Фирма Domino Records

Heavyweight black vinyl LP with a Gatefold polylined sleeve, 8 page booklet and comes with MP3 album download card. Peter Perrett - former frontman of The Only Ones - releases his debut solo album How The West Was Won through Domino. Perrett, whose incisive songcraft and sardonic drawl made him one of the most distinctive voices of the Seventies hasn’t released any music for 20 years. Bearing in mind his most famous song began “I always flirt with death” (Another Girl, Another Planet), this is one comeback that nobody saw coming. In the hands of certain songwriters, a story of resurrection and redemption might ring a little hollow, but when the songwriter is Peter Perrett, the usual rules have never applied. Perrett makes each song on How The West Was Won sound natural and effortless, as though he were continuing a briefly interrupted conversation rather than picking up the threads of a solo career that faltered two decades ago. He claims to have barely touched a guitar in the decade between The One’s 1996 album Woke Up Sticky and the 2007 reunion of The Only Ones; with Perrett, a hiatus could so easily turn into a hibernation. Yet Perrett’s familiar voice sounds like it simply stepped out of the room for a few minutes and popped back in again. Backed by his sons - Jamie and Peter Jr. on lead guitar and bass respectively - and produced by Chris Kimsey (The Rolling Stones), Peter’s intuitive feel for words; his flair for idiosyncratic metaphors and his deadpan wit are all still as sharp as ever. As demonstrated perfectly by the title track and album opener. It finds him railing against American imperialism and celebrity culture. The songs on How The West Was Won examine complex emotional terrain and extreme human behaviour, shot through as always with wry self-analysis. In a sense the album is a Perrett family affair: there are love songs (An Epic Story, C Voyeurger) from Peter to his wife of 47 years Zena. On Something In My Brain, Perrett discusses good choices, bad choices and ultimately the only choices that will guarantee survival. There are also songs where Perrett opens his curtains and stares out into a much-changed world (Man Of Extremes, Sweet Endeavour). How The West Was Won finds Perrett with energy in his blood, rediscovering the importance of rock’n’roll. Having turned 65 over the weekend, he has a fire burning inside him again, and a determination not to blow what could be his last chance. Record Label: Domino Records Style: Pop

First run CD with Gatefold wallet sleeve and a booklet containing lyrics and photographs.. Peter Perrett - former frontman of The Only Ones - releases his debut solo album How The West Was Won through Domino. Perrett, whose incisive songcraft and sardonic drawl made him one of the most distinctive voices of the Seventies hasn’t released any music for 20 years. Bearing in mind his most famous song began “I always flirt with death” (Another Girl, Another Planet), this is one comeback that nobody saw coming. In the hands of certain songwriters, a story of resurrection and redemption might ring a little hollow, but when the songwriter is Peter Perrett, the usual rules have never applied. Perrett makes each song on How The West Was Won sound natural and effortless, as though he were continuing a briefly interrupted conversation rather than picking up the threads of a solo career that faltered two decades ago. He claims to have barely touched a guitar in the decade between The One’s 1996 album Woke Up Sticky and the 2007 reunion of The Only Ones; with Perrett, a hiatus could so easily turn into a hibernation. Yet Perrett’s familiar voice sounds like it simply stepped out of the room for a few minutes and popped back in again. Backed by his sons - Jamie and Peter Jr. on lead guitar and bass respectively - and produced by Chris Kimsey (The Rolling Stones), Peter’s intuitive feel for words; his flair for idiosyncratic metaphors and his deadpan wit are all still as sharp as ever. As demonstrated perfectly by the title track and album opener. It finds him railing against American imperialism and celebrity culture. The songs on How The West Was Won examine complex emotional terrain and extreme human behaviour, shot through as always with wry self-analysis. In a sense the album is a Perrett family affair: there are love songs (An Epic Story, C Voyeurger) from Peter to his wife of 47 years Zena. On Something In My Brain, Perrett discusses good choices, bad choices and ultimately the only choices that will guarantee survival. There are also songs where Perrett opens his curtains and stares out into a much-changed world (Man Of Extremes, Sweet Endeavour). How The West Was Won finds Perrett with energy in his blood, rediscovering the importance of rock’n’roll. Having turned 65 over the weekend, he has a fire burning inside him again, and a determination not to blow what could be his last chance. Record Label: Domino Records Style: Pop

Platinum Tips and Ice Cream (scenes from the water park) is new from Royal Trux. The songs were written over a span of time as wide as eagle’s wings - but the recordings are new, live, unrehearsed and were presented in real time to a few thousand people in California and NYC. Performance art? Yes! But only because, unlike so many other aural “content providers,” Neil Hagerty and Jennnifer Herrema are true artists writing their own futures into the present. This was, and will always be, Royal Trux. This new / 'live' / old song /new performance album is yet another chapter in one of the best books out there. Release #647, corresponding to the Cali penal code stating that Prostitution is against the law. Just a reminder so that they didn’t forget. It’s been a minute since Royal Trux went about making a record in 1-2 days, but they got that system on lock, and once again we see them setting parameters and adhering to them for maxx impact. Platinum Tips and Ice Cream was made in two days…one in Cali and one in NYC. The hold up came when listening back to the “live” qualities, which had been compromised the “AI” of modern, presumptuous (read: “spellcheck”) sound gear. Going back to undo the “smart changes” was tedious, yet imperative - bringing the actual experience and qualities of the performance, the rawness that could be felt and heard Live, to a finished form. These recordings conjure the early feral spirit of the band devouring the sophisticated sound of the later years and coughing up a motherfucking hairball of sound. Royal Trux has always played with the idea of “expectation” like it was a new toy at Christmas, and year in and year out wiped it out like the face of an old teddy bear. For them, a touchdown was best achieved in reverse, via counter-intelligent means. It is fucking Insane to hear how much that is still the case. This isn’t a butterfly mounted in amber; this is the sound of life….people getting through their set by any means necessary. Thoughts are flying in a million different directions, but staying with the plan is the number one rule. As the rhythm punches, the scabrous tone of Jennifer’s vox is matched only by Neil’s harsh, stinging guitar volleys – and the mad filters passing through the Bass Station. A personal playlist of hits rolls out – and not all rockers, but some slower jams and moments of deep heavy. But no “Back to School”?!? Well, that’s why there are more Trux shows coming up. And like they say, every night is gonna be a great night. Wrapped up in a Truxian collage scrapping together the crazy quilt of time in their Royal-iverse, which in the light of this reunion is now folding back over itself, Plantinum Tips and Ice Cream collects 12 Royal Trux non-sequiturs in tribute not only to the past but the unending nature of the future. Record Label: Domino Records Style: Alternative

Record Label: Domino Records Style: Singer / Songwriter

Platinum Tips and Ice Cream (scenes from the water park) is new from Royal Trux. The songs were written over a span of time as wide as eagle’s wings - but the recordings are new, live, unrehearsed and were presented in real time to a few th Record Label: Domino Records Style: Alternative

Limited Heavyweight 180 Gram Green translucent heavyweight vinyl with Download. On their new album II, LA Takedown align the moody grandeur of a film score with the pure melodicism of pop. Led by Los Angeles-based composer / multi-instrumentalist Aaron M. Olson, the seven-piece band deliver a guitar-driven take on synth-pop that’s inspired its own genre. II ultimately leaves it to the listener to dream up their own imaginary movie for each beautifully sprawling track to live in. At turns ethereal and frenzied, groove-heavy and narcotic, ‘II’ is lush with harmonized guitar leads and inspiration from the likes of King Crimson’s Robert Fripp, Japanese composer Tori Kudo and Nigerian musician King Sunny Adé, giving way to an intricately textured sound laced with jagged beats and serene washes of synth. Record Label: Domino Records Style: Independent

2LP - Double Heavyweight Vinyl With Download Code. With Best Troubador, Bonnie 'Prince Billy pays homage to a long-time and forever hero, the late Merle Haggard. A singer who, some 25 years previously, first performed in public by playing a Merle Haggard song, Bonny has often cited Merle's work in performance, on records and in conversation with anyone who was around, even talking to Merle himself for Filter magazine in 2009. Merle's body of work was considered by Bonny for a record such as this for some time, but his passing in April of 2016 almost put a stop to it. The goal was to participate in the handing forward of the songs of a living legend, as Merle had done so many times in his own career. With Merle gone, some of the impetus of the project was in peril. A plan to make the album in Nashville studios was abandoned. The songs still called to be played again, however - and so sessions were endeavored at home, capturing feeling, memory and new expression in familiar confines with the full-hearted playing and singing of the Bonafide United Musicians: Van Campbell, Nuala Kennedy, Danny Kiley, Drew Miller, Cheyenne Mize and Chris Rodahoffer, with special guests Mary Feiock, Emmett Kelly, A.J. Roach and Matt Sweeney. The songs sung on Best Troubador are pulled from all over - from Haggard's 3rd album in 1967 though to his 47th in 2011 - but this is no simple hits compilation. Capable only of occupying a shared space between himself and Merle Haggard, Bonny chose personal favorites, singing the songs he wanted to sing, to find Merle and himself together in the music. Only two of Hag's thirty-eight (!) country number ones are included, and only two others that charted at all. Seven of the sixteen songs are from his later period, after his long run at the top of the country charts had ended, but before encroaching mortality could finally cease the singular and indefatigable creativity of Merle Haggard. Best Troubador flips through his song book, landing on pages unmoored from their time and located anew. Moving from 1978 to 1969 to 2003 to 1981 allows the album to circle Haggard's music in a simulation of thought and memory, slipping around from spot to spot as if they were discrete impressions, unknown but knowable yet. Dedicated to new life and old, Best Troubadour is wistful and bittersweet and no lament at all but a tribute instead, for the triumph of a life spent in unending pursuit of the goal: new and expressive music, as our inspirations and heroes once sang it. Record Label: Domino Records Style: Singer / Songwriter

The Painters EP is a companion release to the band’s 10th studio album Painting With. The EP contains three new original tracks recorded during the Painting With era, and a studio recording of Jimmy Mack, (made famous by Martha and The Vandellas) performed during their live sets from this era. Record Label: Domino Records Style: Independent

With Best Troubador, Bonnie 'Prince Billy pays homage to a long-time and forever hero, the late Merle Haggard. A singer who, some 25 years previously, first performed in public by playing a Merle Haggard song, Bonny has often cited Merle's work in performance, on records and in conversation with anyone who was around, even talking to Merle himself for Filter magazine in 2009. Merle's body of work was considered by Bonny for a record such as this for some time, but his passing in April of 2016 almost put a stop to it. The goal was to participate in the handing forward of the songs of a living legend, as Merle had done so many times in his own career. With Merle gone, some of the impetus of the project was in peril. A plan to make the album in Nashville studios was abandoned. The songs still called to be played again, however - and so sessions were endeavored at home, capturing feeling, memory and new expression in familiar confines with the full-hearted playing and singing of the Bonafide United Musicians: Van Campbell, Nuala Kennedy, Danny Kiley, Drew Miller, Cheyenne Mize and Chris Rodahoffer, with special guests Mary Feiock, Emmett Kelly, A.J. Roach and Matt Sweeney. The songs sung on Best Troubador are pulled from all over - from Haggard's 3rd album in 1967 though to his 47th in 2011 - but this is no simple hits compilation. Capable only of occupying a shared space between himself and Merle Haggard, Bonny chose personal favorites, singing the songs he wanted to sing, to find Merle and himself together in the music. Only two of Hag's thirty-eight (!) country number ones are included, and only two others that charted at all. Seven of the sixteen songs are from his later period, after his long run at the top of the country charts had ended, but before encroaching mortality could finally cease the singular and indefatigable creativity of Merle Haggard. Best Troubador flips through his song book, landing on pages unmoored from their time and located anew. Moving from 1978 to 1969 to 2003 to 1981 allows the album to circle Haggard's music in a simulation of thought and memory, slipping around from spot to spot as if they were discrete impressions, unknown but knowable yet. Dedicated to new life and old, Best Troubadour is wistful and bittersweet and no lament at all but a tribute instead, for the triumph of a life spent in unending pursuit of the goal: new and expressive music, as our inspirations and heroes once sang it. Record Label: Domino Records Style: Singer / Songwriter

double heavyweight vinyl plus 2 bonus tracks (vinyl only!) Record Label: Domino Records Style: World Music

Limited Heavyweight Double Blue Coloured Vinyl and Download. Holter's new LP was recorded at RAK Studios shortly after her set at Green Man in Wales this summer. It's named after a track on 2012 record Ekstasis and features material from throughout her career. This is first release as part of Domino's Documents - an irregular new series of live studio recordings designed to capture the live arrangements of our artists and their bands in high fidelity. Taking its inspiration from classic BBC sessions, each Documents release will be recorded in no more than a day or two at a world class studio in London. Or at least that’s the plan Record Label: Domino Records Style: Pop

Mirror would turn out to be Pearce’s final offering as Flying Saucer Attack for 15 years, but at the time of its release in 2000 it felt like the start of something exciting and new – it was seen in some quarters as one of the first great records of the millennium. Sonically, it was Pearce’s most accessible and melodic album. “His sombre, acoustic folk still recalls the gentle melancholy of Nick Drake,” said the Pitchfork review, “but for the first time, the melodies and lyrics can be clearly deciphered.” Record Label: Domino Records Style: Independent

LP - Black Heavyweight Vinyl Board Mounted ‘Tip-On’ Gatefold Sleeve, Printed insert And Download card. Flying Saucer Attack’s self-titled debut album, released in 1993, was commonly known as Rural Psychedelia – an apt description for the rough-hewn soundscapes they crafted. These bedroom recordings made a virtue of the otherworldly, hissy mechanics of four-track cassette-to-vinyl duplication. Pearce realised that you didn’t need to layer 16 guitar tracks in an expensive studio to make a big noise. Recording directly on to a four-track resulted in a thick, distorted, abrasive sound that suited his needs perfectly. Record Label: Domino Records Style: Independent

LP - Black Heavyweight Vinyl, Printed On Manila Board (Brown Un-Coated) And Download Card. Mirror would turn out to be Pearce’s final offering as Flying Saucer Attack for 15 years, but at the time of its release in 2000 it felt like the start of something exciting and new – it was seen in some quarters as one of the first great records of the millennium. Sonically, it was Pearce’s most accessible and melodic album. “His sombre, acoustic folk still recalls the gentle melancholy of Nick Drake,” said the Pitchfork review, “but for the first time, the melodies and lyrics can be clearly deciphered.” Record Label: Domino Records Style: Independent

Flying Saucer Attack’s self-titled debut album, released in 1993, was commonly known as Rural Psychedelia – an apt description for the rough-hewn soundscapes they crafted. These bedroom recordings made a virtue of the otherworldly, hissy mechanics of four-track cassette-to-vinyl duplication. Pearce realised that you didn’t need to layer 16 guitar tracks in an expensive studio to make a big noise. Recording directly on to a four-track resulted in a thick, distorted, abrasive sound that suited his needs perfectly. Record Label: Domino Records Style: Independent

The Deluxe Heavyweight LP with Download Comes With A Bonus 7" Single Featuring The Songs Vulcan Hands And Part Time Alien. Record Label: Domino Records Style: Independent

Like Pavlov’s dogs, the listening public has been trained to respond to piano ballads as the sine qua non of heartfelt authenticity. Machines, though, can be kaleidoscopic conveyors of emotion. Witness Björk’s Vulnicura, an analogue/digital hybrid of untrammelled pain, or the proliferation of suffering digital dudes, best exemplified by Kanye’s 808s and Heartbreak and much James Blake. Enter Dirty Projectors, longtime dwellers on the cusp where twitchy hipster modishness and post-classical composition meet at R&B. A couple of years ago, main man David Longstreth (extracurricular credits: David Byrne, Solange, Joanna Newsom, Bombino, Kanye) and his erstwhile Dirty Projectors foil, Amber Coffman, broke up. The fallout cascades spectacularly all over this record, both in words – many of them pained and harsh – and as digital shrapnel. These nine tunes come strafed with audacious noises (squeaky toys, found sound) and elegant playfulness (witness Work Together’s sour Middle Eastern fantasia). There is dissonance, yes, but Longstreth is far too ninja-level to merely turn his guitar amps up into a sulk of post-breakup feedback. Instead, Dirty Projectors takes the breakup album – as sonically redefined by Beyoncé – and runs with it. Record Label: Domino Records Style: Indie Pop

In the time since 2014’s Piano Ombre, Francois Marry rediscovered his adolescent passion for the power of grunge. This energy he “lost on the way”, in his own words, resurfaced on two occasions. A collaboration with Hedi Slimane, who allowed him to immerse himself in the punk and grunge scene of L.A. - with bands like Wand and Sunflower Bean in particular - revived his passion for this electricity. Secondly, and especially, as the band performed live dates in the Middle East, they found themselves playing to a youth still feverish after its Arab Spring. As a man and as an artist, it felt necessary to have that grunge-ful spite, that healthy anger, to survive the horrors of 2015 and the chaos of the world, referred to in “Grand Dérèglement”, the introduction of Solide Mirage. Attacks, wars, the migrant crisis, generalised fear, the pre-apocalyptic atmosphere: a dark year for all and one which incited profound questions in Frànçois Marry. Solide Mirage - like an imperceptible dream, a fantasy where reality shifts as one approaches it – is a perfect definition for this protean, changeable-yet-direct album which reveals new facets and new territories in every listen. Sometimes soft (on 1982, Apocalypse a Ipsos, Pepétuel ete, 100.000.000), sometimes tough (Bete Morcelee and its rush of pure grunge, Grand Dereglement and the roughness and splinters of Jamais Deux Pareils), sometimes crazy (the digitized trance of Apres Apres), but always highly political, whether direct or reading between the lines. The album was recorded in Jet Studios in Brussels and produced by Ash Workman, who also worked on Piano Ombre and who has worked with Metronomy and Christine and The Queens, with strings performed by Owen Pallett. LP - Heavyweight Vinyl with Download. Record Label: Domino Records Style: Independent

In the time since 2014’s Piano Ombre, Francois Marry rediscovered his adolescent passion for the power of grunge. This energy he “lost on the way”, in his own words, resurfaced on two occasions. A collaboration with Hedi Slimane, who allowed him to immerse himself in the punk and grunge scene of L.A. - with bands like Wand and Sunflower Bean in particular - revived his passion for this electricity. Secondly, and especially, as the band performed live dates in the Middle East, they found themselves playing to a youth still feverish after its Arab Spring. As a man and as an artist, it felt necessary to have that grunge-ful spite, that healthy anger, to survive the horrors of 2015 and the chaos of the world, referred to in “Grand Dérèglement”, the introduction of Solide Mirage. Attacks, wars, the migrant crisis, generalised fear, the pre-apocalyptic atmosphere: a dark year for all and one which incited profound questions in Frànçois Marry. Solide Mirage - like an imperceptible dream, a fantasy where reality shifts as one approaches it – is a perfect definition for this protean, changeable-yet-direct album which reveals new facets and new territories in every listen. Sometimes soft (on 1982, Apocalypse a Ipsos, Pepétuel ete, 100.000.000), sometimes tough (Bete Morcelee and its rush of pure grunge, Grand Dereglement and the roughness and splinters of Jamais Deux Pareils), sometimes crazy (the digitized trance of Apres Apres), but always highly political, whether direct or reading between the lines. The album was recorded in Jet Studios in Brussels and produced by Ash Workman, who also worked on Piano Ombre and who has worked with Metronomy and Christine and The Queens, with strings performed by Owen Pallett. Record Label: Domino Records Style: Independent

LP - The long-out-of-print Time's Up 12” Vinyl LP, re-pressed on heavyweight black vinyl with a printed inner sleeve. ‘It’s the Buzz, Cock’. Howard Devoto read this headline from a January 1976 Time Out review of ‘Rock Follies’, the 1970s TV musical drama following the ups and downs of the fictional female rock group, ‘Little Ladies’. Adapting and appropriating it as the name for his new band that he had just formed with Pete Shelley having realised what a Sex Pistol was before anyone else. Buzzcocks formed having witnessed firsthand the white-heat of the early Sex Pistols. Howard and Pete went about organising the now infamous 1976 Lesser Free Trade Hall gigs that brought punk to the provinces and galvanized the new Manchester music revolution. The plan was to simply play support to the Pistols and then see what happened next…Featuring the original line-up of Howard Devoto (vocals and songwriter), Pete Shelley (guitar and songwriter), Steve Diggle (bass guitar) and John Maher (drums), Time’s Up was recorded at Revolution Studios, Bramhall Lane Stockport on the 18th of October 1976. The session, recording Buzzcocks’ live set at the time, cost £45 and was engineered by Andy MacPherson. Record Label: Domino Records Style: Punk/Hardcore