Indie Rock

Having previously released a slew of tapes on labels such as Clan Destine Records and Live Adult Entertainment, Penelope's Fiancé lands on Hypermedium for his vinyl debut. Hailing from Stavroupoli, Thessaloniki, Penelope's Fiancé has been keeping over the past few years a fast pace of work, constantly producing tracks and releasing new music, having shaped a unique sound that drifts across the borders of lo-fi, post-industrial and fuzzy techno. The Cutting Edge Of A Knife is the culmination of all these previous excursions, a solid display of his ability to craft emotionally intense tracks, merging a ghostly, gloomy grandeur with squelching percussive patterns. Opener 'Lethe' emerges from the haze with its cryptic atmosphere, moulded in lethargic drones, scattered vocalisms and sparse yet piercing beats and rhythmic build-ups. A panic-fuelled, 160bpm ravey epic, 'Futile Endevours' brandishes an ecstatic, pumelling rhythm over recurring trance- flavored melodic phrases and unnerving vocal samples. 'I Wasn't Always There' is a seductive, dark elegy whose melancholic and lush synth melodies wash over chopping kicks and ice-cold hi-hats. 'Anxiety' sounds like a slow techno roller, where frozen metallic percussion meets a cavernous bass, right before the off-kilter, cacophonous buzz of 'The Lie Closest To The Truth'. Closing track 'The Cutting Edge Of A Knife' is an intoxicated oriental-stepper, soaked in vaporous middle-eastern percussion and muezzin-like chants.

Porto-based experimental duo Paisiel comprise Portuguese drummer Joao Pais Filipe and German saxophonist Julius Gabriel. Both full-time musicians across several genres and disciplines, with Rocket Recordings having just released a collaborative album between Joao and Salford hit squad Gnod titled 'Faca De Fogo', the vibe Paisiel achieve across their second album 'Unconscious Death Wishes' sounds specific, singular and ultimately unique. 'Unconscious Death Wishes' is a single 39-minute piece recorded using improvisation based around composed structures, or what the drummer calls "instant composition". Beginning quietly and mournfully, an array of percussion, avantelectro synths (think Cabaret Voltaire or Muslimgauze) and expansive sax swiftly takes hold. At times, this could be a late 60s proto-Krautrock cafeteria jam, early 70s New York loft jazz happening or Brazilian street parade from whichever decade takes your fancy.Listeners might read all kinds of emotions or states of mind into this music: Paisiel themselves play to transcend such earthly concerns. 'Unconscious Death Wishes' is their way of evoking, in Julius' words, "landscapes, shapes, colours, proportions and movements".

John Moods is the solo music exploration of Jonathan Jarzyna from the band Fenster Alone in the world, we find ourselves. Inside ourselves, we find something to share with the world. The Essential John Moods, a solo album in all senses of the word, is what Jonathan Jarzyna of Fenster found in himself during a summer spent hiking along the Iberian coast, and he now wants to share it with you. A mini-guitar on his back and a copy of GarageBand on his phone allowed Jarzyna to record songs each evening as he arrived in a new town after a long day traveling by foot. (He did, admittedly, add live drum tracks and some additional instrumentation back in Berlin.) The album preserves this peripatetic feeling, each song relating to the next as one city or village relates to its neighbor, its unique situation contrasting with the shared architectural vernacular. Blipping instrumental interludes (“Trainride,” “Pontevedra,” “Coastal Way”) even capture the disordered, delirious feeling of transit hubs and the sleep-bleared mystery of waking on an unfamiliar road. “I just came alive completely” are the first words Jarzyna murmurs on “New Spring,” invoking the spirit of the album. He speaks not of the liveliness of manic activity, but the heightened, tender sensitivity of presence. It’s a fullness of living captured by the transition from the lush, jangling groove of “The Weight” to the spacious contemplation of “Pawns.” The dreamy echo of the 60s’ and 70s’ soft rock and folk troubadours suffuses the album, and the organ-soaked “Where In The World” even has a psychedelic tinge. But the overall effect is quite contemporary, from the back-of-the-nightbus lounge funk of “Take It Home” (featuring an amazing turn from arch-crooner Sean Nicholas Savage) to the mournful cupboard jazz of “Almost Gone.” “Dark Wall” sounds like a honkytonk ramble alongside a robot tentatively learning to play lap steel. “Leap of Love,” an early album highlight, passes over the listener in shimmering waves, a love song which remains a mystery even to its creator. In the meditation tape coda “Relax Your Foot,” Jarzyna selects the perfect sample to encapsulate The Essential John Moods’ hopeful receptivity: the late Professor Carl Sagan reminding us that “despite our limitations and fallibilities, we humans are capable of greatness.”

Initial pressing on blue vinyl. "An alternate universe where Brian Eno produced "Rumours" and Alex Chilton wrote songs with Blondie_" San Francisco 5 piece LATITUDE sophomore album "Mystic Hotline" builds on the foundations of their acclaimed 2017 Debut with a triumphant foray into 21st century power pop. Centered around the dazzling vocal performance of Amy Fowler, tight band arrangements and accomplished delivery, the 10 tracks crackle with proficiency and elan. _"Effervescent power pop bliss with infectious melodies, jangly guitars, sparkling synths, and more hooks than your local bait & tackle_." Although often drawing comparisons to such pop heavyweights as Blondie, The Nerves, Nick Lowe, and The Pretenders LATITUDE are far from revivalists, as this album testifies. "Mystic Hotline" reflects the present darker mood of the country, veering from carefree 60s/70s pop into more angsty 80s territory. That sentiment is evident in "Damage Control", a sonic bristling at a grotesque new Trump reality. "Rising" testifies to the senselessness of the Ghost Ship fire in Oakland, and the media blame game that followed. Vertical Highway is a deceptively happy ditty about death. Those are counterbalanced by songs like Thursday Is The New Sunday's praise for lazy love and I Love The Radio, a tribute to the many talented female musicians in the Bay Area.

Tim Melina Theo Bobby, Joan of Arc's final album, might be their most personal and adventurous to date, culminating the band's many inspired, divergent sounds into one self-reflective, conclusive statement. Joan of Arc always felt like an experimental intersection of its members interests. As prolific of a band as they have been, none of the albums sounded the same, none of the albums imagined themselves as too big to fail in the name of trying something new. They always felt like more of a collective than anything else. A smattering of gifted contributors, fighting their way through their own creative whims. Their shows, a type of controlled chaos. A chaos that required a close and gentle ear, or else one might miss the delicate daggers of lyric woven into the walls of sound, the walls of slow movement. ­It is good to determine your own endings; for yourself, but also for the sake of whatever comes next. To have the band going out on their own terms, still steeped in their own sound_melancholic, but biting; cynical, but also witty; a sonic forest that is both comfortable, but also a little treacherous. We are used to mourning moments like this, letting go of a beloved band. But a listener can hear in this album that these people still love making music together. They're still excited by how far they can push each other creatively. And to know that and still decide that you have given all you can give as a band is a real gift. It is better this way, to lay a project down at the feet of fans, and listeners, and have it treated with joy, and not sadness. Musicians owe growth to themselves, they owe exploration, and excitement, and eager noise-making to themselves. Whatever fans get out of that, at the end of the day, is something we should all be grateful for. And in the case of Joan of Arc, we got over two decades of it

With everything shut by nine, Ben Holton and Rob Glover were trapped in bedrooms; too young to escape the watchful eye of parents. They were contemplating starting a band. New sounds emerge from across the hallway. A sticker covered door, entry denied by an older brother sat behind blasting out pirate radio; not suitable for young ears. Perhaps a familiar scene from the nineties. And so, drawing on a musical palette of those heard sounds, coupled with ruminations on ageing and a dose of epic45 shimmer; 'Cropping The Aftermath' makes its way into the world. "The 90s were our adolescent years, in which we grasped around for an identity and set of ideologies to live by. Of course, guitars won through in the end but these sounds were always on our periphery and an indirect influence." agree, Ben Holton & Rob Glover. 'Cropping the Aftermath' is the second release by epic45 in 2020; the 'We Were Never Here' photobook project came out in May. It was an instrumental release featuring large scale photography taken during 2018-2019, of 'nowhere places' eerily devoid of human life. The current line-up consists of founder members Ben Holton and Rob Glover, with James Yates, a long term collaborator whose role within the band has grown organically over time. epic45 will be rescheduling all cancelled UK and Japanese live dates when appropriate.

The Copenhagen duo DEAP will release their debut album on the platforms Anyines and Polychrome. Behind DEAP stand composers and artists Pernille Zidore Nygaard (Panxing) and Aske Zidore (Anyines, An Gella, Gooms). With the album Musik i en tid (Music for a While) the couple have created a container for a series of vocal observations, notes on art, sound and lived life over time. Musik i en tid is the offspring of a symbiotic relationship, written and recorded on the coasts and in forests, churches, living rooms and barns of Scandinavia. The textures and traditions of these spaces are audible in the sound and feel of Musik i en tid, where field recordings and snippets of everyday situations in a shared life are also present. Elements that are often considered as distractions for serious music production such as washing dishes or kids playing and screaming, have been embraced and sometimes used as foundational for compositional processes. The list of contributors is long, full of children, siblings, beloved friends, fellow artists and a Swedish choir that all have crossed paths with Pernille and Aske during the past two years, making the result more of a collective piece, where circumstances have formed the outcome, rather than it being pre-arranged and produced. The release is the first in a series of a collaborations between Anyines and Polychrome; a new platform and physical space in Copenhagen for exhibitions, concerts and conversations. Musik i en tid is released as a limited edition 12" LP of 100 copies, and as an extension of the vinyl release, visual artist Maria Zahle (DK) has been invited to mark the cover, making each of the printed copies unique artworks.

White vinyl 5 track 10 inch EP. "Imagine the Buzzcocks with Syd Barrett as the singer!" Originally released as The Bachelor Pads' swansong single in 1991, Emotional Response have re-released this pop gem, as an accompaniment to the "Best Of" compilation LP. 5 songs, white wax, in a faux "Blue Note Records" styled sleeve and label, featuring a previously unheard stripped back piano mix of "Jenny Brown" and the full length 8 minute version of "Do It For For". THE BACHELOR PAD : five lysergically-enhanced heads from Strathbungo, Glasgow. Psychedelic punks born into, but delightfully out of step with the C86 fanzine culture of the time. Flashes of red and purple_ Perfect pop buried amidst a nuclear maelstrom of noise and excitement. During their brief existence they burned bright, squeezing out an album, 5 singles and a flexi-disc, with the cream of the crop being served up on this career spanning compilation. "_amid the sonic bedlam, they write the sweetest melodies, they've got the most agreeable harmonies. It's all about extremes: "Do It For Fun" is the noise your brain makes when everything you've taken comes on top at once; "Tumble And Fall" is as cute as a squirrel's nut, "The Coroner's Wife" is_. well, answers on a postcard, please." AlexisF Petridis

Limited Yellow vinyl, gatefold sleeve, with colour insert poster. "Imagine the Buzzcocks with Syd Barrett as the singer!" THE BACHELOR PAD : five lysergically-enhanced heads from Strathbungo, Glasgow. Psychedelic punks born into, but delightfully out of step with the C86 fanzine culture of the time. Flashes of red and purple_ Perfect pop buried amidst a nuclear maelstrom of noise and excitement. During their brief existence they burned bright, squeezing out an album, 5 singles and a flexi-disc, with the cream of the crop being served up on this career spanning compilation. "_amid the sonic bedlam, they write the sweetest melodies, they've got the most agreeable harmonies. It's all about extremes: "Do It For Fun" is the noise your brain makes when everything you've taken comes on top at once; "Tumble And Fall" is as cute as a squirrel's nut, "The Coroner's Wife" is_. well, answers on a postcard, please." Alexis Petridis

Splintered Metal Sky, the long-awaited new installment in the ever vast musical cannon of WHITE HILLS. The album takes the listener on a post-punk, psychedelic ride fueled by industrial-strength fuzz and propelled by powerful beats where songs weave in and out of each other to imitate the rhythm of the city the band calls home. Splintered Metal Sky is about oscillation and evolution. It's metamodern music looking at human existence in relation to technology and the hyper-driven architectural reshaping of a city. The music was largely inspired by the drone and roar of machinery pulsing through New York City, which is in a never-ending state of demolition and reconstruction. Dave and Ego took to the streets, gathering field recordings of sounds from the subway, drills, jackhammers, people in parks, traffic, mayhem and the occasional silence. These recordings were then manipulated and constructed into rhythmic lines that were used as the basis for songs. The music, mixing noise with disciplined beat, embodies the paradoxical nature of the city: the grimy littered dead end alley just steps away from the sleek luxury skyscraper; the half eaten chicken bone being devoured by a rat on the subway tracks just beneath the glittering facade of the Chrysler building; the endless milling about of the 8 million people who call this slab of land home on their way to and from everywhere and nowhere. Informed by industrial innovators Einstürzende Neubauten and SPK, the avant garde post-punk of Tuxedomoon and the dub-electro of Cabaret Voltaire, the album vibrates with the energy of a sensually feral, raw beast.

Limited edition second pressing on clear vinyl with a reusable plastic sleeve (no cellophane)! Back by popular demand, Memorials of Distinction is rereleasing Porridge Radio's shed-recorded debut album on a limited pressing of clear vinyl (and CD). This comes after a year in which Porridge Radio's Every Bad, their first on Secretly Canadian, led to top reviews in Pitchfork, The Guardian, NME, The Times, The Quietus, Clash, Uncut, Q, The Independent, LOBF, DIY, Stereogum, Paste, Vice, amongst others, and then being shortlisted as one of the Hyundai Mercury Prize's 12 Albums of 2020. Porridge Radio started as Dana Margolin's bedroom project, but grew to a Brighton-based band who, on this debut, inelegantly knotted together tender melodic pop songs with vicious and furious emotional outpour. After a series of home-recorded solo demos and the growing legend of their live shows on the UK DIY scene, they originally released this lofi debut full band LP in 2016. The album documents struggles with life, love and boredom - spelt out with sticky fingers by five idiot savants.

Moriaty are a 2 headed riff monster from the depths of sunny Devon, UK. They have carved out a much-heralded reputation with relentless gigging and incendiary live performances across the UK, Europe and a run in the east coast USA. Formed during a hazy weekend at a festival in Scotland, the pair had been in different bands previously, but decided to join forces, in the name of trying something new and free. A few jam sessions quickly spewed out what would become, Moriaty. Riffs so beefy you'll need horseradish, intelligent themes and groove, combined with an evolved guitar tone that would have Mjolnir shaking - a dry towel and some deep heat for your neck are essentials after a Moriaty show. .. …And with influences such as RATM, Dre/ Snoop, The Pharcyde, Black Sabbath, The White Stripes & Muse you can see why. However, their new record pushes softer influences like Radiohead, Blind Willie Mc Tell and Vulfpeck closer to centre stage at times, showing off the depth of creativity Moriaty have in the tool bag. Some esteemed endorsements came when the boys played with Muse & Seasick Steve on personal request by the artists themselves. Thom Yorke is a big fan after going to watch them at Leopallooza festival. Stephen Fry even appears on the record and members of IDLES have starred in previous videos. Their music has reached far and wide and you can find videos of fans covering their songs from Milan to Mexico.

Ltd edition BOOKBACK CD companion to the Deluxe vinyl reissue of The Lemonheads 'Lovey' for Record Store Day 2020, housed in a bookback sleeve with expanded liner notes and unseen photos - this is the definitive document of Dando's first steps towards the mainstream. *The lovingly repackaged CD is accompanied by a second disc, 'Triple J Live at the Wireless', an unearthed radio session taken from their 1991 trip to Australia. The major label debut for Evan Dando's Lemonheads from 1990, following three "ramshackle punk" (cSelect magazine) albums for Taang! Pivoted on a more approachable set of sweet melodies still rife with punky spirit. A light and dark album, polished in the arrangements, nodding to the excess of American culture (Manson and Gummi Bears), hectoring Reagan's drug laws ('Lil' Seed'), riffing on everyday life. Remastered with a freshly-dusted off second album featuring a full radio session recorded during their trip to Australia to promote the album and their gorgeous cover of Gram Parsons' 'Brass Buttons'. "Like Hüsker Dü when they were at their most ferocious or REM when they were at their most Byrdsian hypnotic." NME

With everything shut by nine, Ben Holton and Rob Glover were trapped in bedrooms; too young to escape the watchful eye of parents. They were contemplating starting a band. New sounds emerge from across the hallway. A sticker covered door, entry denied by an older brother sat behind blasting out pirate radio; not suitable for young ears. Perhaps a familiar scene from the nineties. And so, drawing on a musical palette of those heard sounds, coupled with ruminations on ageing and a dose of epic45 shimmer; 'Cropping The Aftermath' makes its way into the world. "The 90s were our adolescent years, in which we grasped around for an identity and set of ideologies to live by. Of course, guitars won through in the end but these sounds were always on our periphery and an indirect influence." agree, Ben Holton & Rob Glover. 'Cropping the Aftermath' is the second release by epic45 in 2020; the 'We Were Never Here' photobook project came out in May. It was an instrumental release featuring large scale photography taken during 2018-2019, of 'nowhere places' eerily devoid of human life. The current line-up consists of founder members Ben Holton and Rob Glover, with James Yates, a long term collaborator whose role within the band has grown organically over time. epic45 will be rescheduling all cancelled UK and Japanese live dates when appropriate.

Lo-fi indie project of Peter Helmis (Algernon Cadwallader) and Nate Dionne (Snowing, Glocca Morra) who also played together in Dogs On Acid, a power-pop project with a small but fiercely dedicated fan base. Together again as Yankee Bluff, the pair have hunkered down at Philadelphia's favorite batting cage slash DIY venue Everybody Hits to record this excellent punk/lo-fi/indie rock/dirt-pop album.

North America's answer to the legendary UK C86 compilation Includes an 80+ page booklet with a comprehensive oral history of the American jangle pop scene and tons of photos and ephemera // Strum & Thrum: The American Jangle Underground 1983-1987 is the first volume of Captured Tracks' new venture into compilations - Excavations. Inspired by Pebbles, Killed By Death, Soul Jazz and Numero Group compilations, Excavations is a series dedicated to compiling forgotten music from the 1970s - 1990s that has a connection to Captured Tracks' sound and aesthetic. Much like the Cleaners from Venus, the Wake, and Saäda Bonaire reissues we've put out, Excavations releases will bridge the past to our current roster and showcase the kinds of sounds that inspire us. It makes sense that the first volume of Excavations is Strum & Thrum. As an American label, we've often wondered why British, Aussie, and Kiwi indie rock from the `80s has had the most influence on modern acts and the collector's market. Granted, the music released on Creation, Sarah, Cherry Red, Postcard, Flying Nun, et al. during that era was fantastic, but a parallel to this sound existed in the US and Canada as well. Outside of bands like R.E.M., the Rain Parade, the Dream Syndicate, and a few others, most of these bands received little attention from national or international press outlets and markets - unless they opted for a "big `80s" sound and signed to a major. The acts on this compilation are the antithesis of that, with a true DiY spirit that lead many of these bands to self-record and self-release within tiny local scenes in small cities and college towns across America. Though hardcore dominated the American underground at the time, the indie scene was no less vital and operated utilizing many of the distribution channels hardcore set up. The two genres may have sounded nothing alike, but the DiY ethos and dedication to community was the same_ But this isn't the story we're used to hearing. While noted underground archivist and compilation producer Johan Kugelberg has called the `80s the "Dark Ages" of indie rock, Strum & Thrum aims to shed light on this forgotten era of jangly, melodic rock music that emerged from the ashes of post punk and helped kick start the indie rock boom of the early `90s that continues to this day. Indeed, many artists featured on Strum & Thrum went on to be part of this boom - Archer Prewitt from the Sea & Cake, Jon Ginoli from Pansy Division, Ric Menck from Velvet Crush, Brent Rademaker from Beachwood Sparks, Barbara Manning, and more went on to be in well known bands in the `90s. This compilation is an essential listen for any fan of classic `80s indie bands like the Go-Betweens, Felt, the Church, the Bats, Shop Assistants, and the like. And if you're a fan of the early records Captured Tracks released by Beach Fossils, DIIV and Wild Nothing, you'll find a lot to love here as well. Spread across two LPs, Strum & Thrum includes an 80+ page booklet with an extensive oral history of the `80s indie scene, an introduction by Captured Tracks label head Mike Sniper, and tons of archival images and ephemera. Long live the jangle underground!

Bristol's Snails return in exuberant form on their second full-length album, 'Hard-wired'. Recommended to the label by Stephen Pastel and he knows a good 'un when he hears one. Over 10 songs that unfold with an origami-like precision and attention to detail, the west country 6-piece expand their lush, outsider-pop template into new sonic and emotional territory, alchemising existential doubt into condensed elegies of often breathtaking beauty. From opener "It doesn't have to be true", Hard-wired envelops the listener in a comforting intimacy of sound and vocal harmony, overflowing with a subtlety of lyricism and generosity of spirit that led Pete Paphides to praise their debut Safe in Silence as "simply the most effortlessly charming set of songs I've heard in a long time."Recording sessions for the LP were spread across three different Bristol studios. With basic tracking completed, further elements were added in his bedroom studio, from vintage synths and drum machines, to strings, Mellotron and percussion. Arrangements and song structure in some cases went through several iterations until they rang true to songwriter Dan Weltman's ears. Dan Weltman: guitar, vocals / Anna Kissell: vocals Holly McIntosh: bass guitar, vocals / Robin Williams: electric guitar Matthew Chaney: keyboards / Steve Dixon: drums Francesca Simmons: violin, viol

LP on 180g coloured vinyl (Transparent White), 300 copies ww for record stores only. Reykjavík maverick Henrik Björnsson is due to release 'Good Sick Fun', his eleventh album under the Singapore Sling project. Inspired by goth-rock, dub and big-band jazz on top of the usual fuzzed-out rock'n'roll touchstones that are seared into Henrik's work, the latest Singapore Sling full-length is as perversely hedonistic as they come - and that's not without competition by any means. An invitation to "rejoice in doing wrong", in Henrik's own words, 'Good Sick Fun' is the latest morbid and characteristically-depraved addition to a back-catalogue spanning nearly two decades from the cult Icelandic band. Arriving off the back of the 2019 'Killer Classics' LP, Henrik says of the new album: "Old rock'n'roll is the main influence on this record, as on most of my records. When I release a record it means rock'n'roll has saved my life, my mind and my soul once again. And it does that quite frequently. Sometimes I start running astray, getting sucked into pointless garbage and thinking it actually matters. Then I realize that it's absolute garbage and that nothing matters but rock'n'roll so I go and make a record instead."

Newly reissued limited-edition clear vinyl, 500 copies only for National album day. Pere Ubu's music is a disorienting mix of midwestern groove rock, "found" sound, analog synthesizers, falling-apart song structures and careening vocals. It is a mix that has mesmerized critics, musicians, and fans for decades. 'The Tenement Year' is the sixth studio album by American rock band Pere Ubu, their first album after reuniting following their 1982 break-up. The album chronicles another crucial era for the band, an escapade that retooled our understanding of what pop music is and moves away from the abstract sounds of their earlier releases. Here the band consisted of core members David Thomas, on vocals, trombone and melodeon; Allen Ravenstine on EML synthesisers and sax; Tony Maimone on bass and Scott Krauss on drums. They were joined by Jim Jones on guitar and Henry Cow drummer Chris 'Cutlery' Cutler on second drum kit. Quotes - "A classic" NME (Edwin Pouncey - 1988) // "Astonishing" Village Voice (Robert Christgau - 1988) // "It's still a band that blithely upends all that's solid and foursquare about rock." New York Times (Jon Pareles - 1988)

LP is initially on limited 180g purple vinyl with gatefold sleeve and 16 page lyric book. Through these strange and uncertain times it is sometimes a little hard to see any light at the end of the tunnel but this is where The Moons have stepped in. This long player is an album full of colour and raw songwriting recorded live in the legendary Studio 2 at Abbey Road Studios. With cinematic string arrangements and masterclass songwriting from the pen of singer/songwriter Andy Crofts this album will be your happy escape. "Most of this album had been unintentionally sat in my pocket for quite some time. Songs that I had written and forgotten about or had just lost their way and left unfinished. So that is why I wanted the album to simply be named Pocket Melodies. I had this inner feeling to pull them all together and it turned out my favourite Moons record." Andy Crofts.. Pocket Melodies takes you on a journey of glorious melodies leading you through love, romance, nostalgia, regret and unity. "I wanted to be true to myself with this record. My best strength is writing melodic pop songs so I just let it all flow as I wanted this album to be soaked in colour and completely natural. There's no pretence, it's just straight up pop songs. I have always worn my heart on my sleeve when it comes to my feelings and I think you can hear this in the lyrics this time." Andy Crofts_ The album features singles Riding Man and Today which received high praise and championed on BBC London and Radio X and a collaboration with Paul Weller on the song Tunnel Of Time. "I wrote all of the songs on the album except Tunnel Of Time which is a collaboration between myself and Paul Weller.." Andy Crofts_