{"title":"Pre-orders","description":"\u003cstrong\u003eForthcoming releases available for pre-order!\u003c\/strong\u003e","products":[{"product_id":"ethel-cain-preachers-daughter","title":"Ethel Cain - Preachers Daughter","description":"\u003cp\u003eDue for release \u003cstrong\u003e4th April 2025\u003c\/strong\u003e via Daughters of Cain\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e\u003cstrong\u003eCD \/ Cassette Due for release 7th August \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStandard Black LP (1 per customer) (still out of stock at supplier!)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe jaded daughter of a dead preacher-man caught in an exodus, Ethel Cain winds her way through a dizzying attempt at escape from her suffocating upbringing only to find herself crushed within its jaws in the end. Hayden Anhedönia, the woman behind the curtain, serves as the architect for the visceral and haunting world of Ethel Cain. After over four years of meticulously constructing her debut album and the graphic visual world that accompanies it, Preacher’s Daughter, was released in May 2022 to critical acclaim, catching fire with her reverent fanbase of daughters and the adoration of The New York Times, Vogue, NPR, Billboard, Vice, TheFADER, NYLON, Paper Magazine, Pitchfork, W Magazine, V Magazine and more.\u003c\/p\u003e\n\u003cp\u003eTracklisting \u003c\/p\u003e\n\u003cp\u003eSIDE A \u003cbr\u003e1. Family Tree (Intro) \u003cbr\u003e2. American Teenager\u003cbr\u003e3. A House In Nebraska\u003cbr\u003e4. Western Nights \u003c\/p\u003e\n\u003cp\u003eSIDE B \u003cbr\u003e1. Family Tree \u003cbr\u003e2. Hard Times\u003cbr\u003e3. Thoroughfare \u003c\/p\u003e\n\u003cp\u003eDISC 2 \u003c\/p\u003e\n\u003cp\u003eSIDE C \u003cbr\u003e1. Gibson Girl \u003cbr\u003e2. Ptolemaea \u003cbr\u003e3. August Underground \u003cbr\u003e4. Televangelism \u003c\/p\u003e\n\u003cp\u003eSIDE D \u003cbr\u003e1. Sun Bleached Flies \u003cbr\u003e2. Strangers\u003cbr\u003e\u003c\/p\u003e","brand":"ORCH","offers":[{"title":"CD","offer_id":46948497195145,"sku":"DOCCD01","price":12.99,"currency_code":"GBP","in_stock":true},{"title":"Cassette","offer_id":46948497227913,"sku":"DOCCS01","price":14.99,"currency_code":"GBP","in_stock":true},{"title":"Std Black LP","offer_id":43221031813257,"sku":"","price":21.99,"currency_code":"GBP","in_stock":false},{"title":"Indies Black LP + Poster","offer_id":43221031846025,"sku":"","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0378\/1623\/8217\/files\/20000000254929_3.jpg?v=1734601576"},{"product_id":"tobias-jesso-jr-s-h-i-n-e","title":"Tobias Jesso Jr. - s h i n e","description":"\u003cp\u003eDue for release \u003cstrong\u003e30th January 2026\u003c\/strong\u003e via R\u0026amp;R\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLimited White Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eShine is the sophomore album from Grammy Award–winning songwriter and artist Tobias Jesso Jr.\u003c\/p\u003e\n\u003cp\u003eTRACKLIST:\u003cbr\u003e1. Waiting Around\u003cbr\u003e2. Black Magic\u003cbr\u003e3. Bridges\u003cbr\u003e4. Green Eyes\u003cbr\u003e5. Rain\u003cbr\u003e6. I love you\u003cbr\u003e7. Lullaby\u003cbr\u003e\u003c\/p\u003e","brand":"ROM","offers":[{"title":"Default Title","offer_id":44986221527177,"sku":"RR367","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0378\/1623\/8217\/files\/TJJ.jpg?v=1764070909"},{"product_id":"dj-shadow-the-mo-wax-singles-1993-1997-8-x-12-box","title":"DJ Shadow- The Mo’Wax Singles 1993-1997 [8 x 12\" Box]","description":"\u003cp\u003eDue for release \u003cstrong\u003e29th May 2026\u003c\/strong\u003e via PIAS\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"This box wasn’t made for the casual listener, it was made with the hardcore fan in mind.  I’ve always felt, if something is worth doing, it’s worth doing right, and every step of the process was made with this philosophy firmly in mind.  I had fun locating and resurrecting these songs, some of which still feel close to my consciousness as though they were made yesterday.”  \u003cbr\u003e- DJ Shadow\u003c\/p\u003e\n\u003cp\u003e12” Tracklistings:\u003c\/p\u003e\n\u003cp\u003e#1- In\/Flux \u003cbr\u003e(Side A, Track 1) DJ Shadow- In\/Flux \u003cbr\u003e(Side B, Track 1) DJ Shadow- Hindsight \u003c\/p\u003e\n\u003cp\u003e#2- Lost And Found (S.F.L.) \u003cbr\u003e(Side A, Track 1) DJ Shadow- Lost And Found (S.F.L.) \u003cbr\u003e(Side B, Track 1) DJ Shadow- Hardcore (Instrumental) Hip-Hop\u003cbr\u003e(Side B, Track 2) DJ Shadow- Last Stop \u003c\/p\u003e\n\u003cp\u003e#3- What Does Your Soul Look Like \u003cbr\u003e(Side A, Track 1) DJ Shadow- What Does Your Soul Look Like (Part 2- Original Standalone Version) \u003cbr\u003e(Side A, Track 2) DJ Shadow- What Does Your Soul Look Like (Part 3- Original Standalone Version) \u003cbr\u003e(Side B, Track 1) DJ Shadow- What Does Your Soul Look Like (Part 4- Original Standalone Version) \u003cbr\u003e(Side B, Track 2) DJ Shadow- What Does Your Soul Look Like (Part 1-Original Standalone Version) \u003c\/p\u003e\n\u003cp\u003e#4- Midnight In A Perfect World (U.K. Version)\u003cbr\u003e(Side A, Track 1) DJ Shadow- Midnight In A Perfect World (Radio Vision) \u003cbr\u003e(Side A, Track 2) DJ Shadow- Midnight In A Perfect World (Gab Mix)\u003cbr\u003e(Side B, Track 1) DJ Shadow- Midnight In A Perfect World (Extended Vision) \u003cbr\u003e(Side B, Track 2) DJ Shadow- Mutual Slump (Album Version)    \u003cbr\u003eOverview:\u003cbr\u003e•    First legitimate re-issue of DJ Shadow's Mo’Wax singles in decades.\u003cbr\u003e•    Eight (8) piece vinyl set containing several hours of music.\u003cbr\u003e•    Half-Speed Remastered at Abbey Road by Miles Showell.\u003cbr\u003e•    Numerous previously unreleased mixes \u0026amp; edits.\u003cbr\u003e•    Contains extra bonus disc containing original demos of 4 songs.\u003cbr\u003e•    Featuring all-new photography by long-time Shadow collaborator Brian Cross (B+).\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e#5- Stem \u003cbr\u003e(Side A, Track 1) DJ Shadow- Stem (Cops 'N' Robbers) \u003cbr\u003e(Side A, Track 2) DJ Shadow- Red Bus Needs To Leave! \u003cbr\u003e(Side B, Track 1) DJ Shadow- Stem\/Long Stem (Earlier Version) \u003cbr\u003e(Side B, Track 2) DJ Shadow- Soup\u003c\/p\u003e\n\u003cp\u003e#6- High Noon \u003cbr\u003e(Side A, Track 1) DJ Shadow- Hypnotist Intro \u003cbr\u003e(Side A, Track 2) DJ Shadow- High Noon (Alternative Mix) \u003cbr\u003e(Side B, Track 1) DJ Shadow- Devil's Advocate (Alternative Version) \u003cbr\u003e(Side B, Track 2) DJ Shadow- Organ Donor (Extended Overhaul- Original Version) \u003c\/p\u003e\n\u003cp\u003e#7- Camel Bobsled Race \u003cbr\u003e(Side A) DJ Shadow- Camel Bobsled Race (Original Unedited Version) (Part 1) \u003cbr\u003e(Side B) DJ Shadow- Camel Bobsled Race (Original Unedited Version) (Part 2)\u003c\/p\u003e\n\u003cp\u003e#8- Bonus Disc for this Box Set\u003cbr\u003e(Side A, Track 1) DJ Shadow- In\/Flux (First Ever MPC Version) \u003cbr\u003e(Side A, Track 2) DJ Shadow- Lost And Found (S.F.L.) (First Ever MPC Version) \u003cbr\u003e(Side B, Track 1) DJ Shadow- What Does Your Soul Look Like (Part 2- First Ever MPC Version) \u003cbr\u003e(Side B, Track 2) DJ Shadow- What Does Your Soul Look Like (Part 4- First Ever MPC Version)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Integral \/ PIAS","offers":[{"title":"Default Title","offer_id":45045250457737,"sku":"DJSMWBOX","price":144.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0378\/1623\/8217\/files\/DJShadow_The_MoWax_Singles_1993-1997_Packshot.jpg?v=1765375470"},{"product_id":"band-of-horses-everything-all-the-time-20th-anniversary-edition","title":"Band Of Horses - Everything All The Time (20th Anniversary Edition)","description":"\u003cp\u003eDue for release \u003cstrong\u003e20th March 2026\u003c\/strong\u003e via Sub Pop\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLimited Loser Edition Opaque Yellow 2LP\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAchieving musical transcendence is a tricky feat. If it happens - a big if - it does so naturally, and perhaps nobody knows that better than Band of Horses, whose landmark debut Everything All The Time still, after twenty years, feels as vital and, dare we say, transcendent as when it came out in 2006.\u003c\/p\u003e\n\u003cp\u003eGuitarist\/vocalist Ben Bridwell formed Band of Horses in Seattle in 2004, after the end of his nearly ten-year run in northwest melancholic darlings Carissa’s Wierd. Carissa’s Wierd trafficked in beautiful orchestral pop, whose songs told unflinching stories of heartbreak and loss, leavened with defeatist humor. Band of Horses rose from the ashes of that well-loved band, buoyed by Bridwell’s warm, reverb-heavy vocals, and woodsy, dreamy songs oozing with tension, longing and hope. Armed with a fresh Sub Pop deal and a smashing batch of songs, the band recorded their debut full-length, Everything All the Time, with producer Phil Ek at Seattle’s Avast studios.\u003c\/p\u003e\n\u003cp\u003eAt times raggedly epic (“The Great Salt Lake”) and delicately pensive (“St. Augustine,” “Monsters”), Everything All The Time is an album painted gorgeously in fragile highs and lows. That’s part of the genius in Band of Horses: they craft intelligent, classic movements within their songs, perfectly balancing desperation and hope, calmness and mania, love and fear. And of course there’s the massive single, “The Funeral,” which became a defining song of the era, and continues to inspire new generations of fans and artists alike. On top of tons of film and TV placements, the song was sampled by Kid Cudi, and transformed into a 2025 dance edit by acclaimed producer\/multi-instrumentalist Gryffin.\u003c\/p\u003e\n\u003cp\u003eNow, on the occasion of the 20th birthday of the album, Sub Pop and Band of Horses present the definitive snapshot of the band circa Everything All The Time. For this anniversary release, the album has been fully remastered, with the artwork refreshed and expanded into a gatefold jacket with liner notes by Phil Ek. And the album is accompanied by an additional LP of bonus tracks, including the 2005 tour EP, a trove of previously unreleased studio and live tracks, and rarities like “The End’s Not Near” (as featured on The O.C.) and a demo version of “The Funeral.”\u003cbr\u003e \u003cbr\u003eTracklisting:\u003cbr\u003e1.The First Song\u003cbr\u003e2.Wicked Gil\u003cbr\u003e3.Our Swords\u003cbr\u003e4.The Funeral\u003cbr\u003e5.Part One\u003cbr\u003e6.The Great Salt Lake\u003cbr\u003e7.Weed Party\u003cbr\u003e8.I Go to the Barn Because I Like The Barn\u003cbr\u003e9.Mons\u003cbr\u003e10.St. Augustine\u003cbr\u003e11.(Biding Time Is A) Boat To Row\u003cbr\u003e12.Part Two\u003cbr\u003e13.Coal Mine\u003cbr\u003e14.Worry Song\u003cbr\u003e15.The End's Not Near\u003cbr\u003e16.The Funeral (Demo Version)\u003cbr\u003e17.Wicked Gil (Demo Version)\u003cbr\u003e18.Our Swords (Demo Version)\u003cbr\u003e19.I Go to the Barn Because I Like The \/ Monsters (Live at The Crocodile)\u003cbr\u003e\u003c\/p\u003e","brand":"CARGO","offers":[{"title":"Default Title","offer_id":45167562522761,"sku":"SP1730AE","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0378\/1623\/8217\/files\/BandOfHorses_EverythingAllTheTime_20th_Mockup_LP_EU_2000x2000_1.jpg?v=1768581318"},{"product_id":"snail-mail-ricochet","title":"Snail Mail - Ricochet","description":"\u003cp\u003eDue for release \u003cstrong\u003e27th March 2026\u003c\/strong\u003e via Matador\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD \/ Std Black LP \/ Indies Red Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSnail Mail — the project of Lindsey Jordan — announces her highly anticipated third album, Ricochet, due out March 27 on Matador Records. Her first album in five years, she returns with a renewed sense of clarity and control, asserting herself as a generational songwriter with a sharpened perspective. While her early work chronicled the emotional turbulence of young love, Ricochet reveals a deeper fixation: time, mortality, and the quiet terror of watching the things you love slip away. The album’s 11 songs are steeped in introspection, anxiety, and acceptance — an acknowledgment that the world keeps turning regardless of what’s unfolding in your own small orbit.\u003c\/p\u003e\n\u003cp\u003eWritten during a period of intense personal change that included a move to North Carolina from NYC, Ricochet finds Jordan reckoning with questions she once avoided, namely death and what comes after. The album pairs her incisive lyricism with newly expansive melodies, ornate string arrangements, and hypnotic textures, marking a natural evolution from Lush’s poised guitar work and Valentine’s raw emotional charge. Sonically, Ricochet channels the luminous side of ’90s alternative rock — echoing Smashing Pumpkins at their sunniest, Radiohead at their most Britpop, and the shoegaze haze of bands like Catherine Wheel and Ivy — all filtered through Jordan’s singular voice.\u003c\/p\u003e\n\u003cp\u003eAfter undergoing surgery for vocal polyps and intensive speech therapy ahead of 2021’s Valentine tour, Jordan emerges on Ricochet as a more confident and controlled vocalist — an ironic strength for an album centered on uncertainty. She recorded the album with producer and bassist Aron Kobayashi Ritch (Momma) at Fidelitorium Recordings in North Carolina, as well as Nightfly and Studio G in Brooklyn. The sessions, Jordan says, felt “refreshing, trusting, and comfortable,” allowing her to fully inhabit the songs without compromise.\u003c\/p\u003e\n\u003cp\u003eThe album also marks a departure in Jordan's creative process. \"I've never done this before, but I wrote all of the instrumentals and vocal melodies on the piano or guitar, and then I filled in the lyrics all at once over a year,\" she explains. This shift gave her more time to craft the expansive melodies that define Ricochet's sound\u003c\/p\u003e\n\u003cp\u003eThe album’s lyrical world is informed by art that grapples with existence itself. Charlie Kaufman’s Synecdoche, New York looms large, while tracks like ‘Nowhere’ draw inspiration from Laura Gilpin’s poem “The Two-Headed Calf.” On ‘My Maker’, Jordan imagines overstaying her welcome at a celestial airport bar, pleading, “Oh, bouncer in the sky \/ Let me in, I’m scared to die.” Elsewhere, Ricochet mourns fading friendships, lost simplicity, and the ache of emotional distance — a record about being anxious not over the bad, but over how fleeting the good can be.\u003c\/p\u003e\n\u003cp\u003eThe album’s artwork mirrors its themes. Ricochet is the first Snail Mail release not to feature Jordan’s face; instead, a spiral shell floats in a distressed blue expanse, symbolizing both inward collapse and outward infinity — the push and pull of growth, distance, and perspective. \u003cbr\u003e\u003cbr\u003eTracklisting\u003cbr\u003e1.    Tractor Beam\u003cbr\u003e2.    My Maker\u003cbr\u003e3.    Light On Our Feet\u003cbr\u003e4.    Cruise\u003cbr\u003e5.    Agony Freak\u003cbr\u003e6.    Dead End\u003cbr\u003e7.    Butterfly\u003cbr\u003e8.    Nowhere\u003cbr\u003e9.    Hell\u003cbr\u003e10.    Ricochet\u003cbr\u003e11.    Reverie\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Cargo","offers":[{"title":"CD","offer_id":45173345976457,"sku":"OLE2209CD","price":11.99,"currency_code":"GBP","in_stock":true},{"title":"Std Black LP","offer_id":45173346009225,"sku":"OLE2209LP","price":22.99,"currency_code":"GBP","in_stock":true},{"title":"Indies Red Vinyl","offer_id":45173346041993,"sku":"OLE2209LPE","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0378\/1623\/8217\/files\/86905bcf-68d8-7a67-be01-3557bc81305e.jpg?v=1768832001"},{"product_id":"the-cure-boys-dont-cry-86-mix","title":"The Cure - Boys Don't Cry (86 Mix)","description":"\u003cp\u003e\u003cstrong\u003eCD due for release 30th January 2026\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e12\" due for release TUESDAY 21st April 2026 \u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe Cure are to release the 1986 mix of Boys Don’t Cry, making it available digitally for the first time ever in line with its 40th Anniversary. Initially released as a standalone single in the summer of 1979, Boys Don’t Cry became the title track of the US edition of the band’s debut album, Three Imaginary Boys.\u003cbr\u003e \u003cbr\u003eThe song went on to become one of the band’s signature tracks and achieved international success in 1986, when Robert Smith re-recorded the vocal and remixed the backing track. Although this new version was created to promote the best of collection Staring At The Sea – The Singles, the LP itself featured the original recording, and the 7-inch version of Boys Don’t Cry (New Voice – New Mix), now retitled Boys Don’t Cry (86 Mix), is being released for the first time ever as a CD single.\u003cbr\u003e \u003cbr\u003eBoys Don’t Cry (86 Mix), the 12” mix, and the B-Sides, Plastic Passion, Pillbox Tales, and Do The Hansa have been remastered by Matt Colton.\u003cbr\u003e \u003cbr\u003eTracklist:\u003cbr\u003e1.    Boys Don’t Cry (86 Mix) - 2026 Remaster\u003cbr\u003e2.    Plastic Passion (79 Mix) - 2026 Remaster\u003cbr\u003e3.    Pillbox Tales (86 Mix) - 2026 Remaster\u003cbr\u003e4.    Do The Hansa (86 Mix) - 2026 Remaster\u003cbr\u003e5.    Boys Don’t Cry (86 12\" Mix) - 2026 Remaster\u003cbr\u003e\u003c\/p\u003e","brand":"UNIVERSAL","offers":[{"title":"CD single (30th Jan)","offer_id":45180484878473,"sku":"5732236","price":6.99,"currency_code":"GBP","in_stock":false},{"title":"12\" (21st April)","offer_id":45180484911241,"sku":"5732238","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0378\/1623\/8217\/files\/THE_CURE_-_BDC_86_MIX_-_CD_SINGLE_-_00199957322362.jpg?v=1769099306"},{"product_id":"hania-rani-sentimental-value","title":"Hania Rani - Sentimental Value","description":"\u003cp\u003eDue for release\u003cstrong\u003e 22nd May 2026\u003c\/strong\u003e via Gondwana\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD \/ LP\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Recorded between the iconic Abbey Road and Polish Radio studios, Hania Rani’s original music for Joachim Trier’s Cannes and Golden Globe winning, Oscar and Bafta nominated ‘Sentimental Value’ is a deeply intuitive collaboration, composed before a single frame was edited.”\u003c\/p\u003e\n\u003cp\u003eFor Hania Rani composing for the most recent film by Joachim Trier was nothing less than a true joy and a real artistic adventure. As she explains: “It doesn’t happen often that I’m asked to work on a film by a director whose work I know so well and which resonates with me so naturally. What I understood while working with such an intriguing mind and intelligent artist as Joachim is that the role of a film composer is to wander along with the director, hand in hand, rather than follow one another. The collaboration should be a partnership - evenly balanced and able to invigorate people on both ends - otherwise it will always feel superficial, imposed, and timid”\u003c\/p\u003e\n\u003cp\u003eIntriguingly Hania worked on the score for Sentimental Value without an edit in hand; instead, she was given a carefully written script and the freedom of her own substantial imagination. “This way of composing suits me perfectly, as I’m not the type of composer who works comfortably with particular scenes, slightly immune to functionality in music in general. I prefer to ponder sound in separation from the image. It enables me to fabricate more abstract sequences that are not yet expressed in the film and to bring a new context to the existing narrative. Music as an inherent counterpoint - this sounds more intriguing to me”.\u003c\/p\u003e\n\u003cp\u003eFor Hania the biggest challenge of the score was its gravity - or rather its visibly elusive nature. The story told in the film oscillates around three characters and the motionless presence of the house, yet the relationships between all these personalities are not fixed, but in progress. Those subtle qualities were at the center of her attention and became the core topic of numerous discussions with Joachim about the music, the film, and the philosophy behind Sentimental Value. “I wondered how to express such translucent virtues in this score; that’s why a great deal of the process was embedded in exercises of mediation and translation. In order to avoid directness, I decided to impure the sound with a succession of small sonic gestures - whether re-arranging, re-orchestrating, revisiting, stretching the duration, or simply recording in a new acoustic environment. The mediated sound and expression allowed me to model a soundscape that inhabits both the old and the new, much like the house, which holds within itself the past, present, and future”.\u003c\/p\u003e\n\u003cp\u003eIn September 2024, Hania went to Oslo and spent a couple of days in the main film (the family home in Oslo) with her sound engineer, Agata Dankowska. The film crew was away in France to shoot another scene for the project, so they were allowed to freely explore the space - both visually and sonically. They made field recordings in the building, capturing the sounds of objects and furniture found in the apartment, and they also managed to record a couple of piano pieces. The house plays a significant role in the story, silently witnessing the tangled trajectories of its residents. “To explore its interiors so closely inevitably reminded me of getting to know a real person, with all their vulnerable parts and secrets. And although most of the recordings were not supposed to become part of the final soundtrack, I felt that this visit gave me access to another, far more intimate layer of the film, which immensely informed my composing process afterwards and reshaped my relationship with the project. 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The single featured on the B-side, “Anna Karenina,” is a quintessential Cigs track, sensual, slow-burning, and emotionally oversized, with lyrics so confessional they verge on too much. But its inclusion of spoken word verses adds a striking new dimension to Greg Gonzalez’s world, expanding the band’s intimate palette. Its chorus (“I cried at the end of Anna Karenina, when she threw herself under the train”) might be the most Cigarettes After Sex lyric ever written. The A-side is a long-rumored fan favorite finally seeing release: a gorgeously faithful cover of The Doors’ “The Crystal Ship,” recast in the band’s signature haze. 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Following a discovery by a generation of young, disaffected kids on social media of Strawberry Switchblade and McDowall's succeeding band Sorrow, Night School Records has remastered Cut With The Cake Knife and presents the album with a reimagined artwork that more closely recreates the original hand-made CD produced by McDowall.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCut The With The Cake Knife was recorded by Rose McDowall in 1988\/89 following the break up of her group Strawberry Switchblade. Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album. 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Like the veiled melancholy of her former group’s hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations. Cut With The Cake Knife serves as the bridge between the pop music McDowall had been making with her friends Jill Bryson, Lawrence from Felt and Primal Scream to what became a more extreme, deep sound informed by neo-folk and post industrial music.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRose McDowall’s role in the canon has always been one of an outsider. Beginning in Glasgow’s East End in the avant proto-noise group The Poems, achieving fame briefly in the 80s and then disappearing into counter-cultural folklore, the emphasis in the internet-age has been skewed towards her image and cultural significance. Unseen to many, her solo work, her groups Sorrow and Spell and her collaborations with a whole host of underground luminaries have still touched lives. As McDowall elucidates: “They're real sad songs, about real life. I've had people come up to me to say I'd connected with them and helped them. I remember a gig in America when we made a whole room cry. It was bizarre. A couple at the front of the stage started crying and then these two boys beside and suddenly everyone was crying. 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Her latest record, Picking Petals, is the culmination of that hard graft and bold vision — an album rooted in her Scottish upbringing and shaped by the creative community she has built around her in Glasgow and beyond, featuring collaborations with Lauren Mayberry of CHVRCHES and Abigail Morris of The Last Dinner Party.\u003c\/p\u003e\n\u003cp\u003eLucia’s debut, Burning Castles, was streamlined and statuesque, built on metronomic beats and synth-led pop. The intention behind Picking Petals sharpened into focus in the face of this. This time, it was crucial to capture the essence of Lucia \u0026amp; The Best Boys’ live shows— loud and electric. In recent years, Fairfull has shared bills with a new wave of women in alternative music: joining Wolf Alice on their Blue Weekend tour in 2022 and, more recently, opening for the aforementioned The Last Dinner Party. In summer 2024, she toured alongside fellow Scottish icon Shirley Manson on the UK and European leg of Garbage’s live shows.\u003c\/p\u003e\n\u003cp\u003eThe Scottish synchronicity feels poignant. This rich and historical landscape is where Picking Petals came to be, Lucia heading north to write in weather-beaten bothies alongside the band or in solitude. Likewise, the songwriter was insistent that acclaimed alt-pop producer Yves Rothman experience her stomping ground rather than sun-drenched LA, hunkering down in Mogwai’s Castle of Doom studios, a Glasgow townhouse transformed into a citadel of sound. For some people, Picking Petals will be a coming-of-age album. For Lucia \u0026amp; The Best Boys, it’s just coming home.\u003c\/p\u003e\n\u003cp\u003eMost musicians face a crossroads at some point in their careers. Lucia Fairfull faced hers before she was even a teenager. Up until then, afternoons were spent pirouetting and pliéing through dance school. Music moved through her body. Performances were physical and instinctive. But when she was 11, a car accident left her with a broken leg, and her dancing stopped abruptly. Life slowed. School fell away for a year. In the quiet of a small Scottish village, she recovered at home as her family rallied around her. \u003cbr\u003e\u003cbr\u003eWith long stretches of time to herself, she noticed her mum’s old guitar propped up in the house. She began to play. The accident didn’t end her relationship with music; it turned it inward. The shift to songwriter didn’t come easily, though. Her confidence was shaken, and she developed debilitating stage fright. “I’d do school shows, and I would pass out,” she admits. Still, the pull of making music around other people was strong. A few years on, Fairfull found herself in the car with her parents, heading to Glasgow, determined to face the fear head-on. “My dad said, ‘If you’re gonna busk, you have to do it every weekend, like it’s a job.’” \u003cbr\u003e\u003cbr\u003eFairfull took that advice seriously. For nearly two decades, she has applied the same mentality to carving out her place as an artist in the UK indie scene. Her latest record, Picking Petals, is the culmination of that hard graft and bold vision — an album rooted in her Scottish upbringing and shaped by the creative community she has built around her in Glasgow and beyond.\u003cbr\u003eBut first came the city circuit. With Buchanan and Sauchiehall Street as her formative stages, she plucked at her acoustic guitar and learned to perform in public. At 16, she was recording with Echo and the Bunnymen’s Gordy Goudie after her guitar teacher shared a few of her songs. Goudie recognised not just the talent, but the hunger behind it. “I didn’t want to do anything else when I was younger,” she insists.\u003cbr\u003e\u003cbr\u003ePropelled by that early endorsement, Fairfull assembled a line-up of collaborators to form Lucia \u0026amp; The Best Boys (a nod to one of her early solo EPs, Best Boy), and the scale of her performances quickly accelerated. She found herself opening for The Bay City Rollers at Barrowlands Ballroom when she was just 17 — a room her grandparents once danced in together — before supporting The Big Moon at Glasgow’s infamous King Tut’s Wah Wah Hut.\u003cbr\u003e\u003cbr\u003eJust as Lucia \u0026amp; The Best Boys’ early showcases were gathering momentum, the pandemic brought tours to a halt and closed live venues across the UK. Suddenly, songs once written for sweaty throngs and flailing arms had to be reconsidered in isolation. Her debut, Burning Castles, was streamlined and statuesque, built on metronomic beats and synth-led pop. Even so, Fairfull was conscious of its restless energy, wrestling with how to capture such a defining decade. “That first album was written between the time I was 22 until I was 25,” she says. “It was hard to squeeze in four years of my life where I’d probably been four different versions of myself.” \u003c\/p\u003e\n\u003cp\u003eStill, the instinct to keep moving — even slowly — remained. “I knew I had to find a way through this,” she says. “I needed to adapt.” The intention behind sophomore record, Picking Petals, sharpened into focus. This time, it was crucial to capture the essence of Lucia \u0026amp; The Best Boys’ live shows— loud and electric. “We were robbed of that opportunity last time,” she says, thinking back to the debut. Fairfull has long spoken of Stevie Nicks as a guiding presence in her musical life. On Picking Petals, she steps more decisively into her own space — one shaped by a lineage of performers who command the stage without apology. \u003cbr\u003e\u003cbr\u003eIn recent years, Fairfull has shared bills with a new wave of women embodying that legacy in real time: joining Wolf Alice on their Blue Weekend tour in 2022 and, more recently, opening for folkloric fivesome, The Last Dinner Party. In summer 2024, she toured alongside fellow Scottish icon Shirley Manson on the UK and European leg of Garbage’s live shows. The cross-generational symmetry isn’t lost on her. “I don’t think I’ve ever felt as seen as I did with Shirley. We see each other in ourselves.”\u003cbr\u003eThe Scottish synchronicity feels poignant. This rich and historical landscape is where we find Fairfull starting work on Picking Petals, heading north to write in weather-beaten bothies alongside the band or in solitude. Likewise, the songwriter was insistent that acclaimed alt-pop producer Yves Rothman experience her stomping ground rather than sundrenched LA, hunkering down in Mogwai’s Castle of Doom studios, a Glasgow townhouse transformed into a citadel of sound. \u003c\/p\u003e\n\u003cp\u003eThat sense of flux carried into the songwriting process. The pressure to perform was palpable. In the past, Fairfull struggled to find her clan, feeling torn between her vision and the demands and expectations of others.  “I couldn't get people to understand fully what it was that I was trying to make, or find my place in the industry,” she explains. As soon as she entered the space, though, those homegrown stories flowed as freely as Robert Burns’ Bruar stream.\u003c\/p\u003e\n\u003cp\u003e“I went into the room, and I was really nervous thinking, ‘What if my creative brain isn’t switched on?’” she says, recalling her first encounter with Rothman at the city studio. She wrings her tattooed hands before placing palms on the table. Her fingers spell out the word, ‘SHOWGIRL’. She needn’t have worried. “Within two days, we’d written the opening track on the album.”\u003c\/p\u003e\n\u003cp\u003e‘Back Inside My Heart’ is a bold, synth-fuelled, fist-pumping anthem, sitting effortlessly alongside lead single ‘Lonely Girl', a three-minute snapshot of longing and growth. Guest vocalist on the track, Lauren Mayberry, who also moved from the villages of Stirlingshire to global stages, shares in that narrative.  As the former CHVRCHES frontperson sings, “They say you’ll need to move away to live your dreams…Where I thrive is where I am \/ Yeah, I don’t need to leave.” \u003c\/p\u003e\n\u003cp\u003eBoth women know what it is to shapeshift and present as performers, and as their Celtic vowels connect, a deep-rooted affinity is clear. A shared space of belonging. “When CHVRCHES first came about. I worked at Forever 21. ‘The Mother, We Share’ was on the store playlist every day, and I was like, 'She's singing in a Scottish accent!’”\u003c\/p\u003e\n\u003cp\u003eFor Fairfull, ‘Lonely Girl’ is an ode to seeking out that community, those formative friendships that help you navigate life. “You're going through so many different things, and the one thing that you need is community. I want people not to feel alone. 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In the baroque pop-infused ‘Big Romance’, The Last Dinner Party frontwoman Abigail Morris appears on vocal duties, fitting for a track that the Brit Award winner was adamant should make the record. “She's the one who pushed me to keep going with that song. I started writing that when I was 22. It's lived through so many different lives.” \u003cbr\u003e\u003cbr\u003eLike Morris’s steadfast belief, the friends have been a constant, on stage and off. Before she was in The Last Dinner Party, Morris played a few Scottish dates on keyboards for Lucia \u0026amp; The Best Boys, and that’s a precious synergy as Fairfull explains. “Being able to share these experiences with other women who understand where you're at, what you're doing, it's really empowering.” \u003cbr\u003e\u003cbr\u003eThis idea of persistence appears again in title track ‘Picking Petals’, a song that yearns for acceptance with Haim sister-style staccato delivery in the marching middle eight and a soaring solo to match. 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