PIAS Vinyl & CDs

Review: The fact that you have bands that also got their first break through Rough Trade, like Howler, Palma Violets and The Strokes, borrowing somewhat from The Feelies' playbook is testament to their stylish handling of handmade rock n' roll. Their first two records, released in the 80s, are largely considered classics, but this album released in 1991 is as strong as anything in their back catalogue. It's also a terrific parting gift to fans as they ended up taking a 17-year break after it, reforming in 2008 to play a gig with Sonic Youth and together ever since. This album is immaculately recorded yet true to their live sound, as they set up in the studio in much the same way that they set up on stage. It's a driving, propulsive yet inventive affair offering up as much for the cranium as it does the hips. The band are commonly compared to Velvet Underground and 'Find A Way' has a touch of the VU classic 'Heroin' about it. 'Decide', however, feels more Stones-y, while 'Real Cool Time' does justice and then some to The Stooges' original. That they bring to mind other great rock bands is testament to the fact they are in that league and not mere pastiche.

Review: Sheffielder Matthew Relton - initially known as Kidnap Kid, but now releasing as Kidnap - has been on quite a musical journey since first emerging as a boisterous garage and UK bass producer early last decade. His first full-length, 2020's Grow, showcased his maturation as an artist by focusing on songs and instrumentals that tended towards the tactile and picturesque. On this follow-up, he's leaned further into the "artist maturing" theme via a blend of picturesque songs (voiced by regular collaborator Ian Stannard, Gabrielle Apin and others') and ambient instrumentals shot through with yearning, oblique nostalgia, delicate instrumental arrangements and plenty of sweeping, cinematic chord sequences. It's not pop, per se, but it is hugely accessible with tons of crossover potential. Expect to see him on festival stages in the months and years ahead.

Review: Erland Oye and Eirik Grambek Boe have a lengthy history together. Long before they formed Kings of Convenience the pair were in the same class at school, writing comedic raps about their teacher then founding Skog ("forest"), their first joint stab at 'serious' music. Today, the duo have a string of gold and silver certified albums behind them. This is one. Originally released in 2009, 15 years on Declaration of Dependence still sounds as calmly breathtaking as it did back then. Quiet, soft, gentile, yet anything but twee, the sound straddles the line between indie pop and indie folk, and also represented the start of a new era in music distribution - getting its initial release as an exclusive for subscribers of a certain streaming platform, but that's another story.

Review: Riot On An Empty Street, originally released in 2004, captures Kings of Convenience at their most captivating, effortlessly merging folk, indie and pop into a serene, harmony-rich soundscape. With standout tracks like 'Homesick', 'Misread', and the Feist collaboration 'Know-How', this album became a treasured gem for fans. Now reissued on vinyl, the delicate acoustics and introspective lyrics are revived in full warmth, offering listeners a chance to reconnect with the album's timeless appeal. Perfect for lovers of understated, melodic songwriting that resonates long after the last note fades.

Review: Emitt Rhodes' self-titled album, released in 1970, proves his pioneering approach to home recording: made in his home studio, it came at a time when union rules mandated that albums released by major labels had to be recorded in professional studios. Ergo, the fact that it was made at home couldn't be disclosed on the cover. Despite this, the original LP featured a playful message in the runout groove, stating "Recorded at Home" in humorous title case. Rhodes had initially intended to call the album Homecooking, but the label opted for his name instead. Using a four-track recorder, Rhodes forged the instrumental tracks before transferring them to an eight-track with which to add vocals, enhancing the sound with a higher-quality microphone - clearly that's as much as grandiose a story as we're getting on the BTS front. The album peaked at number 29 on the Billboard chart, with 'Fresh As A Daisy' peaking at number 54 on the Hot 100, and 'Lullabye' finding its niche in the Wes Anderson film The Royal Tenenbaums.

Review: Frankfurt's Gregor Tresher returns with his first album in eight years. The 16-track LP offers up his famously dynamic techno sound and rich synth designs with element of dance floor clout underpinning each tune. From his beginnings in Frankfurt's 90s techno scene to collaborations with icons like Depeche Mode, Moby and Extrawelt, Tresher's career has been marked by critically acclaimed releases and False Gods is one of his most ambitious projects yet. It's an accomplished and introspective journey through modern electronic music enriched by collaborations with some notable friends.

Review: Warhaus' fourth album, Karaoke Moon, marks a bold return for Maarten Devoldere, two years after Ha Ha Heartbreak. Teaming up with producer Jasper Maekelberg, Devoldere spent months crafting this record, exploring over 50 songs he wrote during a two-year period. The result is a stunning and multifaceted work, likely the most adventurous Warhaus release yet. Karaoke Moon cleverly tackles themes of modern masculinity, often with a playful and self-deprecating tone. Devoldere's sharp wit and introspective lyrics take center stage as he wrestles with his inner thoughts, blending dark reflection with humor. Musically, the album covers diverse territoryifrom the sultry nightclub vibes of 'No Surprise' to the moody, Nick Cave-esque atmosphere of 'Zero One Code'. Tracks like 'Hands of a Clock' feature lush orchestration, merging choir and piano for a sweeping conclusion. The album masterfully balances intensity and levity, creating a layered experience that invites repeated listens. With each spin, Karaoke Moon reveals more of its mysterious allure, drawing listeners deeper into Devoldere's intriguing world. It's a thrilling addition to the Warhaus catalog.