting drums and exotic textures into a propulsive and percussive set of system rinsing house music. Take your position in the heart of the dance floor and let the music move you.

Darryl: Returning with her first new material in seven years and enlisting the help of Colm Ó Cíosóig, Hope Sandoval keeps her legions of fans happy with a reassuringly warm collection of deep melancholy and beautifully lush vibes.

Andy: A very good record that’s hard to pin down, as it mixes lots of styles from krautrock grooves, dream-pop floatiness, psych and library sounds, blending the electronic with the organic in such a clever way. Stereolab fans will love this.


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Darryl: Hailing from Dunedin, New Zealand Kane Strang delivers his amazing debut album proper. ‘Blue Cheese’ is classic and familiar indie-psych rock that touches on Flying Nun’s past glories, the spacial melodies of the Pixies in their prime, and a cool detached vocal style to die for.

Patrick: Challenging, unique and sonically breathtaking, Nicolas Jaar’s return to the long format is every bit as good as I hoped. Near on indescribable, but entirely excellent, this stellar example of adventurous composition and scientific sound design stands alone in the world of modern electronica.

Andy: Woods’ second album in a proper studio continues where ”With Light..” left off with superb tunes, cool grooves (now funky and even jazzy) and their usual mellow 60s vibe. There’s also a tangible reggae flavour here, which is a tasty addition to their template (all things transcendent) whilst ”The Song” is still, of course, king. A really good record!

Millie: This self titled release from Exploded View grabbed my attention straight away — it’s psychedelic with an industrial drone and terse dance beats as well. When matched with warped vocals to create an eerie distorted feel, I was instantly sold. The single ”Orlando” is a must hear!

Andy: More glorious melodies (and harmonies!) from the ever-dependable Teenage Fanclub. This band thrives by having 3 separate songwriters, all different, yet all distinctly Fannie-tastic. And by going away for half a decade, their gems are perfectly formed, polished little beauties, sent to warm even the coldest heart.


THE TOP 100 ALBUMS: TOP FIFTY

Barry: Righteously indignant in parts, and downright aggressive in others, headnodding melodic sections are immediately morphed into anthemic ‘Oy’ choruses. This is a distillation of all the best elements from post-hardcore, emo and skate-punk but amped up and injected with a vitality and ingenuity that is both refreshing and nostalgic.

Patrick: I saw Test Icicles in 2005 and thought they were a right load of bollocks (wahey!). I’ve flirted with Devonté’s output since without taking it past first base, before finally calling it a day after ‘Cupid Deluxe’. When ‘Freetown Sound’ hit the shelves I avoided eye contact and kept walking, almost missing out on one of my records of the year. Politicised, soulful and culturally aware songwriting expressed through the most forward thinking synthwave sounds.

Andy: Toy released two superb records within a year of each other (2012/13) then vanished for three! They return with by far their best yet: darker, spookier but somehow poppier, this extends their shoegazey take on psych and garage into a much higher realm. Like the House Of Love but with way more going on. Brilliant.

Barry: Muddy basses and cracked-arpeggios come together in a cacophony of bleak dystopian synthplay. Driving grooves and reverberating drum hits, all buried under a layer of saturated fog. A stunning and terrifying proposition. These guys should soundtrack a TV-series or something.

Andy: The funky ex-Beta Band maestro returns with a buoyant encapsulation of all that is good in his groovesome world. The lush production and airy vibes make this pretty close to a pop record, but as ever, there’s always melancholy in the melody for Mr. Mason. However, certain tracks on here take us right back to those glorious baggy days of 1989. Combining these with the more introspective moments make this possibly the best album of his career so far. Inspirational.


THE TOP 100 ALBUMS: TOP ONE HUNDRED

51. DIIV: IS THE IS ARE

MIne: An extension and deepening of the musical ideas first expressed on 2012’s critically-lauded ‘Oshin’, ‘Is The Is Are’ yields a multiplicity of textures, lyrical themes, and moods.

52. THE MYSTERY LIGHTS: THE MYSTERY LIGHTS

Laura: I love this fuzzed-out, raw fusion of 60s garage and 70s proto punk. It’s on Daptone records new rock imprint, so you know it’s got soul too!

53. OMAR S: THE BEST!

Matt: Alex ”Omar” Smith has never been one for modesty, so we shouldn’t be too surprised that he’s called his latest full-length — his fifth in total — The Best. To be fair, he is rather good at producing high-grade deep house, and here he unveils another eleven gems.

54. MILD HIGH CLUB: SKIPTRACING

Andy: More warped sounds and beautiful melodies from Mr. Alexander Brettin.

55. STEVE HAUSCHILDT: STRANDS

Barry: Synth guru Hauschildt returns with his stunning new album packed with euphoric arpeggios and celestial ambience. Gripping, elegant and beautiful. Unsurprisingly brilliant.

56. CFCF: ON VACATION

Ryan: A journey through Mediterranean seas, late night jazz clubs and ambient meditations, this is guaranteed to realign your chakra.

57. MORGAN DELT: PHASE ZERO

Barry: Hazy late-60s tinged psych on the newest LP from hippie music maestro Morgan Delt. Swirling whirs of analogue synths, torn speaker-fabric fuzz and twangy guitars intersperse with sunny blissed-out guitar and delayed falsetto vocals.

58. THE WOODLEIGH RESEARCH FACILITY: THE PHOENIX SUBURB (AND OTHER STORIES)

Patrick: Dragging their synths through the overgrown wastelands of suburban England, Weatherall and Walsh track down the dark wired sound and give it a good kicking.

59. PANTHA DU PRINCE: THE TRIAD

Barry: The tone for this whole album is set by the organically blooming electronic melodies and serene ambient sweeps of anthemic opener ”The Winter Hymn”. Nuanced and breathtaking.

60. DEATH IN VEGAS: TRANSMISSION

Barry: Oozing with atmospheric brilliance and throbbing analogue depth, ‘Transmission’ is an engrossing return to the fore for Electronic overlord Fearless and lyricist Sasha Grey.

61. THE LIMIÑANAS: MALAMORE

Barry: Malamore is French psych-pop-rock at its finest. Progressive hooks, walking bass and spoken word passages. Starry-eyed and swaying passages segue into droning distortion and chanted vocals.

62. HUERCO S: FOR THOSE OF YOU WHO HAVE NEVER (AND ALSO THOSE WHO HAVE) Matt: 2016’s answer to Moon B’s ”Lifeworld” has arrived! Futuristic blissed-out ambience which few can rival. Essential.

63. KING CREOSOTE: ASTRONAUT MEETS APPLEMAN

Andy: Beautiful heartfelt indie at its very best, every swell of a bagpipe bringing the dream of a lost love, while the pull of a violin pulls at the heartstrings in equal measure.


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64. KRISTIN KONTROL: X-COMMUNICATE

Barry: Feel-good retro synth-pop with a modern twist. Thoroughly surprised me this one, but I’m glad it did.

65. MITSKI: PUBERTY 2

Millie: Original and distinctive in every sense, both electronic riffs and heavy guitars give it a fierce primal essence pieced with authentic and wistful lyrics.

66. GØGGS: GØGGS

Darryl: GØGGS is the three headed noise monster comprising of Charles Moothart (guitarist with Ty Segall Band), Ty Segall himself, and Ex-Cults Chris Shaw on vocals. Ten tracks of scuzzy fuzzy fun.

67. ULTIMATE PAINTING: DUSK

Barry: An equal mix of pastoral English countryside melodies and jangly San-Franciscan flower power vibes, ‘Dusk’ is a meticulously crafted and impeccably accomplished slice of indie-pop.

68. DRUGDEALER: THE END OF COMEDY

Patrick: Joined by Ariel Pink, Danny James and Natalie Mering, Michael Collins weaves an absurdist ‘Tapestry’ of AOR ballads, Laurel Canyon grooves and hazy psych-funk on this assured debut.

69. STEVE GUNN: EYES ON THE LINES

Andy: Beautiful rocking, interwoven guitar melodies make this Gunn’s most direct record yet, even sounding like the more melodic side of Sonic Youth’s Lee Ranaldo on a few numbers.

70. FACTORY FLOOR: 25 25

Barry: Gradually working through the tropes of techno and house but without feeling staid, it is simply a skillful and rousing summary of electronica in all its forms. This is dancefloor music, and you will dance.

71. KAITLYN AURELIA SMITH & SUZANNE CIANI: FRKWYS VOL.13 – SUNERGY Barry: Textured ambience and wavy sweeps are punctuated with chirping sample and hold blips and modulated whirrs of bass. This is an intelligent and bracing electronic workout, both scintillating and meditative.

72. AMBER ARCADES: FADING LINES

Millie: This is definitely my favourite summer album of the year. Hazy yet dazzling, it flickers between her honey-like vocals and jangly guitars. Sunny and shimmering, this shouldn’t be overlooked.

73. EXPLOSIONS IN THE SKY: THE WILDERNESS

Barry: EITS have encompassed, to great effect, elements of drone and electronica into their post-rock sound. Distorted beats, crunchy snares, and dusty arpeggios atop soaring guitars and crackly synths.

74. PALEHOUND: DRY FOOD

Laura: Lovely inventive guitars topped with insightful lyrics; at times playful, at others melancholic. Brings to mind past gems such as Belly, The Breeders and Pavement.

75. ANGEL OLSEN: MY WOMAN

Barry: Whether she is banging out swooning gothic eyeshadowpop choruses or walking us through rural America with swinging slide-guitar laden finger-clickers, Angel Olsen constantly manages excellence with aplomb.

76. CAMERA: PHANTOM OF LIBERTY

Laura: The pummelling drums and motorik rhythms we expect, but now there are a whole host of other keyboard experiments going on: fluid synth washes, spacey swooshes, bleeps and squiggles.


THE TOP 100 ALBUMS: TOP ONE HUNDRED

77. FAT WHITE FAMILY: SONGS FOR OUR MOTHERS

Barry: Raucous and driven indie-rock with a politically charged punk attitude and impeccably balanced melodies, coupled with a sensitive production aesthetic which really sets this apart.

78. THE GOON SAX: UP TO ANYTHING

Laura: Great poetic, melodic, outsider pop with a kind of laconic lazy summer vibe. Adding all these ingredients together brought to mind The GoBetweens, and as coincidence would have it, Louie’s dad is one Robert Forster.

79. CHARLES BRADLEY: CHANGES

Millie: Dubbed ”The Screaming Eagle of Soul” the singer returns with his sophomore release, a brand new collection of 60s/70s style deep soul delights.

80. ALLAH-LAS: CALICO REVIEW

Barry: With hints of rock and/or roll, 70s pop and modern twee indie, Allah Las are a band that defy at least ten expectations before even getting out of bed. Each one of these pieces has an understated elegance and confidence that we haven’t heard from them before.

81. SWANS: THE GLOWING MAN

Barry: Another monolithic collection from gloom-merchants Swans. Equal parts brooding and pensive, but with a rarely embraced melodic sensibility. Further evidence of their unrivalled talents.

82. SAVAGES: ADORE LIFE

Andy: Powering forth with a furiously triumphant take on love’n’life, this is a dramatic, celebratory expression of everything this most arresting band stands for.

83. MALA: MIRRORS

Patrick: The South London genius returns with a sumptuous album inspired by the traditional sounds of Peru. The resulting LP is a stunning fusion of head nodding beats, club sonics and ancestral melodies.

84. HINDS: LEAVE ME ALONE

Laura: Infectious pop hooks but delivered with a kind of ramshackle, lo-fi cool rather than the hi-gloss synth-pop sheen of many bands at the mo.

85. ZOMBY: ULTRA

Matt: Cripes! This is good int it?! You’re defo gonna be hearing me opening a few sets with ”Her” over the coming months. The rest of the album ain’t bad either. ‘TIP’ I believe they say...

86. BEYOND THE WIZARDS SLEEVE: THE SOFT BOUNCE

Barry: Anthemic choruses and stoner guitars hide behind swirling synths and softly delivered vocal harmonies before smashing into the foreground with a riotous burst of distortion and glam.

87. POLIÇA: UNITED CRUSHERS

Barry: This record, more so than 2014’s ”Shulamith”, oozes a sort of dystopian dread, displayed through repetitive synth-swells and rippling arpeggios. This is a bleak yet upbeat offering, dynamic, and exciting.

88. WARPAINT: HEADS UP

Dave: Warpaint have obviously matured a bit. Their last album was a raucous and forceful cacophony of visceral and triumphant sound. This is somewhat more nuanced, confident and collected. Fantastic.


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89. THE LAST SHADOW PUPPETS: EVERYTHING YOU’VE COME TO EXPECT

Barry: Once again, Alex Turner and Miles Kane deliver a minor-key slice of melancholic yet melodic indie-rock.

90. THE KILLS: ASH & ICE

Barry: Further emphasising their innate ability to pluck at the heartstrings whilst soothing the soul. Mossheart’s vocals are as sultry and emotive as ever, and the instrumentation is just as you’d expect; raw, honest and beautiful.

91. DE LA SOUL: AND THE ANONYMOUS NOBODY

Patrick: Over a plethora of self-recorded, clearance-cheating loops, De La Soul drop science a-plenty to deliver their finest work since their debut.

92. JENNY HVAL: BLOOD BITCH

Martin: It sounds like Hval may have just written her opus. Subversive synthetic rhythms and churning drones are cut through with stunningly serene moments. A masterpiece.

93. GOLD PANDA: GOOD LUCK AND DO YOUR BEST Martin: Gentle, textured electronica bathed in the golden glow of a quiet sunset; a pared back and subtle soundtrack to a tranquil evening.

94. HISS GOLDEN MESSENGER: HEART LIKE A LEVEE

Matt: Perfectly produced and heartfelt country-tinged acoustic odes with stripped back minor-key melodies. Sit by the fireside with a glass of whiskey and enjoy.

THE TOP 100 ALBUMS: TOP ONE HUNDRED

95. KAYTRANADA: 99.9%

Matt: Following ley-lines laid by Anderson .Paak and Kendrick Lamar, Kaytra takes musical genres and flips them on their head — taking the gangstas out of hip-hop and adding the raving club-goer to pop music. The result is an album both welcoming and challenging in equal measure.

96. LNZNDRF: LNZNDRF

Laura: The National’s rhythm section have teamed up here with Ben Lanz from Beirut to create a really good moody, atmospheric, Krautrock-infused album.

97. FIELD MUSIC: COMMONTIME

Andy: The Brewis brothers return with more perfectly realised funky, melodic, math-pop (and not forgetting 70s rock!?) nuggets. Possibly their best yet.

98. AFRICAINE 808: BASAR

Patrick: After a clutch of club thumping 12s, Berlin based duo Africaine 808 release their debut LP on Golf Channel. ‘Basar’ pushes their divine blend of West African bass and rhythms, disco, island-funk and house to new heights.

99. HOWES: 3.5 DEGREES

Patrick: Howes treats us to an octet of constantly evolving modular jams in the spirit of Border Community or Aphex Twin on this accomplished debut LP.

100. HERON OBLIVION: HERON OBLIVION

Barry: Heron Oblivion perfectly juxtapose eastern influenced guitar stanzas with almost ghostly and ethereal vocal lines. Think Sonic Youth meets Low via Grails. Lo-fi beauty at its best.


FMD gives you a dozen winners from 2016

KANDODO / MCBAIN

THEE OH SEES

Rooster 2LP/2CD

Castle Face 2LP/CD

THE JULIE RUIN

BEN LUKAS BOYSEN

Hardly Art LP/CD

Erased Tapes LP/CD

‘Lost Chants, Last Chance’

‘Hit Reset’

‘A Weird Exits’

‘Spells’

MARGO PRICE

‘Midwest Farmers Daughter’ Third Man Records LP/CD

WOODS

‘City Sun Eater In The River Of Light’ Woodsist LP/CD/MC

ANDREW WEATHERALL

GØGGS

Rotters Golf Club 2LP/CD

In The Red LP/CD

SPACIN'

THE COSMIC DEAD

MOUNTAINS & RAINBOWS

Richie Records / Agitated LP/CD

Blackest Rainbow LP

Castle Face 2LP/CD

‘Convenanza’

‘Total Freedom’

‘GØGGS’

‘Rainbowhead’

SALEM'S POT

‘Pronounce This!’

Riding Easy 2LP/CD

‘Particles’

These fine wares are available from the wonderful Piccadilly Records...we luvs ya info@fortedistribution.co.uk


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PICCADILLY RECORDS COMPILATION OF THE YEAR 2016

WISTFUL AMERICANA, SWEEPING ELECTRONICS AND DUSTED DREAMPOP WHICH MARRY TOGETHER WITH A ‘HAPPILY–EVER–AFTER’ RARITY

Patrick: Over the course of the past two decades, David Holmes has traded in everything from Detroit techno to Detroit punk, served up serene ambience and slamming house, raw funk and smooth grooves. Producer, musician, DJ — this guy does it all and makes it look easy. For this Late Night Tales selection he harks back to his soundtrack stylings with a set of wistful Americana, sweeping electronics and dusted dreampop which marry together with a ‘happily-ever-after’ rarity. Deeply dug selections bleed into exclusive Holmes productions as we savour the perfect dusk soundtrack. David Holmes: I walk a lot. It’s amazing for listening to music: your phone isn’t going, your email’s aren’t going and you’re in the forest listening to music. It’s so intimate. Anyway, I was listening to the KLF’s Chill Out album, which still sounds amazing, but it triggered an idea with traffic and movement. And one of the things I was trying to do was to use this idea not just break up the moods but also as a metaphor for moving through life and arriving in different destinations or arriving at different stages in different parts of your life. Just moving on and getting through things.  So my original concept for this Late Night Tales was birth to the afterworld, and trying to find music that related to that or resembled it. It’s a celebration of those things: of life and experience and of family and love. People’s best work often

comes from a bigger place, so I just wanted to try and celebrate that through music – but not necessarily in a mournful way. As I felt my way through it. I came to the conclusion that what i was actually doing was trying to deal with every kind of emotion from melancholy to elation to joy to depression, trying to to get it all in there. But do it in a way that was also entertaining.  Ray Charles once said, I don’t care who played on it or where it was done, there’s only one standard: is it any good? That stuck with me and that’s what I was trying to do when I was arranging it. I knew I had all these emotions in there and very personal things that were coming from me, but I also wanted it to be a very good listen without people having to have any understanding of the back story. 


THE TOP 20 COMPILATIONS: COMPILATION OF THE YEAR

TRACKLIST

1. Barry Woolnough: Great Father Spirit In The Sky 2. D  avid Holmes & Steve Jones: The Reiki Healer From County Down (Exclusive Track) 3. The Children Of Sunshine: It’s A Long Way To Heaven 4.  Spark Sparkle: Slythtovery (Exclusive Track) 5. Alain Maclean: Talking Judgement Day Blues 6. David Crosby: Orleans 7. Buddy Holly: Love Is Strange 8. After Dinner: Paradise Of Replica 9.  Lullaby Movement: Ru-Ru (Sleep Little Baby) (Exclusive Track) 10. J eff Bridges & Keefus Ciancia: It’s In Every One Of Us (Exclusive Track) 11.  Song Sung: I’m Not In Love (Produced By David Holmes) (Exclusive 10cc Cover Version) 12. Neo Maya: I Won’t Hurt You 13. BP Fallon & David Holmes: Henry McCullough (Exclusive Track) 14.  Documenta: Love As A Ghost (Produced By David Holmes) 15. K  eith Fullerton Whitman: Stereo Music For Acoustic Guitar, Buchla Music Box 100, Hewlett Packard Model 236 Oscillator, Electric Guitar And Computer. Part I. 16.  Eat Lights Become Lights: Into Forever 17.  Geese: Andrew Parsnip (Exclusive Track) 18.  DIE HEXEN: Gloomy Sunday (Exclusive Track) 19.  David Holmes & Jon Hopkins Feat. Stephen Rea: Elsewhere Anchises (Exclusive Track)


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2016

Disturbing the comfortable and comforting the disturbed since 1981 on-usound.com


THE TOP 20 COMPILATIONS: TOP FIVE

Patrick: After two breathless sets of rare and raucous house for his ‘My Love Is Underground’ series, renowned Parisian digger Jeremy Underground shows off his softer side with this impeccably curated selection of soul, jazz and boogie on the newly minted Spacetalk. Swapping the stomping 4/4 of his previous work for samba sway and disco shuffle, the Frenchman raids his racks for a dozen of the deepest and most obscure soul and jazz cuts around, captivating minds and moving feet in the process.

Patrick: It’s fair to say that in our 157 years of collective record shop employment, we’ve heard a fair bit of music; but nothing quite like this. Assembled by esteemed French collectors and selectors Julien Dechery and DJ Sundae after a two year trawl through licensing limbo, ‘Sky Girl’ is an early morning stroll through the unheard fringes of the musical map. Accompanied by Australian cold wave, long forgotten folk-pop and electronic visions of deepest melancholy, our journey is nothing short of life changing. By the time the credits roll, there won’t be a dry eye in the house.

Barry: Brimming with exceptional acts from all over the world, and exhibiting but a snapshot of the superb bands that have played there over the years, this is another essential outing from the PZYK curators. With the Super Furry Animals sitting comfortably next to shop favourites Cavern Of Anti-Matter, and shoegaze drone from Trementina nuzzling next to psych-freakouts from Gnoomes, there really is something for everyone.

Silvestre: Anyone can put a compilation together, but not a good one. This one here is worth every penny. If you like distortion, this should be in your collection. The tracks here are almost uncategorizable but they all share the same common denominators: distorted guitars and psychedelia. All accessible. This is the perfect comp for your summer bbq’s and house parties. DJ Format has done the hard work of finding rare yet great tracks for you to enjoy. Breaks and samples galore!


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Andy: This is the compilation album which accompanies Tim’s wonderful book about, well, me, you, him, us, ALL OF US music obsessives who have, ever since we can remember, gravitated to independent record shops, rubbing shoulders with kindred spirits on that never ending search for our next musical hit. This album features songs chosen by Tim’s friends who feature in the book. As such it is beautiful, bonkers, unique and varied. You really should get the book AND this record. Friends in music!

Patrick: Snatching Cafe Del Mar’s crown as the White Isle’s true Balearic bastion, Hostel La Torre has entertained a who’s who of the bearded muso community over the past couple of years. Now, the bar, bistro and ‘vista spectacular’ step into the vinyl world with a killer comp assembled by International Feel boss and adopted Ibizan Mark Barrott. Top stuff!

Laura: This second instalment of Sherwood gems moves away from the spacey dub of the last comp., exploring new sonic territories with his productions and mixes of late 80s industrial, noise, hip-hop, afrobeat and electro. I remember hearing the 12” mix of Mark Stewart’s ”Hypnotised” when it was released and it blew me away. It sounded like nothing else I’d heard before and it still sounds amazing today.

Patrick: Chakras fully aligned after their expansive introduction to America’s new age movement, ‘I Am The Center’, Light In The Attic hop across the pond to explore the cosmic vibrations and healing frequencies of Europe’s spirit guides. Floating through German kosmische, Italian ambient and prog Français, ‘(The Microcosm)’ resonates deep within your soul, courses through your body and opens your mind wider than an orgonite overdose.

Silvestre: That exuberant joie de vivre shines through in the extraordinary music of 1970s Senegal, and this new compilation of rare and unreleased material, subtitled ‘Sonic Gems and Previously Unreleased Recordings from the 70s’, provides a delightful range of music that evokes the optimism that reigned at this time of new beginnings. A superb feel-good compilation filled with Afro-Cuban music, funk, late-60s rock and jazz. What’s not to like?


THE TOP 20 COMPILATIONS

Barry: Having long been a breeding ground for music of breathtaking depth and intensity (be it in drone, modern classical or electronic territory) 130701 records don’t disappoint with this stunning 11-track LP.

Barry: Modern-classical/Electronica prodigy Olafur Arnalds curates in the ever popular Late Night Tales series. A dynamic, relaxing and brilliantly coherent collection of the most interesting and varied ambient electronic tracks around today.

Patrick: Putting the Grey Goose on ice, KDJ condenses the unique experience of one of his genre blurring club sets into an hour of prime home entertainment. Spanning hip hop, soul, house and disco, Kenny’s set grooves hard from start to finish.

Patrick: This is the third installment of the Sunset Hours series, a collection of compilation albums inspired by the breathtaking views from Marini’s On 57 in Kuala Lumpur, Malaysia. The album consists of 14 hand selected tracks that capture the mood and atmosphere of the Sunset over the Malaysian capital perfectly.

Matt: So, you have Harari’s ”Good Vibes” (recently edited by none other than Neil Diablo) and Don Laka’s ”I Wanna Be Myself” on one compilation. I’m already sold! The rest of the tracks are dope too. And we all know Cultures Of Soul do this shit properly!


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Patrick: Mambo and Guts are back again with more sunshine sounds to make your day a brighter place. This time round it’s a truly global affair, with the duo going far and wide to seek out soulful, soothing and gently grooving gems.

Philippa: Wow! Too Slow To Disco have really come up trumps with this new collection of 1970s female singer/songwriters from the post-Laurel Canyon scene. Brilliant from start to finish.

Silvestre: Strut carries on curating finely distilled compilations. This time producing the perfect colonization soundtrack. A confluence of world rhythms; mainly African and Latin beats and languages of the colonizer: Spanish and French. The result is astonishingly infectious.

Barry: A smooth and funky combination of traditional Hawaiian music and groovy beachgazing soul. Sunny weather head-nodders abound.

Barry: It’s no surprise that Numero have come up with the goods on this one, swooning country mixed with cosmic psychedelic atmospheres and impeccable songwriting. Winner.


presents piccadilly’s Best compilations & re-issues of 2016

DaviD Holmes ‘late NigHt tales’ Late Night Tales

v/a ‘DJ Format’s PsycH out’ BBE

v/a ‘PZyK vol 2: FurtHer aDveNtures iN tHe PZyK DiasPora’

olaFur arNalDs ‘late NigHt tales’ Late Night Tales

PZYK

PiccaDilly PiccaDilly PiccaDilly PiccaDilly comPilatioN cHart: #1 comPilatioN cHart: #5 comPilatioN cHart: #4 comPilatioN cHart: #12

mooDymaNN ‘DJ KicKs’

suN ra ‘siNgles’

aNgelo BaDalameNti ‘twiN PeaKs o.s.t’

BerNarD HermaNN ‘twisteD Nerve o.s.t’

!K7

Strut

Death Waltz Recording Co.

Stylotone

PiccaDilly PiccaDilly comPilatioN cHart: #13 re-issues cHart: #3

PiccaDilly PiccaDilly souNDtracK cHart: #2 souNDtracK cHart: #8

thanks to piccadilly records for all their support in 2016 support your local independent record store check www.republicofmusic.com


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PICCADILLY RECORDS REISSUE/COLLECTION OF THE YEAR 2016

MINIMALIST YET EXPRESSIVE...COMPLETELY ENVELOPS THE LISTENER IN PURE TRANSCENDENTAL BEAUTY

Patrick: On the evening of December 12th, 1981, Manuel Göttsching took to his home studio, hit record and jammed his way through one hour of flawless electronic composition. Minimalist yet expressive, this hypnotic arrangement of circular drum programs, overlapping sequences and dreamy pads completely envelops the listener in pure transcendental beauty. Evolving at its own pace, the piece drifts through a series of mesmeric motifs before bursting into widescreen brilliance at the avian flutter of Manuel’s warm and bright guitar. Recorded live to tape with no overdubs, ‘E2-E4’ is a stunning marriage of inspiration and expression. Truly perfect.

Photography by KDM and Sven Marquardt © MG.ART. www.manuelgoettsching.com


THE TOP 10 REISSUES/COLLECTIONS: REISSUES/COLLECTION OF THE YEAR

Q&A WITH MANUEL GÖTTSCHING

Congratulations on securing our #1 Reissue spot. Has the response to the release surprised you? Yes and no. Honestly said, I had always felt from the very beginning (recording 1981 and first release 1984) with a kind of basic ”musical” instinct that this piece might win, unfolding its special and unique atmosphere, perhaps becoming ”timeless”, and the ever growing success since then, continuously over 35 years, only speaks for it. But, yes, of course it is wonderful to hear of such a response now, and I am very pleased that so many people are interested again, especially in the old-style Vinyl version. Repetition featured increasingly in your music throughout the latter stages of the seventies, but reached a peak with ‘E2-E4’. Are there any influences which led to this move towards minimalism? I was very impressed when I heard some of the early music of Terry Riley. It inspired me for my first solo album ”Inventions for Electric Guitar” in 1974, where I used these minimal structures for my composition, but playing it entirely with just one electric guitar. And then it was Steve Reich, I loved his early works like ”Six Pianos” or ”Two Marimbas”, and of course the wonderful ”Music for 18 Musicians”. Especially his understanding for rhythm was outstanding and a no-go in avant-garde and intellectual /academic music circles at the time. I tried to transfer these ideas in playing live with several analogue sequencers, and I performed a few solo concerts in the late seventies at some fashion events. One of these pieces ”Big Birds” I have recently re-performed in 2012 in Berlin, together with the legendary Joshua Light Show (who were using all of their great old analogue Light Show equipment as well). This recording (also on DVD) will be released in 2017. All those ”live” and studio experiences finally led to E2-E4 in 1981. Even today, ‘E2-E4’ sounds like something from the future; how did you create such a groundbreaking sound? I learned about playing with analogue Synthesizers and Sequencers from the early 70s on. Those machines did not ”propose” any sound. You spent a hell of money, switched on the machine, and nothing happened. No sound. You were forced to learn to synthesize a tone or a sound from scratch. You learned how to create and

shape it, and, when you’d found something of interest, you started playing with it, and you were better off to record it immediately. There was no memory button, you would write down the positions of switches, rotaries, cable connections, but you would never find this special sound again ”exactly”, it was a matter of take it or leave it. The sound of E2-E4 is simply said the sound that I liked, the one that I wanted to hear. A little of it was prepared before the recording, but quite a lot was reshaped ”live” during the course of the one-hour recording. ‘E2-E4’ is considered to be one of the cornerstones of techno, how does it feel to have influenced the development of an entire genre of music? At first I was a little shocked but also felt honoured when, in the mid Eighties, I was told that E2-E4 was played in several clubs in Detroit and New York (here to name the Paradise Garage with the late Larry Levan). Later, in 1989 E2-E4 spread all over Europe from England to Italy, which led to the ”Sueno Latino” Remix version. In the following years so many Mixes, Remixes, Samples, Cover versions turned up, I was unable to count them all. E2-E4 was never conceived as a piece of ”dance” music. I think of E2-E4 as a kind of bridge, bringing the elements of the classic minimal music (Riley, Reich, Glass), and the (then) new electronic instruments towards a new level. On one hand it is the sound, for sure, on the other hand I think it is this special minimal structure that attracts and inspires young people until today. What do you think the legacy of the piece is today? E2-E4 has an excellent quality for education. Over the last years I’ve been asked more often to give lessons about composition and producing. Electronic music - due to the immense technical boom/ development - reached a point of growing numbers of erratic young musicians. Millions of sounds, available by just pushing the button do not necessarily help to enhance creativity. Having the complete Vienna Orchestra Library on your laptop does not make you a Beethoven. E2-E4 is a perfect example to study how to create a complex composition with very little basic elements.

This is an excerpt, the full Q&A with Manuel is available on our website.


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Patrick: It’s always a sunny day when a completely legit, remastered reissue of a £400 record drops into your lap — and friends, this is one of those days. Operating at the crossroads of boogie, disco, jazz-funk and Afrobeat, Aleke Kanonu lent his considerable talents to a veritable who’s who of America’s jazz scene throughout the late seventies, before laying down this mindblowing four-tracker on Arcana in 1980.

Patrick: Free jazz innovator, Afrofuturist pioneer and possible (probable?) alien Sun Ra transmitted a lot of cosmic wisdom before his eventual return to the mothership. Harnessing an unorthodox compositional style and complex personal mythology, he cultivated a devoted army of followers, fans and acolytes, while forever changing the course of jazz and experimental music. This lavish compendium collects together ten years of Sun Ra singles in one specially remastered package, complete with in-depth liner notes, unpublished interviews and original artwork. A triumph of detail and devotion, Strut’s ‘Singles’ is a spaceflight to Saturn away from perfection.

Patrick: Like a cooler, more musical Forest Gump, Vivien Goldman has spent a lifetime at the frontline of forward thinking music. As a fearless musicologist, respected journalist and revered industry guru she’s stayed with Fela Kuti, lived with Chrissie Hynde, smoked with both Bob Marley and Flava Flav, and had a front-row seat for the cultural explosion of reggae, punk, hip hop and Afrobeat. As a musician she fused these incendiary styles with an outsider’s view on the modern world, creating her own dub heavy strain of avant-garde pop. Wildly creative and improbably catchy this is music from the cutting edge.

Patrick: Japan’s Dub Store deliver a treat for any true roots fans with this lavish reissue of the spiritual, soulful and sublime debut LP from Count Ossie & The Mystic Revelation. Originally released in 1973 and recorded deep in Kingston, this immersive LP sees the ensemble employ group vocal chants and nyabinghi drumming to create a trascendent and hypnotic journey into sound in the same vein as contemporaries Ras Michael & The Sons of Negus and Dadawah. At times deepest roots, at times mind expanding dub poetry, this is highly recommended stuff.


THE TOP 10 REISSUES/COLLECTIONS

Andy: This is the most complete New Order singles comp, and unique in that it features their often overlooked 7 inch edits. The first half is, naturally, peerless, and features tracks either not on albums at all or significantly different versions. In more recent times, albums have sagged, but New Order always had an ear for a great pop single.

Dave: How this bombed when it was originally released is one of the greatest mysteries known to man, fact. It’s a melancholic, introspective, masterpiece. I’ll always remember buying it (for the first time) from a shop in Greenwich Village and the guy behind the counter saying in a brilliant New York drawl, ‘that’s a fine selection you’ve made there young man’...

Andy: Initially it was only a certain few: people in bands, select journos, record company aficionados. But word-of-mouth is a powerful thing, the only thing if you’re talking about cult records. Finally, forty years later, and all us big music nuts know about the glory, mystery and messed up beauty which is Big Star’s third, stone cold classic LP. This is the definitive, no-stone-unturned, version. And it is majestic.

Darryl: My favourite from the three deluxe Sub Pop reissues by mighty grunge supremo’s Tad. Produced by Jack Endino, ‘God’s Balls’ was their debut album from the heady days of 1989, a heavy punk buzz noise packed with monster riffs, clattering drums and pummelling bass. Now lovingly remastered and repackaged with bonus tracks and expansive liner notes.

Patrick: After supplying a party power-up with a much needed reissue of ”Mots D’Amour”, PMG team up with Ahmed Fakroun for an anthology of the Libyan legend’s late 70s output. Alongside rare as hens teeth Balearic belters ”Awedny”, ”Nisyan” and ”Sinini” we’re treated to a whole set of low slung, lightly spiced North African grooves.


ORDER ONLINE AT PICCADILLYRECORDS.COM PICCADILLY RECORDS SOUNDTRACKS OF THE YEAR 2016

With its pillowy synth-pads and rich textures, Dixon and Stein’s score seamlessly wanders through the 80s world of ‘Stranger Things’, breeding an unthreatening serenity with a gentle shift toward a darker mood. By track 11, listeners are plunged into a nightmare before they even have time to blink; a change pulled off with uncanny grace. The score effectively taps into a unique world of terror, and springs it upon the audience with considered precision. This soundtrack is instantly reminiscent of works by John Carpenter (Halloween, The Thing), Tangerine Dream and Vangelis (Blade Runner), whilst also delving into the ambience of Aphex Twin and more modern composers such as Cliff Martinez (Drive, Solaris). Barry: Well, I’ve been going on about this for some time haven’t I? Even reading the track titles makes me want to watch it all over again, and then I started to listen to it. Spooky, emotive and terrifying. A perfect combination of atmospheric flourishes and driving melody. Put together in one beautiful package. Awesome.

Patrick: In a rare triumph of synchronicity, the finest TV show ever made also boasted the best soundtrack ever written. And that gorgeous, glorious, dreamy score is now available on vinyl for the first time in 25 years, on coffee coloured vinyl no less. As lovely as Audrey and as cool as Agent Cooper, this is aces!

Barry: Sakamoto and Alva Noto team up to write a haunting and reflective suite of orchestral ambient pieces for The Revenant. Chilling string stabs and swells are punctuated by predatory squeals and icy droning pads. Visceral and breathtaking.

Patrick: After an unbearable wait, the Italians Do It Better curated soundtrack to Ryan Gosling’s directorial debut is here — and it’s every bit as good as you’d hope. Either alone at the workstation or in full studio mode with members of Desire, Glass Candy and Chromatics, Jonny Jewel perfectly captures the queasy mood of Gosling’s fusion of Lynch, Refn and Bava. Essential for soundtrack collectors and fans of the cultish label, this is an exceptional, albeit creepy, bit of home entertainment.


THE TOP 10 SOUNDTRACKS

5. EXPLOSIONS IN THE SKY & DAVID WIN:GO : MANGLEHORN: AN ORIGINAL MOTION PICTURE SOUNDTRACK

Barry: Barry: (Not so) hot on the heels of their beautiful soundtrack to ‘Prince Avalanche’, EITS and David Wingo team up once again for the Manglehorn OST. Progressive ambient echoes and luscious piano come together into a triumphant and nuanced whole.

6.JOHN WILLIAMS: STAR WARS: THE FORCE AWAKENS — HOLOGRAM VINYL

Patrick: Is there a finer feeling in the world than hearing the triumphant pomp of John Williams’ Star Wars theme? Yes, it’s watching a holographic Millennium Falcon float above your turntable while it happens!

7. KONAMI KUKEIHA CLUB: CASTLEVANIA — ORIGINAL VIDEO GAME SOUNDTRACK

Patrick: Mondo’s video game wing pulls a blinder here with two sides of retro gaming gore and creepy chipset.

8. BERNARD HERRMANN: TWISTED NERVE

Patrick: Moving from suspense through unease and disquiet to finally arrive at sheer, bloodcurdling terror, this classic horror score has it all. You’d better practise your whistling..

9. BRAD FIEDEL: TERMINATOR OST

Patrick: A masterpiece of cult cinema, The Terminator was the perfect 80s combination of wooden acting, improbable story-line and inner city lawlessness, all enhanced by this masterful score from Brad Fiedel.

10. PEDRO BROMFMAN: NARCOS OST

Patrick: Pedro Bromfman harnesses the swaying rhythms and sun-drunk melodies of Buena Vista Social Club, ‘Paris, Texas’ and Bernardo Bonezzi to soundtrack the highs and lows of life in the cartel.


STAFF CHARTS

DARRYL 2016, the year of change! Firstly I got engaged to the most amazing lady, hi Lety! And then Philippa leaves the shop after a lifetime of masterbag writing! Good luck in the future Philippa! On a musical tip, Parquet Courts won me round with an LP packed full of hits, they have finally delivered an album to rival their amazing ‘Light Up Gold’ debut! Thee Oh Sees were a very close second for me, another brilliant album that hints at new directions for the band, and a special thanks goes out to John Dwyer for supplying us a ‘top 10 things’ chart too. Elsewhere in this whirlwind year Cate Le Bon was wonderfully quirky, Billy Childish supplied his trademark garage-punk fun, the Preoccupations’ brooding pop brought to mind Joy Division, and the Charlie Hilton album was a surprise nugget. The fabulous Whyte Horses was another favourite and also a shop unifying album, so in that sense the perfect overall number one; and Josefin Öhrn & The Liberation provided a late in the year fillip with a superb live performance at Albert Hall and a brilliant new album.

1. PARQUET COURTS: PERFORMING HUMAN 2. THEE OH SEES: A WEIRD EXITS 3. CATE LE BON: CRAB DAY 4. WILD BILLY CHILDISH & CTMF: SQ1 5. PREOCCUPATIONS: PREOCCUPATIONS 6. CHARLIE HILTON: PALANA 7. WHYTE HORSES: POP OR NOT 8.  CAVERN OF ANTI-MATTER: VOID BEATS / INVOCATION TREX 9. JENNY HVAL: BLOOD BITCH 10. GØGGS: GØGGS 11. JOSEFIN ÖHRN & THE LIBERATION: MIRAGE 12. ULTIMATE PAINTING: DUSK 13. TIM BURGESS & PETER GORDON: SAME LANGUAGE, DIFFERENT WORLDS 14. HOPE SANDOVAL & THE WARM INVENTIONS: UNTIL THE HUNTER 15. THE KILLS: ASH & ICE 16. MORGAN DELT: PHASE ZERO 17. SWANS: THE GLOWING MAN 18. KANE STRANG: BLUE CHEESE 19. GREYS: OUTER HEAVEN 20. HERON OBLIVION: HERON OBLIVION

All in all an amazing year, let’s hope 2017 lives up to 2016. You better!!

PATRICK Witness the fitness! After breaking a work chair in January due to my increasing heft (Matt Ward laughed till he cried), I decided it was high time I did a little exercise. This year saw my return to semi-competitive football after a five year knee-related absence, and a return to the push bike for the first time since primary school. Whizzing past the buses and traffic jams on the way into town is great for the body and mind, although my cycling is visibly less than proficient. If you see someone wobbling down Portland Street with a wonky bike seat, you know who to aim for. Shopwise it’s been nonstop again; between the endless stream of excellent music and unprecedented personnel change it feels like we’ve been busier than ever. I want to pass on my best wishes to Philippa as she escapes the insanity of record retail, and thank her for all the knowledge she’s passed on over the years. I’ll attempt to keep the dance side of the shop moving like a well oiled disco-ball and do my utmost to resist the temptation to bombard you with unfashionable fusion records.

1. WILSON TANNER: 69 2. THE AVALANCHES: WILDFLOWER 3. VARIOUS ARTISTS: SKY GIRL 4. CFCF: ON VACATION 5. CANTOMA: JUST LANDED 6. SOLANGE: A SEAT AT THE TABLE 7. DK: ISLAND OF DREAMS 8.  WOLF MÜLLER & CASS.: THE SOUND OF GLADES 9. BARTOSZ KRUCZYŃSKI: BALTIC BEAT 10. DJ MARFOX: CHAPA QUENTE 11. RAY LAMONTAGNE: OUROBOROS 12. OMAR S: THE BEST! 13. JUAN ATKINS & MORITZ VON OSWALD PRESENT BORDERLAND: TRANSPORT 14. PYE CORNER AUDIO: STASIS 15. FLAMINGODS: MAJESTY 16. LEN LEISE: ING 17. WHITNEY: LIGHT UPON THE LAKE 18. CASS MCCOOMBS: MANGY LOVE 19. BLOOD ORANGE: FREETOWN SOUND 20. ALEKE KANONU: ALEKE


STAFF CHARTS

LAURA 2016 marks the end of eras for me. Firstly, although I’d never call myself a Bowie fan particularly, his music was a big part of my growing up: from Ed Stewpot playing The Laughing Gnome, to playing my parents copy of Space Oddity endlessly (once I was old enough to be allowed to touch the radiogram), to being equally enthralled and baffled by the futuristic video for Ashes To Ashes on Top Of The Pops and on and on. He was a true innovator and it’s strange to think there will be no more from him. Secondly, Philippa, my workmate of just short of 30 years (I know, neither of us look old enough etc..) left the shop this year. The shop has seen some ups and downs over the years, but overall it’s been great, and I have very happy memories of our time working together. Good luck with everything in the future Philippa! We’ll miss her incredible musical knowledge but we’ve got some brilliant staff and so, as is the way, things change and move on. Thanks again to all our staff and customers for making the shop what it is and to all the musicians who’ve helped to lift the gloom of 2016.

BARRY Well, It’s been a funny year (or has it been 5?, I’m not very good at years). That bloke in Piccadilly gardens offered me his half Toblerone for 36p (why 36p? I didn’t ask, but it seemed so important that it was none-negotiable. It was unsaid, but manneristically implied). I declined, I’m not mad keen on Toblerones. Then there was the time I left my wallet on the bus and only found out because some kind chap tracked me right down, and offered to drop it in to the shop. The phone call was met with some trepidation (by me) because I firmly believed it was in my bag. It was not in my bag. He dropped it in, and I was grateful. Lovely. Then there’s the records! So many records. Working here for my second year has increased my scope for enjoyment exponentially, in that I’m at least 400% more likely to listen to new things and the more I hear, the more I buy. Obviously the upsides of this are I enjoy a lot more music, the downsides are negligible (who needs space anyway?) Merry 2016 Everybody!

1. THEE OH SEES: A WEIRD EXITS 2. WILD BILLY CHILDISH & CTMF: SQ1 3. WILD NOTHING: LIFE OF PAUSE 4. THE MYSTERY LIGHTS: THE MYSTERY LIGHTS 5. PARQUET COURTS: HUMAN PERFORMANCE 6. KANE STRANG: BLUE CHEESE 7. PALEHOUND: DRY FOOD 8. WILLIAM TYLER: MODERN COUNTRY 9.  TIM BURGESS & PETER GORDON: SAME LANGUAGE DIFFERENT WORLDS 10. NICK CAVE & THE BAD SEEDS: SKELETON TREE 11. WHITNEY: LIGHT UPON THE LAKE 12. PJ HARVEY: THE HOPE SIX DEMOLITION PROJECT 13. WHYTE HORSES: POP OR NOT 14. THE EARLY YEARS: II 15. CAMERA: PHANTOM OF LIBERTY 16. WOODS: CITY SUN HEATER IN THE RIVER LIGHT 17. CAVERN OF ANTI-MATTER: VOID BEATS / INVOCATION TREX 18. GREYS: OUTER HEAVEN 19. THE GOON SAX: UP TO ANYTHING 20. MIRANDA LEE RICHARDS: ECHOES OF THE DREAMTIME

PYE CORNER AUDIO: STASIS PANABRITE: TRANSFER STEVE HAUSCHILDT: STRANDS FORMA: PHYSICALIST KRISTIN KONTROL: X-COMMUNICATE SUZANNE CIANI & KAITLYN AURELIA SMITH: FRKWYS VOL.13 - SUNERGY 7. EXPLOSIONS IN THE SKY & DAVID WINGO: MANGLEHORN 8. SHIFTED: APPROPRIATION STORIES 9. HINTERMASS: THE APPLE TREE 10. EXPLOSIONS IN THE SKY: THE WILDERNESS 11. PENTAGRAM HOME VIDEO : WHO’S OUT THERE 12. JAMES HOLDEN & CAMILLO TIRADO / LUKE ABBOTT: OUTDOOR MUSEUM OF FRACTALS / 555HZ 13. CAVERN OF ANTI-MATTER: VOID BEATS / INVOCATION TREX 14. SCHEICH IN CHINA: SCHEICH IN CHINA 15. OFF WORLD: 1 16. BIBIO: A MINERAL LOVE 17. S U R V I V E: RR7349 18. EMMA RUTH RUNDLE: MARKED FOR DEATH 19. ELUVIUM: FALSE READINGS ON 20. LUCY DACUS: NO BURDEN 1. 2. 3. 4. 5. 6.


STAFF CHARTS

DAVE 2016 then. I started the year drinking red wine to avoid freezing to death in Berlin. Staying just round the corner from the infamous Hansa recording studio, I returned home to the revelation that was Blackstar, made all the more revelatory because I haven’t liked anything by Bowie since ‘Let’s Dance’, so, hats off to you David... My favourite gig of the year was Floating Points at The Ritz in February, I expected to be a bit bored by some inconsequential, jazz beard noodling but they had lazers! LAZERS! Summer found me at the inaugural Love International Festival in Croatia, personal highlight being Khruangbin, whose album ‘The Universe Smiles Upon You’ was my favourite record of 2015, completely forgot to put it in my chart of course but the less said about that the better. So there you have it 2016, and I didn’t even mention the fucking EU referendum...

SARA Ruddy heck, another year gone. They say time flies by more quickly the older you get, it’s absolutely true. It’s a shame it went quickly because this year has been an absolute belter for me. A wonderful holiday in Vietnam with my dear friend Magosia who lives in Adelaide — it’s kind of in the middle for us both, sort of, and what a corking time we had. A mini-break in Cornwall with a visit to the Antiques Roadshow — Niamh and I tried our very best to get in the background of the recordings and had the requisite facial expressions. We’ve yet so see if we made it onto the telly box. I saw a bit of live music this year, The Stairs were a highlight, took me back to my youth and so did Hacienda Classical, those memories are hazy but it does one good to remember a time when I was full of bouncing energy, amongst other things. I had myself a bit of culture and watched a few plays this year too, some more highbrow than others...the drag-tastic Return to Grey Gardens was a camp delight. So, it’s been ace. I’m sad to say ta ra to 2016 but time marches on. I’m hoping next year will also be a fine vintage...

1. WILSON TANNER: 69 2. DAVID BOWIE: BLACKSTAR 3. LEON VYNEHALL: ROJUS 4.  RYLEY WALKER: GOLDEN SINGS THAT HAVE BEEN SUNG 5.  MIRANDA LEE RICHARDS: ECHOES OF THE DREAMTIME 6.  JUAN ATKINS & MORITZ VON OSWALD PRESENT BORDERLAND: TRANSPORT 7. BADBADNOTGOOD: IV 8. WILLIAM TYLER: MODERN COUNTRY 9. WHITNEY: ECHOES OF THE LAKE 10. PYE CORNER AUDIO: STASIS 11. HOPE SANDOVAL: UNTIL THE HUNTER 12. DAMIEN JURADO: VISIONS OF US ON THE LAND 13. MANUEL GOTTSCHING: E2-E4 14. S U R V I V E: RR7349 15. HISS GOLDEN MESSENGER: HEART LIKE A LEVEE 16. WHYTE HORSES: POP OR NOT 17. GOGO PENGUIN: MANMADE OBJECT 18. CHARLIE HILTON: PALANA 19. CANTOMA: JUST LANDED 20. STEVE GUNN: EYES ON THE LINE

1. DAVID BOWIE: BLACKSTAR 2. THE CLAYPOOL LENNON DELIRIUM: MONOLITH OF PHOBOS 3. CAVERN OF ANTI-MATTER: VOID BEATS / INVOCATION TREX 4. CATE LE BON: CRAB DAY 5. COLDER: GOODBYE 6.  WOODLEIGH RESEARCH FACILITY: THE PHOENIX SUBURB (AND OTHER STORIES) 7. THEE OH SEES: A WEIRD EXITS 8.  VARIOUS ARTISTS: CHRISTOPHE LEMAIRE PRESENTS CAN’T YOU HEAR ME 9. D.R. HOOKER: THE TRUTH 10. ALTERN 8: FULL ON MASK HYSTERIA 11. PYE CORNER AUDIO: STASIS 12. JOSEFIN OHRN & THE LIBERATION: MIRAGE 13. MAMMOTH WEED WIZARD BASTARD: Y PROFFWYD DWYLL 14. PJ HARVEY: THE HOPE SIX DEMOLITION PROJECT 15. RADIOHEAD: A MOON SHAPED POOL 16. FAT WHITE FAMILY: SONGS FOR OUR MOTHERS 17. S U R V I V E: RR7349 18. DEATH IN VEGAS: TRANSMISSION 19. WHYTE HORSES: POP OR NOT 20. GONJASUFI: CALLUS


WHITE DENIM STIFF (DOWNTOWN)

(MEXIC AN SUMMER)

(INNOVATIVE LEISURE)

HOLY FUCK CONGRATS

LONE LEVITATE

DJ SHADOW THE MOUNTAIN WILL FALL

LOU RHODES theyesandeye

MILD HIGH CLUB SKIPTRACING

SCHOOL OF SEVEN BELLS SVIIB

NONKEEN THE GAMBLE

B ADB ADNOTGOOD IV

SLOW CLUB ONE DAY ALL OF THIS WON’T MATTER ANY MORE

WHYTE HORSES POP OR NOT

GIGGS LANDLORD

HONEYBLOOD B ABES NEVER DIE

(MASS APPEAL)

(R&S)

ALLAH-LAS C ALICO REVIEW

(NUDE)

(INNOVATIVE LEISURE)

(STONES THROW)

(R&S)

(FULL TIME HOBBY)

(CRC)

(MOSHI MOSHI)

THE DUKE SPIRIT KIN (EX VOTO)

SKEPTA KONNICHIWA

(BOY BETTER KNOW)

(SN1)

ALBUMS OF THE YEAR - 2016

(FAT C AT)


STAFF CHARTS

ANDY Hi everyone! Real Life or Music Bubble? Let’s stick with the music. Whyte Horses delivered, and came up with ”the quintessential indie-pop LP” (thanks Barry!) whilst Miranda Lee Richards and Damien Jurado, two artists who’ve been going for ages, released incredibly deep, moving music. I’ve never really connected with either of these; it’s nice to be a Johnny Come Lately sometimes. As I was with Wild Nothing. Ryan has been singing their praises for yonks, but only now has the penny dropped. Another multi-layered masterpiece is the Cass McCombs album. His best yet. As for Exmagician: these are a Bella Union band who make ridiculously catchy 60s/90s guitar pop. In another world they’d be massive. Finally, to a big change at the shop. Philippa Jarman has left the building! As a teenager she would regularly visit Rough Trade to keep abreast of all the latest (post-punk) releases. She did that, and so much more for over 30 years at Piccadilly Records. Good Luck, Phil!

MATT What a turbulent year! It seems the planets had it in for lil’ old England this year — with various political and social extremities rising into the foreground and causing a whole manner of havoc! Luckily, we’ve had plenty of good music, as always, to distract us. Lots and lots of amazing 12”s too, which sadly don’t get a mention here — come into the shop for a run down of my favouritest (hopefully at least some will still be in stock!); but special shouts to MCR crew Ruf Kutz, Ourtime, Natural Sciences/Dolphin Trax. The year also saw Wet Play oil up its party engine once more as we had it off in fields, warehouses and back at our former home Kraak (now Atmaa) for some glorious Summer jaunts. Mark the 3rd of December in your diaries for a fantabulous Christmas party with the Panoram (Firecracker) boys playing a live MCR debut at the hottest venue in town, The White Hotel. Can we all also bid a fond a farewell and huge ‘thanks for all the records!’ to Philippa Jarman (Phil to you and I) who left the shop and onto pastures new. Best of luck Phil, we miss you!

1. WHYTE HORSES: POP OR NOT 2.  DAMIEN JURADO: VISIONS OF US ON THE LAND 3.  MIRANDA LEE RICHARDS: ECHOES OF THE DREAMTIME 4. CASS MCCOMBS: MANGY LOVE 5. WILD NOTHING: LIFE OF PAUSE 6. EXMAGICIAN: SCAN THE BLUE 7.  KING CREOSOTE: ASTRONAUT MEETS APPLEMAN 8. DAVID BOWIE: BLACKSTAR 9. WOODS: CITY SUN EATER IN THE RIVER OF LIGHT 10. PJ HARVEY: THE HOPE SIX DEMOLITION PROJECT 11. THE RADIO DEPT.: RUNNING OUT OF LOVE 12. BRITTA PHILLIPS: LUCK OR MAGIC 13. STEVE GUNN: EYES ON THE LINES 14. JIM JAMES: ETERNALLY EVEN 15. STEVE MASON: MEET THE HUMANS 16. AVALANCHES: WILDFLOWER 17. WHITNEY: LIGHT UPON THE LAKE 18. MORGAN DELT: PHASE ZERO 19. CHARLIE HILTON: PALANA 20. PALEHOUND: DRY FOOD

1. H  UERCO S: FOR THOSE YOU HAVE HAD (AND ALSO THOSE WHO NEVER HAD) 2. TEE MANGO: IMPERFECTIONS VOL. 1 3. HISS GOLDEN MESSENGER: HEART LIKE A LEVEE 4. SHINICHI ATOBE: WORLD 5. JUAN ATKINS & MORITZ VON OSWALD PRESENT BORDERLAND: RIOD 6. OMAR S: THE BEST 7. GOGO PENGUIN: MAN MADE OBJECT 8. PSYCHIC ILLS: INNER JOURNEY OUT 9. RYLEY WALKER: GOLDEN SINGS THAT HAVE BEEN SUNG 10. ZOMBY: ULTRA 11. TELEPHONES: TELEMETRY 12. SUSSO: KEIRA 13. WILSON TANNER: 69 14. THE LIMIÑANAS: MALAMORE 15. MACHINEDRUM: HUMAN ENERGY 16. GIGGS: LANDLORD 17. AFRICAINE 808: BASAR 18. MARK ERNESTUS N’DAGGA RHYTHM FORCE: YERMANDE 19. KANDODO / MCBAIN: LOST CHANTS / LAST CHANCE 20. NAT BIRCHALL: AKHENATEN


STAFF CHARTS

MARTIN 2016? What are we to say about that? Only 10 days in came the bolt from the blue that was the death of David Bowie, a figurehead for defiant individuality whose music punctuated my formative years, spanned cultures and was an inspiration to so many that it could be an advantage to be different. One of whom was my fiancé, who moved to the U.K. from Brazil in time for Spring; her reward for which was to be dragged on a hike between a couple of monumental Icelandic volcanoes, which twice scared us half to death, but also contained possibly the most beautiful and otherworldly scenery I have ever had the privilege to behold. Carrying on the Nordic theme, it’s another one-two for Scandinavia at the top of my chart. Tough for everyone else that Agnes is in the world. I could quite happily listen to her exquisite voice reading the small print of my electricity bill, let alone this sparse beauty; and I must thank our own lovely and charming Barry for recommending Pascal Pignon to me. Apparently something happened on 23rd June. Hmph. Please everyone love everyone else, wherever they are from, and have a fantastic year! X

SILVESTRE Another superb year at Piccadilly Records, filled with sonically gorgeous releases that surely will be appreciated by many folks around. Changes ahoy around us, both externally in the political sphere and internally in the shop — it is rather surprising what breaking down a couple of walls can do to your perception of space. It was the year when David Bowie passed away, but also the year in which the Rosetta spacecraft landed on comet 67P putting an end to a mission that showed us the origin of the solar system, our own planet and has given us the best clues we have ever had about how life’s ingredients were delivered to this world more than four billion years ago. On a different note, I got married to a great woman.

1. AGNES OBEL: CITIZEN OF GLASS 2. PASCAL PIGNON: SUNDUR 3. PREOCCUPATIONS: PREOCCUPATIONS 4. C DUNCAN: THE MIDNIGHT SUN 5. JULIANNA BARWICK: WILL 6. PYE CORNER AUDIO: STASIS 7. PANTHA DU PRINCE: THE TRIAD 8. BRACKEN: HIGH PASSES 9. MARK PRITCHARD: UNDER THE SUN 10. CASS MCCOMBS: MANGY LOVE 11. GOAT: REQUIEM 12. EXPLODED VIEW: EXPLODED VIEW 13. WILSON TANNER: 69 14. CATE LE BON: CRAB DAY 15. LEON VYNEHALL: ROJUS (DESIGNED TO DANCE) 16. GREYS: OUTER HEAVEN 17. GOGO PENGUIN: MAN MADE OBJECT 18. TIM BURGESS & PETER GORDON: SAME LANGUAGE, DIFFERENT WORDS 19. GOLD PANDA: GOOD LUCK AND DO YOUR BEST 20. THEE OH SEES: A WEIRD EXITS

1. BAT FOR LASHES: THE BRIDE 2. AGNES OBEL: CITIZEN OF GLASS 3. JUAN ATKINS & MORITZ VON OSWALD PRESENT BORDERLAND: TRANSPORT 4.  MIRANDA LEE RICHARDS: ECHOES OF THE DREAMTIME 5. RAY LAMONTAGNE: OUROBOROS 6. JULIANA BARWICK: WILL 7. MARK PRITCHARD: UNDER THE SUN 8. PYE CORNER AUDIO: STASIS 9. MALA: MIRRORS 10. GOGO PENGUIN: MAN MADE PROJECT 11. FUMACA PRETA: IMPUROS FANATICOS 12. PJ HARVEY: THE HOPE SIX DEMOLITION PROJECT 13. PSYCHIC ILLS: INNER JOURNEY OUT 14. BADBADNOTGOOD: IV 15. NICOLAS JAAR: SIRENS 16. C DUNCAN: THE MIDNIGHT SUN 17. S U R V I V E: RR7349 18. HOWES: 3.5 DEGREES 19. PANTHA DU PRINCE: THE TRIAD 20. WILD NOTHING: LIFE OF PAUSE


mute

2016

Yeasayer Amen & Goodbye

onDeadWaves On Dead Waves

Lost Under Heaven Spiritual Songs For Lovers To Sing

Swans The Glowing Man

Mick Harvey Delirium Tremens

Yann Tiersen EUSA

FREE CD SAMPLER WITH EVERY MUTE PURCHASE AVAILABLE FROM SELECTED INDEPENDENT RECORD SHOPS

@muterecords

@muteuk

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mute.com


STAFF CHARTS

RYAN Another year, another home. 2016 sees me break up with my partner, sell my half of the house and move into a place on my own. It’s not all bad though, emotional turmoil is the best for writing music so a new album quickly pieced itself together in the wake (keep an eye out for that in early 2017). Oh and I finally got myself a kitten. She likes to sleep on my shoulders, my head and my turntable. I’ve had to stockpile spare needles as a result. She’s called Lilith. Due to financial limitations I’ve had to buy records differently this year, I’m now working on a one in, one out policy. It’s helping me cleanse my collection anyway, out with records I realise I’ve never listened to more than once and in with new relevant additions. Relevant for now anyway.... I think everyone here already knew what my number one would be, I knew as soon as it came into the shop.

MILLIE The main highlight of the year by far was getting a job at Piccadilly Records in early February; I’m still in disbelief about it all and can’t believe where the time has gone. I’ve started to come to the realisation that time flies when you work in a record shop, all the new releases each Friday come in a whirlwind of new albums to listen to and absorb. In previous years I’ve almost found myself feeling out of the loop when it comes to new music, but that’s not really the case now, great albums like Blood Orange or Lucy Dacus don’t slip my radar! Green Man festival in August was also a brilliant memory from this year, being able to see so many great musicians like Cate Le Bon, Kamasi Washington, Floating Points and Julianna Barwick in the depths of the Welsh mountainside was really spectacular. Speaking of time flying by, I’m currently in my third year at university so if time wasn’t going fast enough on its own that is surely going to speed things up a notch. I hope everyone had a lovely year and that 2017 brings everyone lots of happiness!

1. WILD NOTHING: LIFE OF PAUSE 2. WHYTE HORSES: POP OR NOT 3. MILD HIGH CLUB: SKIPTRACING 4. HOOPS: HOOPS E.P 5. BADBADNOTGOOD: IV 6. DRUGDEALER: THE END OF COMEDY 7. SEAN NICHOLAS SAVAGE: OTHER DEATH 8. RAFI BOOKSTABER: LATE SUMMER 9. CASS MCCOMBS: MANGY LOVE 10. HAILU MERGIA & DHALEK BAND: WEDE HARER GUZO 11. PREOCCUPATIONS: PREOCCUPATIONS 12. TOY: CLEAR SHOT 13. CAMERA: PHANTOM OF LIBERTY 14. THE GOON SAX: UP TO ANYTHING 15. KIKAGAKU MOYO: HOUSE IN THE TALL GRASS 16. EXPLODED VIEW: EXPLODED VIEW 17. WARPAINT: HEADS UP 18. ANGEL OLSEN: MY WOMAN 19. BLOOD ORANGE: FREETOWN SOUND 20. DOMENIQUE DUMONT: COMME ÇA

1. LUCY DACUS: NO BURDEN 2. JULIANNA BARWICK: WILL 3. CATE LE BON: CRAB DAY 4. BLOOD ORANGE: FREETOWN SOUND 5. BASIA BULAT: GOOD ADVICE 6. BADBADNOTGOOD: IV 7. AMBER ARCADES: FADING LINES 8. CHARLES BRADLEY: CHANGES 9. GOGO PENGUIN: MAN MADE OBJECT 10. SOLANGE: A SEAT AT THE TABLE 11. MOTHERS: WHEN YOU WALK A LONG DISTANCE YOU ARE TIRED 12. POLIÇA: UNITED CRUSHERS 13. BAT FOR LASHES: THE BRIDE 14. LILY & MADELEINE: KEEP IT TOGETHER 15. TOY: CLEAR SHOT 16. EXPLODED VIEW: EXPLODED VIEW 17. WHYTE HORSES: POP OR NOT 18. ANGEL OLSEN: MY WOMAN 19. GOAT: REQUIEM 20. AGNES OBEL: CITIZEN OF GLASS


OUT NOW ON

PALEHOUND Dry Food

NIGHT BEATS Who Sold My Generation

AMBER ARCADES Fading Lines

NOTS Cosmetic

M. CRAFT Blood Moon

KING GIZZARD AND THE LIZARD WIZARD Nonagon Infinity

THE WYTCHES All Your Happy Life

HOOTON TENNIS CLUB Big Box Of Chocolates

THE PARROTS Los Niños Sin Miedo

TOY Clear Shot


STAFF CHARTS

MINE I’m not gonna lie, compiling this list has taken me quite a while. 2016 has seen the release of a lot of albums that I couldn’t make my mind up about and as heart breaking as it is, some of my favourite bands did not make the cut (sorry guys!). But let’s start with a fun fact: My number one and two albums have both been released on my birthday! Ulrika Spaceks ‘The Album Paranoia’ was love at first listen whereas Diiv’s ‘Is The Is Are’ didn’t take my fancy straight away. I thought it was too long and most of the songs were too poppy for my liking so the record was moved to the bottom of my listening pile. After seeing them play some of the songs live though it finally clicked and the album grew on me very quickly. The rest of the list, as people who know me will have expected, mostly features psychedelic and fuzzy guitars, and, of course, Nick Cave, so no surprises this time… (maybe next year.) A round of applause for Thee Oh Sees who have made it onto my list twice!

PHILIPPA Hello from the Upside Down! Yes, I am now in the postPiccadilly Records parallel universe, just on the other side of the wall, where I have to go and FIND new music, rather than just sitting there waiting for the music to come to me (*cannot compute face*). Mostly this involves listening to Lauren Laverne on 6 Music, so not much difference really. Thanks for all the kind words before I said goodbye to the good ship Picc Recs — I was really touched. Apart from leaving work after 30 years, my other big adventure was going to Glastonbury Festival for the first time — PJ Harvey, John Grant and LCD Soundsystem were my highlights (and *whispers* Adele). In 2016 it does seem like we’ve all been whacked around the head with a big stick on regular occasions, what with David Bowie, Victoria Wood and Prince all popping their clogs way too soon, the murder of Jo Cox, the insanity of Brexit, the Labour party imploding, the possibility that Donald Trump might be elected president (by the time you read this he might well be — augh!), plus the usual level of terrible world events, so here’s hoping for a better 2017!

1. ULRIKA SPACEK: THE ALBUM PARANOIA 2. DIIV: IS THE IS ARE 3. PSYCHIC ILLS: INNER JOURNEY OUT 4. JOSEFIN ÖHRN + THE LIBERATION: MIRAGE 5. THEE OH SEES: A WEIRD EXITS 6. PARQUET COURTS: HUMAN PERFORMANCE 7.  NICK CAVE & THE BAD SEEDS: SKELETON TREE 8. ALLAH-LAS: CALICO REVIEW 9. LORELLE MEETS THE OBSOLETE: BALANCE 10. TRUST PUNKS: DOUBLE BLIND 11. THEE OH SEES: LIVE IN SAN FRANCISCO 12. PRIMAL SCREAM: LIVE IN JAPAN 13. THE THIRD SOUND: GOSPELS OF DEGENERATION 14. THE OSCILLATION: MONOGRAPHIC 15. EXPLODED VIEW: EXPLODED VIEW 16. THE LIMIÑANAS: MALAMORE 17. DEAD RABBITS: EVERYTHING IS A LIE 18. FAT WHITE FAMILY: SONGS FOR OUR MOTHERS 19. MORGAN DELT: PHASE ZERO 20. TOY: CLEAR SHOT

1. CATE LE BON: CRAB DAY 2. MIRANDA LEE RICHARDS: ECHOES OF THE DREAMTIME 3.  CAVERN OF ANTI-MATTER: VOID BEATS/INVOCATION TREX 4.  PJ HARVEY: THE HOPE SIX DEMOLITION PROJECT 5. KING: WE ARE KING 6. WHYTE HORSES: POP OR NOT 7. CHARLIE HILTON: PALANA 8.  LEON VYNEHALL: ROJUS (DESIGNED TO DANCE) 9. ANGEL OLSEN: MY WOMAN 10. GOAT: REQUIEM 11. PALEHOUND: DRY FOOD 12. JUAN ATKINS & MORITZ VON OSWALD PRESENT BORDERLAND: TRANSPORT 13. AGNES OBEL: CITIZEN OF GLASS 14. SAVAGES: ADORE LIFE 15. ANDERSON .PAAK: MALIBU 16. KAYTRANADA: 99.9% 17. UNLOVED: GUILTY OF LOVE 18. GOGO PENGUIN: MAN MADE OBJECT 19. THE KILLS: ASH & ICE 20. MALA: MIRRORS


SOME LATE ARRIVALS In order to get this booklet back from the printers and into our shop by end of November we compile the chart in early October. Inevitably that means some fantastic albums miss out on our charts because they haven’t been released by the time our booklet goes to press. Here are 10 albums, listed in alphabetical order, that would definitely featured prominently in our top 100 or other charts if they had been released earlier in the year. THE BRIAN JONESTOWN MASSACRE: THIRD WORLD PYRAMID Encompassing aspects of wandering psychedelia, meditative drone and anthemic indie balladry, this newest outing from Newcome and co. is their most diverse and exciting yet, cementing them as one of the most defining and prolific acts in modern music. KYLE DIXON & MICHAEL STEIN: STRANGER THINGS SEASON 1, VOL. 2 Having been entranced with Stranger Things, reading this tracklist is like a ‘skip to the end’ recap of the latter half of the series, listening obviously makes it all the more enthralling. Moody synth ambience, throbbing saw waves and eerie sweeps. Unsurprisingly brilliant. ILLUM SPHERE: GLASS On this striking sophomore offering Illum Sphere fuses regimented drum machines and spectral techno with late night ambience and icy coldwave to create an audio snapshot of a lonely winter in Berlin. JOSEFIN ÖHRN & THE LIBERATION: MIRAGE Driven and mesmerising psychedelic loops, snarling basses and full on funky-psych freakouts. Sweetly sung vocals contrast perfectly to the experimental backdrop, breaking out into moments of profound serenity. A perfectly measured combination, and just another essential part of this enthralling collection. THEE OH SEES: AN ODD ENTRANCES The companion piece to our #2 album ‘A Weird Exits’ see Thee Oh Sees stretching out further on the more contemplative side of that album, cosmic jams and deep spooling grooves but still unmistakably The Oh Sees! RADIO DEPT.: RUNNING OUT OF LOVE One time XL Recordings band of the moment, and classic old-skool indie-pop revivalists, these Scando melody kings have surprised us all by marrying their melancholic, yearning songs to retro synth-pop grooves. The result is mesmerising. ROMARE: LOVE SONGS: PART TWO London’s king of soulful sound collage returns with a head nodding, groin thrusting set inspired by L.O.V.E. Intricate, unique and right in the groove, this has all the ingredients to show you the night of your life. SOLANGE: A SEAT AT THE TABLE The younger Knowles sister bursts out of Beyonce’s shadow with a sublime LP of serious, sensitive soul and precise, on point RnB. Populist and artistic, this has all the hallmarks of an enduring classic. TELEPHONES: VIBE TELEMETRY The sonic equivalent of driving down Australia’s Great Ocean Road or California’s Highway 1; or from Robin Hood’s Bay to Flamborough Head, for example! And oh so blissed out. VARIOUS ARTISTS: PSYCHEMAGIK — RITUAL CHANTS (BEACH / DANCE / LOVE) No strangers to a top compilation, Psychemagik follow their ‘Magic’ series with this three disc, six LP voyage into the furthest reaches of the digging dimension. Prepare to take a trip along an astral highway of unheard grooves. Booklet design: www.markbrownstudio.co.uk


PICCADILLY ALBUMS OF THE YEAR 2016 PUBLIC SERVICE BROADCASTING

GOAT REQUIEM

LIVE AT BRIXTON

ROCKET RECORDINGS

THE BRIAN JONESTOWN MASSACRE

ULTIMATE PAINTING

THIRD WORLD PYRAMID

TROUBLE IN MIND

TEST CARD RECORDINGS

A RECORDINGS

SILVER APPLES CLINGING TO A DREAM

DUSK

ZOMBY ULTRA

CHICKENCOOP RECORDINGS

HYPERDUB

WILLIAM TYLER

WEDDING PRESENT

MODERN COUNTRY MERGE RECORDS

GOING GOING

ULRIKA SPACEK

HISS GOLDEN MESSENGER

THE ALBUM PARANOIA TOUGH LOVE RECORDS

MIKE & RICH EXPERT KNOB TWIDDLERS

PLANET MU RECORDS

VIRGINIA WING

FORWARD CONSTANT MOTION FIRE RECORDS

SCOPITONES

HEART LIKE A LEVEE MERGE RECORDS

WIRE NOCTURNAL KOREANS PINK FLAG

WILD BILLY CHILDISH & CTMF SQ1

DAMAGED GOODS

www.cargorecords.co.uk


EvEry HomE SHould HavE onE THE BEST arTiST alBumS of 2016

Miranda Lee richards ‘echoes of the dreaMtiMe’

Psychic iLLs ‘inner Journey out’ Sacred Bones

Invisible Hands

PiccadiLLy chart: #8

PiccadiLLy chart: #22

teenage fancLuB ‘here’

goLd Panda ‘good Luck and do your Best’

PeMa

City Slang

PiccadiLLy chart: #45

PiccadiLLy chart: #93

tiM Burgess & Peter gordon ‘saMe Language, different WorLds’ O Genesis

hoPe sandovaL and the WarM inventions ‘untiL the hunter’ Tendril Tales

PiccadiLLy chart: #23

PiccadiLLy chart: #39

Jenny hvaL ‘BLood Bitch’

hinds ‘Leave Me aLone’

Sacred Bones

Lucky Number

PiccadiLLy chart: #92

PiccadiLLy chart: #84

Thanks to Piccadilly records for all their support in 2016 Support your local independent record Store Check www.republicofmusic.com


Piccadilly Records End Of Year Review 2016