PIAS Vinyl & CDs

Review: The duo of Angus & Julia Stone share their sixth full-length album, Cape Forestier. A strikingly poignant and textured set of new recordings, the new LP immediately draws listeners into the simple and endearing vision of Angus and Julia Stone's world; this is a cloaked, atmopsheric Aussie folk album that flaunts the couple's talents in utmost equal measure. Cape Forestier is also a self-described exercise in recognising "how humans choose to treat each other, love each other, and make promises to build something beautiful together." By that, they mean marriage: Cape Forestier's ear for sentiment knows few bounds, with stripped-back, bridal-gowned romances like 'The Wedding Song' commanding an adept ear for candid space and finger-plucking nostalgisms.

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: The Triffids' Calenture, now available on blue vinyl, marks a pinnacle in the Australian band's career. After the critically acclaimed Born Sandy Devotional and In The Pines, The Triffids joined Island Records to create their most epic album yet, produced by Gil Norton (best known for his work with Pixies and Echo and The Bunnymen). Calenture hones in on the band's creative peak, abandoning the lo-fi sound of In The Pines and returning to the lush, majestic style of Born Sandy Devotional. The album is a rich vast array of sound, brimming with lush arrangements and poignant lyrics, making it arguably their most accessible work - every track resonates with depth and excellent songwriting.

Review: Originally released in 1986, this album showcases The Triffids' exceptional blend of folk, rock, and post-punk. Featuring David McComb's haunting vocals and lush instrumentals, In The Pines takes you on a journey through atmospheric soundscapes. This album, recorded in the Australian outback on a modest budget, highlights the band's raw talent and creativity. Tracks like 'Love and Affection' and the cover of Bill Anderson's 'Once a Day' exhibit their range, from sharp electric guitar riffs to country influences. In the Pines seemed an eccentric career move for The Triffids, who were poised for major success. Retreating to the outback, the band created an album of modest majesty. Haunted by desolation, tracks like the gothic folk waltz of the title track and the intense 'Kathy Knows' stand out. Yet, the album is also filled with camaraderie. Often compared to Bob Dylan and The Band's The Basement Tapes, In the Pines captures The Triffids' infectious joy in making music, solidifying its place as a timeless piece of artistry. In The Pines is perfect for lovers of sweeping, melancholic sounds.