It was only a couple of months ago when we first heard San Francisco’s Octavian Winters… and we liked it so much that we bought a single that had crossed our inbox as a promo. “Elements Of Air” had been so great that when word got out Wednesday on the release of their new single “By The Stars,” we just went to Bandcamp and bought it straight away without so much as briefly sampling the goods. They had more than managed to inspire that level of confidence.
Stratis Capta Records | US | DL | 2026
Octavian Winters: By The Stars – US – DL [2026]
By The Stars 5:13
“By The Stars” began with a minor key guitar strummed by Stephan Salit over a synth drone; preparing us for something perhaps Gothic and disquieting. The rhythm section joined in and the restless bass guitar of Jay Denton began going to evocative places. The multi-tracked expression vocals of Ria Aursjoen did nothing to break the foreboding spell of the song as they entered the fray, but following a descending fill by drummer Randy Gzebb, everything began to change. The vocal melody of Ms. Aursjoen began to soar as the effulgent guitar changed course and the song began to erupt into shards of light.
“All the trees caress the sky And the clouds go by And the blue fades with the light Have you ever seen anything like it This star-spilled vast of night With silver threads of light That weave our fates out in the sky The dance of northern lights On a winter-frosted night Makes everything right Even as your heart falls to pieces”
By The Stars
The slow, placid tempo allowed the band to take their time with the beauty that was unfolding as cascades of glorious sound as the song pondered the joy of existence. Exploring the rhythms and cycles of life with an open heart full of wonder. This was a very different, yet equally sublime offering from Octavian Winters to their last single, and yes, they have certainly gotten our attention with these last two songs. The cover art to their last four singles dating from August of 2025 until now are of a piece, and this makes me very eager to hear the eventual album that their Bandcamp store alludes to.
By the evidence of the last two singles, the group have carved out a lively niche in the world of atmospheric Rock and this was yet another production by William Faith that showed how his facility with getting a song and band across the finish line successfully knows few peers. Let’s just say that if you ever held a torch for Cocteau Twins, then this song will definitely scratch your itch. This single was a scanty $2.00 for a 24/48 file in their Bandcamp store, but you, I, and your pet ferret know it’s worth more, so don’t forget to leave a tip. We can’t wait to see how the rest of the story of the next Octavian Waters album unfolds, but until then, DJ hit that button!
Doublespeak are [L-R]: Neil Arthur, Benge, Vince Clarke
I often ask myself, “where doesBenge find the time for his numerous projects?” He’s probably on the same chemicals as Steven Wilson. Both are habitually busy with musical projects of their own as well as many others. But I could also say the same of Neil Arthur of Blancmange and certainly the peripatetic Vince Clarke. The later two first appeared on the crucial “Some Bizzare Album” [which I can’t believe that I never had a copy of!] and while Benge started his career nearly half a lifetime later, in 1995, he’s produced a Bill Nelsonesque stream of dozens of solo album to which one can add a collaborative and production career of equal size!
Need I also point out that Arthur and Benge together have a side gig as Fader going on with three albums in the last nine years! Add foundational synthpop fountainhead Vince Clarke to the mix and we have the new trio, Doublespeak. It all began in 2017 with Vince and Neil communicating in email, when Neil proposed working together. Maybe a cover version would get the synapses firing? So they began working remotely on a cover of David Essex’s Dub adjacent 1973 hit, “Rock On” as the seed of the project.
Benge, who had a long period of collaboration with Arthur, was brought into the project at the midpoint to add the element X of his that could make the whole thing gel. Plus he has possibly more synths than Clarke [though this is debatable].) One gets the notion that many of the songs were Arthur picks because a lot of them were new to both Clarke and Benge. This allowed the collective to deconstruct the songs for maximum damage; thus insuring that they were not a faithful trawl through nostalgia but something else entirely.
The first song out of the box was a cover of one that both Clarke and Arthur certainly knew [but not Benge]; “Back To Nature” by Fad Gadget. The second single issued by Mute Records! I’m chastened to admit that I have a large Fad Gadget-shaped hole in my musical development, so let’s listen together and discuss.
Yow! Like any Benge production, it’s fantastic sounding with portentous chords of doom roping us in before the fragile, dinky, rhythm box began lurching forward as the bass kicked in and Mr. Arthur blasted his powerful voice at us deep into Dubspace. At the middle eight we had a synth loop ping-ponging from channel to channel on a delay. Like some grotesque burlesque of the much sleeker Morodersound™. It has the abrasive technological power of early Human League, and thanks to the pen of Frank Tovey [r.i.p.] it is just as eccentric and disturbing.
Sign me up for more! So what about the album? It is released on London Records [home to Blancmange] in all three formats on May 29th, 2026. Here’s how it looks and what it contains.
London Records | UK | CD/LP/CASS | 2026
Doublespeak: Doublespeak – UK – CD/LP/CASS [2026]
Back To Nature [Fad Gadget]
Brand – New – Life [Young Marble Giants]
The Visitors [ABBA]
I Can’t Escape Myself [The Sound]
Goodbye To Love [The Carpenters]
Rock On [David Essex]
Smoke And Mirrors [The Magnetic Fields]
Day Breaks, Night Heals [Thomas Leer & Robert Rental]
Gentle On My Mind [John Hartford]
Richard! [Ed Dowie]
End Credits [Laptop]
Nice! So there’s not only Fad Gadget but also Thomas Leer to represent the bleeding edge of the very earliest Synthpop that was coalescing around Clarke and Arthur in their youth. But the Avant Garde existed here cheek-by-jowl next to the popular Pop of ABBA® and The Carpenters. And yes, Young Marble Giants were duly represented even though I still have yet to hear them! “There’s not enough time and money in this life,” mutters this Monk.
Once they signed on with London Records, the label requested that they record some B-sides, so there are two songs they they have written together for filling out any singles. Leading into Clarke’s assertion that there will be more Doublespeak to come; and it won’t be covers. One of the B-sides is “Strange Weather,” and the other is “Sunset.” We can order the latter today on 7″ as we’ll next see.
Electronic Sound #137 with purple vinyl Doublespeak 7″ bundled together
Announced today is the latest issue [released May 22, 2026] of the often indispensable Electronic Sound magazine, who bundle a 7″ single by Doublespeak with a cover story on the latest issue on pre-sale today. It’s on purple vinyl with the usual black and white sleeve design that they favor.
Doublespeak: Back To Nature – UK – purple 7″ [2026]
Back To Nature
Sunset [instrumental]
The magazine with the extra 7″ will set us back the usual £14.99 plus the [draws breath] intercontinental postal costs. I would not mind a copy of this, and I’ve been known to indulge in copies of the magazine/7″ when needed, but I just had a vacation and need to reign in the music spending. But don’t let me stop you from indulging! So what are the buying options for all of this plunder?
The green ripple vinyl is a Doublespeak webstore exclusive
Doublespeak DL [24/96!] – €12.00 [Bandcamp]
Doublespeak CD – $14.99/€15.00 [official webstore/Bandcamp]
The prices are fair and the webstore bundles are offering better discounts than many of this nature. Along with t-shirts and tote bags. Why are there always tote bags? Does anyone actually buy these things? I’m just asking. I’d really love the CD so maybe I’ll see it at my local emporium and get lucky! DJs hit those buttons!
Last fall we were blindsided by the first new Heaven 17 single since 2016. “There’s Something About You” was a tight banger with superb drum programming that we bought the DL of immediately upon finding out. Imagine my shock when I discovered on my semi-annual trawl of the Heaven 17 website, looking for a repressing of the “Live At The Jazz cafe” 2xCD when my won’dring eyes perceived the heretofore secret fact that “There’s Something About You” was released later on a 12″ single!
This was the third modern Heaven 17 12″ single in the 21st century following “Pray” and “Captured.” And the “80’s 12 Inch Mix” it sported was a feature that was absolutely exclusive to the slab of wax you had to buy directly from the band. They had pressed up copies for the merch table on their 2025 “Sound With Vision” tour [which had been filmed for a documentary] and any remaining copies were now on sale in the H17 webstore.
In spite of the hefty $28.00 price tag [we all bear the costs of the vinyl bubble] and the cripplingly high shipping costs from the UK, I had to get this one! I couldn’t live with myself if I missed this. So after a suitable period of stockpiling money, I ordered a pair of copies. One was a birthday gift for a friend. It arrived about a month ago and we managed to give it a spin before the trip we just experienced. What are our findings?
Addict London | UK | 12″ | 2025 | AL 12001
Heaven 17: There’s Something About You – UK – 12″ [2025]
There’s Something About You [80’s 12inch Mix] 7:30
There’s Something About You 4:35
We were breathlessly dropped into the 12 mix …already in progress! The galloping beats were accentuated with fills but the rhythm track was already different from the backbeat heavy 7″ mix. The clattering backbeats were still here, but the overall feel was much groovier. Twangy synth bass hooks were eventually in a call-and-response dialogue with the higher frequency pitch-bent solo synths and orchestral pads.
The vibe was a widescreen luxury ride that set us up for the dubbed in vocals from Glenn Gregory as he teased the song’s chorus up front. I still submit that the resemblance to “Wanna Be Starting Something” is perhaps more than coincidence. As the vocal part of the song got underway it had developed into quite the sleek banger. The expansive groove was simply glorious! As fine as the 7″ mix was this one was going much further.
The middle eight instrumental synth solo dabbled here in nearly Gospel trappings before the drum fills returned us to the propulsive groove. Sweetened here by the usual lush H17 backing vocals that led us into the climax where Glenn played it cool and coy as the synths powered down into a fast fade.
⭐⭐⭐⭐⭐
Rating: 5 out of 5.
Wow! This one sounded fantastic, and had I heard this 12″ mix last year on release, this single would have sat much further up my top 2025 singles list than the number 13 showing for the 7″ version. It would have sat somewhere in the top five, I’d wager. And when I say that this record sounded fantastic, I don’t just mean the song! The pressing itself was rich and flawless with a noise threshold way down there and with nary a click or pop. This is the best record pressed in the 21st century I’ve heard thus far. Most are nowherenear this fine, and I really wish that the provenance of this was known so I could laud the pressing plant responsible. At least we knew that Stardelta had mastered this one. So their part in the chain of high quality here can be trumpeted.
The band suggest that another album may happen, and if so then the last three singles suggest that they could go out with a bang. Who knows how many of these gems were pressed up but if you value Heaven 17 and don’t want to simply wallow in their past glories [as fine as they are] then you should definitely dig deep and pony up for this superb 12″ single. When it’s gone, that will be that and you’ll only have yourself to blame as this 12″ follows the previous two into the high two-to-three-figures zone. DJ hit that button!
Well, we were gone and having fun recently; unable to write the blog for a bit. Now we’re back so we return our gaze to the non-LP single that Duran Duran released with Nile Rodgers on April 23, 2026. In practice, we like non-LP singles from our favorite bands. There’s something of a gift in a beloved band putting a quick little transmission out into the world between larger artistic statements that may take long periods of gestation.
Their new single, “Free To Love,” had its origins in the session for their last [outrageously great] album, “Danse Macabre” from 2023. I’m reminded now that we have two further DD albums to add to the Duran Duran Rock G.P.A. thread one day…but for today we’ll stick to the latest offering. So the band were jamming on grooves with Mr. Rodgers and this one was a result. But the mood of “Danse Macabre” was intentionally dark and moody and the vibe on this jam was simply too upbeat for the framework of “Danse Macabre.” So it was tabled at the time.
The demo was still whispering sweet nothings in the band’s ears, so it was pulled from obscurity and finished off as a one-off single in this modern a-go-go streaming world we live in. It’s done with increasing regularity as the album continues its slow death march in the current environment. Duran Duran last made one in 2021 with the stultifying Bowie cover of “Five Years.” Have they learned how to do this right in the interim?
Tape Modern | US | DL | 2026
Duran Duran + Nile Rodgers: Free To Love – US – DL [2026]
Free To Love 3:05
There was a bass pull that yanked us into the song immediately as the rhythm guitar hook from Mr. Rodgers yanked us even further into the zone of this song. The backing vocals here were shrill and of little character. Were they just a manipulated sample? Maybe. And then Simon LeBon delivered the lyric in a staccato syncopation with the overpowering rhythm guitar. It sounded like his voice had been processed fairly heavily here in the ways that cause me to disengage. And for such a rhythm heavy track, I was not getting too much evidence of any real drums from Roger Taylor to play off John’s actually hot bass playing. Which was by far the best trait in this song.
Once more Duran Duran seemed to be neglecting their finest asset: Roger and John Taylor’ssupafine rhythm section. John without Roger is like the group playing with one hand tied behind their backs! Don’t ask me why they prefer to work “in the box” but it is always to their detriment. And Simon didn’t sound terribly invested in the song either. Ultimately this track sounded like a lot of hard work was made to compensate for the “phoning it in” quality of the songwriting.
The poor “Paper Gods” album had another big Nile Rodgers collaboration on it with “Pressure Off.” Which featured eight writing credits; always a sign of desperation and bet hedging. At the time I remarked at how the song felt labored but it managed to congeal into what sounded like a Pop song at a more successful level than most of the album from which it came. I don’t think that “Free To Love” managed to rise to the same modest standard. It’s a not particularly memorable Duran Duran single. Their 51st, in fact. What do you think?
I’m hopeful that this is just another [small] dry patch on what has been a rather remarkable mature period five album arc in the last [gulp!] nineteen years with only one dud [“Paper Gods”] tainting what were four albums that I considered some of the best and most enjoyable of Duran Duran’s highly variable career. So I really must get to adding reviews of “Future Past” and “Danse Macabre” to the Rock G.P.A. for Double Duran™ so we can get up to speed before their next opus drops.
It’s funny about Joe Jackson. He was one of the first “New Wave” artists to get a toehold on the notoriously conservative Orlando FM Rock radio stations where I grew up. He was also the first rock concert I ever attended [“Night + Day” tour 1983]. But I’ve never really rated Joe Jackson all that much. I’ve got friends who are much more ardent in their fandom. Of the three legendary “Angry Young Men Of New Wave®” Joe rates a distant third behind Elvis Costello and Graham Parker. In the last 20 years, Parker and Jackson have basically switched places on that list, and let me owe up. The only one of them who I would like to own their entire output is just Parker!
Never the less, when my wife suggested stopping into Mr. K’s to while away an hour last Sunday [okay – throw me into that briar patch] one of the two CDs I was motivated to buy was Joe Jackson’s third album, “Beat Crazy,” which not only have I never owned before, I’ve never even heard it! Sure, sure. I was familiar with the title track, “Mad At You” and the pungent “Pretty Boys,” but the juxtaposition of those three songs, the insanely beautiful cover art [by Willy Smax], its ready availability at the right price, and the je ne sais quoi of my day off work conspired to move my hand for the first time in 35 years on this title. How was it?
Pretty interesting! First of all, I had never heard the amazing title track back in the day, but exposure to it over the years on Chas’ Crusty Old Wave® program gave me tantalizing glimpses of its dubbed out, feverish vibe. I was cool to ska in the ’79-’80 milieu of its contemporary ascendency. When Jackson’s third album dropped with ska coloring, I felt that it was about the trendiest thing that he could have done at that point, so I was not impressed. I was mainly into New Wave synth rock [about to coalesce into New Romanticism] so ska, at the time, was the retrograde enemy in UK pop. Exposure to “I Just Can’t Stop It” got me straight with second wave ska later in the year, so I came ’round eventually! I love this track for the crude, brash dub effects that producer Jackson troweled on with no subtlety at all. Also, his crafting of the song as a call-and-response duet between bassist Graham Maby with himself sounded fantastic! Gary Sanford’s deeply twangy Duade Eddy riffs that propel the tune forward were also a treat. The dizzy cover art managed to capture the frenzied vibe achieved here exceptionally well.
The next track, “One To One” was sagely picked by A+M US as the album’s lone single Stateside. With so much of the album swimming in ska and dub reggae, this made all of the sense in the world. It took Moon Records and another decade before ska was anything but a UK pop cult that didn’t really cross the big drink. What was fascinating about this song was the clarity with which Jackson telegraphed his future intentions at sophisticated, jazzy pop where he would have his greatest success. But “Night + Day” was a few years down the road. This track could have been released on that one, or even more appropriately, “Body + Soul.” Even so, the arrangement here was more electric than anything on those albums! It’s just voice, a bit of piano, and unrelenting, metronomic rim hits from drummer Dave Houghton, seasoned with the barest hint of organ. It’s one of the most minimal things from Jackson I’ve encountered and it makes me want more of this.
“The Evil Eye” was a surprise, in that Jackson wrote a odd bit of character study like that. It feels out of place on this album as it crafted a portrait of a paranoid young man who practices voodoo to strike back at all of the people who “crossed” him. This tune did win extra bonus points for name-checking The Cramps that early in their career in a song about voodoo.
“Mad At You” might have been the reason why I picked up this CD from the racks in the first place. I have very fond memories of the way over the top music video that I had seen in 1980 on “Rockworld,” years before MTV captured my eyeballs. I loved the scenes of Jackson emoting with a huge plate beans at the dinner table while Jackson in drag, portrayed the girlfriend rousing his ire. The violent guitar skank that the tune was built on was infectious, and the simplicity and directness of the chorus [“Maaaaaaaaaaaaaaaaaaaaaaad, at you!!!” x 2] simply could not be beat. The song [and its video] had been burned into my brain for years. What I did not know, was that the album version of the tune was twice as long as the single edit I had heard 35 years ago, and it featured another three minutes of dub mix. That as fussy a musician as Jackson would indulge in three minutes of such musical “filler” did not seem like something that he would do.
The “Mad At You” Triptych
“Side Two” began with “Crime Don’t Pay,” a strange number that seemed a little sloppy coming after the dubbed out excess of “Mad At You.” The construction and arrangement of this number was perverse in the extreme. After 1:15 of instrumental introduction, Jackson finally appeared to sing a narrative for about a minute that eschewed verse/chorus structure, and then reverted to instrumental vamping after a false stop at the 2:30 mark. If the last song were a bit indulgent, than this one seemed to be crossing a line. Due to its structure, it seemed far longer than it’s 4:24 length.
“Battleground” was a heated number than pulled no punches as it explored the dub poetry style of Linton Kwesi Johnson. Johnson received a dedication in the liner notes, so it was intentional. “Biology” was a real highlight and one of the cleverest songs here. Jackson was always up for pointed social commentary and this one delivers a strong payload. The man in the song explains to the woman why he cheated to the woman. The chorus featuring “B-i-o-l-o-g-y… can’t you see” is a kind of genius. I love it when the woman in the song pulls a reversal on the man and justifies her straying to the man in her own way. Quid pro quo.
I was familiar with “Pretty Boys” from the ubiquitously remaindered “Times Square” soundtrack. I didn’t remember the song packing such a powerful lyrical wallop though. It’s not just a screed against manufactured pop stars. That’s just the tip of the iceberg here! Jackson managed to extrapolate the roots of society’s many ills to the mindset that just began with empty, disposable pop stars. The nimble ska bounce here seemed pretty infectious. Maybe it was so upbeat that I never noticed where the lyrics actually went in the later verses. It’s hard to believe that the song only got a single release in The Netherlands.
This album actually managed to reel me in fairly strongly. I can’t say that it was something that ever happened with other Jackson albums I owned or had heard. The one factor here that seemed to stick out like a sore thumb was that it was Jackson’s first self-production, and as such, it sounded more raw and tentative than the much slicker albums that preceded and followed it. That rough vitality, coupled with the eclectic program of material that dallied with ska while telegraphing his forays into more sophisticated music seemed to be winning to my ears. However, I am all too aware, that this will probably not lead to a more common case where I want more Joe Jackson material in the Record Cell. I’m savvy enough to realize that this album, which I enjoy more than all of the other Joe jackson albums I’ve heard or owned, was a case of it being the awkward transitional album rather than being seen as an end to itself.
“This album represents a desperate attempt to make some sense of Rock and Roll. Deep in our hearts, we knew it was doomed to failure. The question remains: Why did we try?” – Joe Jackson, liner notes
When the crowdsource campaign for this album was originally announced, back in the lamb-like innocence of October, 2024, it had the name of “A Woman Of Certain Wisdom” before undergoing refinement to “New Phone New Car New Man” last year. It will be released tomorrow, and it will mark the first of two albums with Fay Fife singing on them this year. The Rezillosthird studio album is due in five months, also on the label that is bringing us this one. Scotland’s own Last Night From Glasgow. The non-profit label that cannot be stopped! But soft, what wonders await our ears?
Last Night From Glasgow | SCOT | CD/LP | 2026
Countess of Fife: New Phone New Car New Man – SCOT – CD [2026]
New Phone, New Car, New Man 4:05
Big Sister Little Sis 3;25
Call Me The Witch 4:07
Live Again 4:54
Who Stole The World 3:21
Sweet Beneath The Wishing Tree 4:34
Where The River Meets The Sea 4:38
Take Me To The Grave 3:14
Hard Woman To Love 3:45
Worn Out + Unloved 3:56
When I first heard the album title, my fevered imagination was imagining deep dive into Country Kitsch territory. My brain was building the song on its own, in broad strokes to match the outrageous cover art. But when the pre-release phase let the title cut loose, we found it was actually a poignant ballad that gently tugged our heartstrings. With lightly brushed drums from Willy Molleson and clean, trebly guitars lines from Brian McFie giving plenty of room for the voices here with glorious BVs from Kirsten Adamson with center stage for Fay as she resolved to keep moving forward, one step at a time.
The jaunty “Big Sister Little Sis” was the song where the original album title of “A Woman Of Certain Wisdom” had hailed from. The fiesty and upbeat number played out like a gender-swapped Johnny Cash Rockabilly song. With miles of defiant attitude [“Tell ’em all to gae ta Hell, and if it all comes crashing down, then you gotta tale to tell”] and plenty of Scots sass as Ms. Fife proceeded to dispense the benefit of her wisdom to a lass of the younger generation.
“Don’t do the things that I did… Do the things that I did better, Do it stronger…”
Big Sister Little Sis
Wolf-howl guitar signaled the opening of “Call Me The Witch;” a Swamp-Rock number with plenty of vampy bite. Ben Seal’s guest banjo linked forced with the double bass of Al Gare to pull us into the overgrown kudzu of the song. The drops in the beat allowed Fay to pull out all of the stops on the staccato syncopation of her delivery for maximum impact! The fiddle and viola of Chris Stout added even more baleful atmosphere to this song that offered it up in amounts thick enough to eat with a spoon. Mr. McFie’s middle eight guitar solo was pure black pepper; hot enough to burn going down.
The pre-release single of “Live Again” was a gentle, slow-burner of a song driven by tremolo guitar and brushed drums as it made its way through numbness and surrender to the stirrings of something resembling hope. “Who Stole The World” had the crackle and bop of a prime chunk of Nick Lowe popcraft and is as vibrant a song that might be covered by any number of other singers looking to enhance their albums an injection of rock solid material. One could only hope that any other singer would bring the ebullient joy that Ms. Fife did here.
The pensive ballad “Sweet Beneath The Wishing Tree” had the good taste to allow a wordless dialogue between McFie’s guitar and Fay’s organ in the instrumental middle eight. And here we heard the producer Martin Metcalfe and electric bass/banjo player Ben Seal proffering some backing vocals for a different feel. Later on, the more traditional backing vocalist Kirsten Adamson got to step into the foreground for a raucous duet with Fay on “Take Me To The Grave.”
In fact, it was Ms. Adamson who sang first on the tune, prompting me to wonder if Fay had been huffing helium at first as the sound was closer to Dolly Parton than to the Scot thrush we all know and love. Then Fay started trading fiery verses with Kirsten, with the latter invoking “big ol’ eighteen-wheeler trucks” into the the song as it built into a Gospel-like fervor at its “take me down to the river” breakdown. For a song with a refrain that was “take me to the grave with a broken heart,” it sure resisted any melancholy as it cruised into its climax on a bed of sunny organ chords.
The melisma of Ms. Fife carrying her syllables through several notes’ neighborhoods was as vibrant an example of the pure pleasure to be had on the album as the fiddles of Chris Stout that carried the melody along here. Then it was time for the stone-cold classic of the Honky Tonk bluster of “Worn Out + Unloved” to wrap this album up. When listening to it I could only wonder what it would take for Keith Richards to get involved with music like this! I think it could do him a world of good! The guitars and vibe here were so warm and rollicking that the sweetness of the pedal steel helped to deliver the low notes of Fay’s letter perfect and drawn out vocal climax on a silver platter.
⭐⭐⭐⭐⭐
Rating: 5 out of 5.
Fay Fife has been rehabilitating the notion of Country Music with her embrace of it in her golden years as the genre does offer a way out of the teen-oriented Girl Group zone where she began for “a woman of a certain wisdom.” I’ve been saying for ages that if The Rolling Stones had any remaining interest in their dignity, they would be plowing a similar furrow! But The Countess leaves those guys in the dust!
I’ve pledged to help fund the recording of this back in ’24 so my copy on the silver disc might be winging its way across the Atlantic Ocean as I type these words. But the options for a more modest buy-in are simple. The label distributes the physical goods with the limited edition colored vinyl LPs pink and amber LPs [signed and in limited numbers] for £25.00 each and CDs for £12.00. Just want a high-res download? That’s also £12.00 but only from the Countess’ Bandcamp store [which has physical copies – through LNFG, as well]. DJs hit those buttons!
Post-Punk Monk