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  • Nigel Lived (Pre-Order) Nigel Lived (Pre-Order) Quick View

    $37.99
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    Nigel Lived (Pre-Order)

    45th Anniversary Edition Of Murray Head's Groundbreaking 1972 Classic


    180-Gram Double 45s Pressed At RTI


    Old Style ''Tip On'' Gatefold Jacket + 8-Page Book Printed By Stoughton On Heavy Stock


    100% Analog Mastering From The Original Master Tapes


    Mastered by Kevin Gray At Cohearent Audio


    Murray Head's Nigel Lived is a groundbreaking classic and one of the boldest, most daring and inventive albums of all time. Recorded by the great recording engineer Phill Brown, Nigel Lived is from the golden era of all-analog recording, a sonic and musical masterpiece that every music lover and audiophile simply must have.


    In Spring of 1972 Murray Head was just 25, coming off amazing success on the stage and screen, when he recorded his debut album, Nigel Lived. And Nigel isn't just any album, it's an ambitious, experimental album full of great songs that required stunningly diverse recording techniques and instrumentation on every track. There are beautiful acoustic works that draw a straight line to Murray's later albums like ''Ruthie'' and ''When You Wake Up In The Morning,'' there are straight-up rockers and amazingly innovative tracks like ''Religion'' and the sprawling ''Junk.''


    Nigel's story arc unfolds as a three-act play in which Nigel leaves a small town for the big city, finds love and success before crashing into addiction and despair. The background locations, characters and scenes change sonically throughout as Nigel was a adventurous & pioneering effort in blending studio recording with an incredible array of location recordings captured all over London's West End.


    In the same way that films today operate on the ''found footage'' motif, Murray's ahead-of-its-time conceptual treatment for Nigel consisted of hand writing a ''diary'' for Nigel that was then ''found'' by Murray, who put Nigel's life to song. It's a brilliant narrative tool that allowed Murray to weave aspects of his own rich experiences in the whirlwind of late 60s London into the songs. Murray saw great success, making a splash on stage in Hair and on-screen in films like The Family Way and John Schlesinger's avant-garde Sunday Bloody Sunday. And he saw the depths working in a drug-addiction clinic and watching friends disappear into and eventually succumb to heroin.


    Nigel Lived is driven by Murray's tremendous energy, and the songs are witty, intense, achingly beautiful and exceptionally well-recorded

    LP 1
    1. Pacing On The Station
    2. Big City
    3. Bed & Breakfast
    4. The Party
    5. Ruthie
    6. City Scurry
    7. When You Wake Up In The Morning


    LP 2
    1. Why Do We Have To Hurt Our Heads?
    2. Pity The Poor Consumer
    3. Dole
    4. Nigel, Nigel
    5. Miss Illusion
    6. Religion
    7. Junk

    Murray Head
    $37.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed PRE-ORDER Buy Now
  • African Cookbook (Pure Pleasure) African Cookbook (Pure Pleasure) Quick View

    $34.99
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    African Cookbook (Pure Pleasure)

    When this set was recorded in 1964, pianist Randy Weston had no luck interesting any label to release the music, so he came out with it independently on his tiny Bakton company & then in 1972 Atlantic released the performances. It is surprising that no company in the mid-1960s signed Weston up because Willie's Tune from the set had the potential to catch on, Berkshire Blues is somewhat known and the mixture of accessible bop with African rhythms overall is appealing.


    Trumpeter Ray Copeland was responsible for the arrangements while Weston contributed all but one of the songs. Copeland and the great tenor Booker Ervin have their share of solo space, bassist Vishnu Wood and drummer Lenny McBrowne are fine in support, and on three numbers the percussion of Big Black and Sir Harold Murray are added; Big Black also sings on Congolese Children. An excellent outing, infectionously listenable!!



    Musicians:



    • Randy Weston (piano)

    • Ray Copeland (trumpet, fluegel horn)

    • Booker Ervin (tenor saxophone)

    • Vishnu Wood (bass)

    • Lenny McBrowne (drums)

    • Big Black (conga)

    • Sir Harold Murray (percussion)



    Recording: October 1964 at Nola Penthouse Studios, New York, by Tommy Nola
    Production: Randy Weston




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. Berkshire Blues
    2. Portrait Of Vivian
    3. Willie's Tune
    4. Niger Mambo
    5. African Cookbook
    6. Congolese Children
    7. Blues For Five Reasons
    Randy Weston
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Secret Treaties (Speakers Corner) Secret Treaties (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Secret Treaties (Speakers Corner)

    Back in the days of hard rock and surrounded by fierce competitors with such great names as the Doors, Black Sabbath and the Rolling Stones, a band had to attract attention with far more than histrionic pathos, biker boogie, an adept lead guitarist and a sharp-tongued singer. The band Blue Öyster Cult, founded on Long Island in 1971, possessed all this and much more, relating short scenarios in their lyrics, which conjured up people's imagination. Rolling Stone magazine enthused that it was »like listenin' to Hitchcock and Kubrick swap stories about their wet dreams«, and that the group »mix aesthetics and ass-kicking rock to such good advantage«.



    In their third studio album Secret Treaties, BÖC reached the pinnacle of their musical evolution with such memorable songs as Career Of Evil, Subhuman and Astronomy. The lyrics have literary value but are certainly not intended for sensitive souls - the phrases are direct and intentionally drily articulated. The music is as blatant and extroverted as the lyrics: the guitar sound is steely and straightforward, occasionally padded out with a see-sawing Hammond groove, and topped again and again by wonderfully rough string solos that speak the language of hard, merciless and full-bodied rock.



    Musicians:



    • Eric Bloom (guitar, keyboards, vocal)

    • Allen Lanier (keyboards, guitar, synthesizer)

    • Donald 'Buck Dharma' Roeser (guitar, vocal)

    • Joe Bouchard (bass, vocal)

    • Albert Bouchard (drums, vocal)



    Recording: 1974 by Tim Geelan and Jerry Smith

    Production: Murray Krugman and Sandy Pearlman




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

    1. Career of Evil
    2. Subhuman
    3. Dominance and Submission
    4. ME 262
    5. Cagey Cretins
    6. Harvester of Eyes
    7. Flaming Telepaths
    8. Astronomy
    Blue Oyster Cult
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tyranny And Mutation (Speakers Corner) Tyranny And Mutation (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Tyranny And Mutation (Speakers Corner)

    Let's look back nostalgically to the days when influential DJs presented their precious wares on the radio, which were lapped up by listeners and music pirates alike. That progressive, perhaps psycho, rockers such as the Blue Öyster Cult led a somewhat niche existence makes one all the more eager to listen to the truly awesome discs recorded by this group in their early days. An important start was made with the re-release of BÖC's Secret Treaties (Columbia KC 32858), which is now followed by Tyranny And Mutation - another great disc. Although the band offers a mix of slightly subdued, milder pieces, the opening number The Red & The Black makes it fully clear that we are in for a dizzy roller-coaster ride here. Subsequently the Black side with its straightforward guitar riffs is mixed together with a complex melody and results in an amazingly colourful sound (O.D.'d On Life Itself), it is refreshingly naive, full of feisty complicated rock (Baby Ice Dog), and soars to celestial heights in Wings Wetted Down with its polyphonic male voices.


    After the death of 'Lemmy' Kilmister in 2015, we can now enjoy only one group with a heavy-metal Umlaut in its name. But who wants to wait around until some radio DJ puts this great chunk of meaty rock'n'roll on the turntable?

    Musicians:



    • Eric Bloom (guitar, keyboards, vocal)

    • Allen Lanier (keyboards, guitar)

    • Donald 'Buck Dharma' Roeser (guitar, vocal)

    • Joe Bouchard (bass, vocal, keyboards)

    • Albert Bouchard (drums, vocal)



    Recording: 1972 at Columbia Studios, New York City, by Tim Geelan

    Production: Murray Krugman and Sandy Pearlman




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

    1. The Red & The Black
    2. O.D.'d On Life Itself
    3. Hot Rails To Hell
    4. 7 Screaming Diz-Busters
    5. Baby Ice Dog
    6. Wings Wetted Down
    7. Teen Archer
    8. Mistress Of The Salmon Salt (Quicklime Girl)
    Blue Oyster Cult
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Changes (Pure Pleasure) Changes (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Changes (Pure Pleasure)

    Contemporary jazz vocalists, caught in the current trend to accelerate their careers, are often indistinguishable from the pack, the essence of their music lost in haste. With her release of "Changes", veteran singer Carmen Lundy proves that this premise does not apply to her, rising to that proverbial summit to enjoy the rarefied air of the chosen few.


    Graced and gifted with a smooth, effortless voice, Lundy has been highly heralded since her landmark 2005 record, Live at the Madrid (Afrasia). Though she has done other records since, she is back with a supple encore of original compositions and novel directions. She states that she approached these songs with the guitar in mind and, accordingly, brought in premier guitarist Oscar Castro-Neves for his expertise in dealing with subtle, nuanced rhythms. Though he lays back on much of the recording, on Sleeping Alone he begins with his soft guitar sketching a distant samba. Lundy delivers the swaying tempo as only she can. They combine for another guitar/vocal duet on Where Love Surrounds Us, where the acoustic arrangement is sublime.


    There is a definite retro feel to this production, which hails back to a period of authentic recording methods when musicians took their time in composing, arranging and rehearsing. Pianist Anthony Wonsey plays a vintage Fender Rhodes on So Beautiful and Too Late For Love, which features trumpet man Nolan Shaheed playing off of the vocals. The band is fully in tune under Lundy's spell and the result is stupendous.


    Lundy attests that she is taking chances and making changes in her approach to songwriting and performing, and there is an underlying percussive element drifting throughout the selections. With a caressing style that blends intention with improvisation, Changes is that personal record she had within her. She has let it out for the world to hear.


    Musicians:



    • Carmen Lundy (vocal, harp)

    • Nolan Shaheed (fluegel horn, trumpet)

    • Antony Wonsey (piano, electric piano)

    • George Bohanon (trombone)

    • Oscar Castro-neves(guitar)

    • Kenny Davis (bass)

    • Jamison Ross (drums, percussion)



    Recording: June 2011 at Castle Oaks Recording Studios, Calabasas (CA), by Don Murray

    Production: Elisabeth Oei


    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. The Night Is Young
    2. So Beautiful
    3. Love Thy Neighbor
    4. A Nightingale Sang In Berkeley Square
    5. Sleeping Alone
    6. Too Late For Love
    7. Dance The Dance
    8. To Be Loved By You
    9. Where Love Surrounds Us
    Carmen Lundy
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Soul To Soul (Pure Pleasure) Soul To Soul (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Soul To Soul (Pure Pleasure)

    The acclaimed composer, jazz vocalist, producer, arranger and educator Carmen Lundy believes in honesty and sincerity in music. Her artistic passion has guided her around the world, working with numerous musicians such as Geri Allen, Patrice Rushen, Teri Lynne Carrington and many others. So it should come as no surprise that her fervent new song cycle, titled Soul To Soul, features an array of award-winning musicians that help her realize the next chapter in her critically acclaimed career.


    Soul To Soul is Carmen Lundy's 14th album and features 13 songs, 11 of which Carmen composed and arranged. She plays guitar on all tracks, piano on "Kindred Spirits", the electric Rhodes on "Don't You Know How I Feel", and the drums/percussion on "Sardegna" and also provides backing vocals on "Grace". The Los Angeles-based vocalist opens the program with "Kindred Spirits", a song that explores the concept of 'you reap what you sow' and the way you play the game of life. Next is "Life Is A Song In Me", during which Lundy's lyrics benefit from the synergy of her multi-octave range and vocalese, Rushen's Rhodes solo, Jamison Ross' exemplary drumming and the balanced backing vocals.


    Carmen Lundy continues to find new connections between the jazz elements used by vocalists and instrumentalists on the title track, "Soul To Soul". She adds the stellar accompaniment of trumpeter Randy Brecker, tenor saxophonist Ada Rovatti and piano chops of Patrice Rushen to underline her musical persona and vocal technique. The sound motion inherent in that song has great tone that many people will feel instantly and submit it to their memory and recall abilities. That is what makes a song a hit with people - its sound motion.


    Her great ballad, "When Will They Learn", is absolutely beautiful with its string arrangements for harpist Carol Robbins and the serene brushwork of Jamison Ross. Here Carmen delivers the song in her vocals lower octaves which make this moving song one of the best on the recording. You can hear that she has internalized the music, allowing it to flow in her veins and transferring it directly to the listener.
    Overall, Soul To Soul is among Carmen Lundy's best recordings. She understands that those notes she puts down on paper are important and have their place. But when it comes to delivering those notes, her vocal acumen and virtuosity proves that she has the right balance, the right accompaniments, the right musical formats and the right synergy, artistry and jazz sensibilities to make those inspired notes accessible to her worldwide fans. Check it out.


    Musicians:



    • Carmen Lundy (vocal, keyboard, guitar, drums, percussion)

    • Bennie Maupin (tenor saxophone, soprano saxophone)

    • Randy Brecker (trumpet, fluegel horn)

    • Patrice Rushen (keyboard)

    • Carol Robbins (harp)

    • Simphiwe Dana (vocals)

    • Darryl Hall (bass)

    • Mayra Casales (conga, percussion)

    • Jamison Ross (drums, percussion)



    Recording: 2014 at Firehouse Recording Studios, Pasadena (CA), by Don Murray
    Production: Elisabeth Oei & Carmen Lundy


    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. Kindred Spirits
    2. Life Is a Song in Me
    3. Soul to Soul
    4. When Will They Learn
    5. Daybreak
    6. Between Darkness and Dawn
    7. Grace
    8. Grateful, Pt. 1
    9. Grateful, Pt. 2
    10. Everything I Need
    11. Don't You Know How I Feel
    12. Sardegna
    13. What's Your Story, Morning Glory
    Carmen Lundy
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Conversations Conversations Quick View

    $18.99
    Buy Now
    x

    Conversations

    Woman's Hour are not your average band. The first clue comes in the name of the London-based swoon-pop four-piece, taken from a beloved female-focussed news and culture show on BBC Radio 4. The second is in their graphic, striking monochrome visuals, meticulously curated in collaboration with TATE and MOMA certified fine artists Oliver Chanarin and Adam Broomberg. These play with shape and texture, much like their powerful, iridescent music. On their excellent debut album 'Conversations', this has the intricate construction and intimacy of The xx and the iridescent shimmer of summer-defining indie pop. Pay attention now, or regret it later.


    In a sense, we feel like the odd ones out, explains frontwoman Fiona Burgess of their nose-to-tail approach to their visuals, performance and songcraft. It's quite empowering that we're doing it as four people but we're not part of a bigger collective. Indeed, their 360º approach is closer to the art/music crossover of acts such as Throbbing Gristle, Yoko Ono or Factory Floor than most of this year's indie hopes. Their music - as poignantly personal as pop gets - has a rare singularity and purpose.


    Take single Her Ghost, which layers a breezy guitar hook with Fiona's beautiful, sighing lyric of inner turmoil. I'm interested in the idea of memory and how powerful memories can be, and how powerful some things can be to let go of, she says. A lot of my writing is me trying to understand an emotion or situation. The track's melody and a message lingers in the recesses of the mind like a box of treasured letters.


    Woman's Hour started to come together one summer, when Fiona started collaborating with her brother, guitarist William Burgess. I had been to a couple of rehearsals with other bands and it wasn't very much fun, says William. I mentioned to Fiona that I'd like her to sing and we decided to have a go. I went round to her place one day and it turned our that she had a pretty nice voice! The two recruited bassist Nicolas Graves, who was William's friend from back home (the pair had played in a couple of local guitar bands back in Kendal) and the three began creating their music. Nicolas explains: We just messed around in each other's houses for a bit and tried to get a few songs together.


    We played our first gig in 2011, Nicolas continues. It was at Fiona's house in Camden. It was a hat-themed party. I remember wearing a beret. Fiona was wearing a trilby, and Will had a sombrero on. It was incredibly nerve-racking for the trio despite the jolly occasion (I almost froze with fear at one point laughs Nicolas), but the gig was a runaway success, and it was there that they all met keyboardist Josh Hunnisett, who was already a friend of Fiona's and happened to be doing the sound at the event. Even in the shambolic situation, the band were meticulous perfectionists.


    The quartet had their first rehearsal in an old vicarage in Dalston. It just felt really honest, says Josh. There was no 'you can't do this, you can't do that, don't try that - the style of music felt pure and everyone was expressing themselves in the way they wanted. We've tried to think about this as a collaboration between four different creative people. Each band member brings a wholly distinct set of influences to the band - from German cold wave to pop rarities and uncompromising singer/songwriters. Their website even has a section dedicated to recommended reading.


    But it was their favourite radio show that was to be have most prominent effect on the band. When we were first doing demos we named them all after BBC Radio 4 programmes, explains Nick. The World at One, Afternoon Play, that kind of thing. I think Woman's Hour might have been one of them, and when it came to play our first gig (at The Queen's Head in London) one of our friends suggested using it and it stuck. Indeed, their jangle-pop first single Jenni, which is quite different to their current material, was named after Radio 4 stalwart Jenni Murray. The band's first 7, Jenni/ Human, was released through London label Dirty Bingo after the label head tracked them down on online and interviewed them for beloved London zine Loud And Quiet.


    Although the single made a splash, things were moving too fast for the band. Suddenly we thought, 'should we have had something to back this up?, says William. 'We didn't have any more songs, so we took a year and a half off to write and develop the sound. That's also when we met Tom Morris, our producer. The band hibernated, starting from the bottom up. Let's get everything fucking slick, how we want it, let's do everything exactly how we want it ourselves - don't compromise.


    It was worth the wait. When the band put their gorgeously lilting comeback single Our Love Has No Rhythm online in 2013, the blogs exploded, in part due to the glossy monochrome video depicting Fiona's face in close-up, and also the stunning single artwork - an uneasy found image of a suited gentleman falling over. We've been using images that are taken from manuals, explains Fiona. Lots of different 'How To' manuals from How to Train a Chihuahua to How to Fall Over Without Hurting Yourself. We like the idea of how to look after yourself physically paired with the music, which is a lot less direct.


    Perhaps Woman's Hour's music does not hammer its message home, but there's a nuance and craft that's scarcely found in today's industry. They followed Our Love Has No Rhythm, with the cooing, Beach House-esque Darkest Place in which Fiona implores I don't understand why you're not around over swooning keyboards, with a cooing ooooh-ooooh hook. For the track's striking video, she'd is depicted in close crop with her eyes closed as an unknown figure attempts to prise them open. I was finishing a degree in performance studies at the time, and I came across this particular piece by Vito Acconci, she says of the inspiration for the video. The original piece is about 20 minutes long, and it's absolutely gruelling, there's no soundtrack to it and it's a piece where you can hear the sound in the room of two people in a physical struggle. You can hear the heavy breathing, the feet, the occasional sounds of resistance. She endured a restaging of the piece, which she found very intense and intimate.


    Woman's Hour have an uncompromising commitment to the unconventional. For them, music does not exist as merely a hummable soundtrack but as a wider and more artistic proposition. As Fiona continues: A lot of music videos are not very challenging, and I like the idea of them being quite confronting. Our album artwork is inspired by a picture of a woman surrounded by pyramids that was part of a magazine article called The Start of an Era. It was a 1970s performance piece that was performed at the Whitney Museum in New York, and we've also designed nine of these pyramids with Oliver Chanarin that we'll incorporate into our live show when possible. The Start of an Era? We couldn't have said it better ourselves.

    1. Unbroken Sequence
    2. Conversations
    3. To The End
    4. Darkest Place
    5. In Stillness We Remain
    6. Our Love Has No Rhythm
    7. Her Ghost
    8. Two Sides of You
    9. Devotion
    10. Reflections
    11. The Day That Needs Defending
    Woman's Hour
    $18.99
    Vinyl LP - Sealed Buy Now
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