Heavenly 黑胶唱片和CD

Review: Not named after the notorious-famous Berlin techno institution Tresor, but instead taking its name from 'treasure' in Cornish, Gwenno presents her third full-length studio album, largely written in St. Ives, with most of the words Cornish, too. If that sounds pretty adventurous, then wait until you hear the tracks themselves, which benefit from handiwork by collaborator and friend Rhys Edwards, who is also credited with production of the record.

Introduction over, this is a wildly diverse and spectacularly different album. At times things feel haunting, almost choral. In other moments, we're in a 1960s-hued pop-y place, while work like 'Ardamm' seems born amid the dark room chug of underground goth post punk disco. Overall, it's certainly the artist's most spectacularly idea-filled outing, ensuring nobody is going to forget about it in a hurry.

Review: After a long emergence in and adjacent to the South London underground music scene, producer, singer, performer and outlandish mask donner Lynks returns to the fore with the announcement of their debut album, Abomination. Moving between the well-paired, current twinnings of post punk, art pop, and rubbery electronica, Lynks lays down a whopping debut full-length here, commenting on casual hookup culture and queer psychic contemporaneity amid a brash and ironically relentless weirdo rave faux-schlock.

Review: Saint Etienne's cult classic Good Humor marks its quarter-of-a-century anniversary with this special splatter vinyl reissue edition. It comes with the original artwork and inner sleeve that was used back in 1998 when it first dropped and it has aged fantastically well. The title is an intentional US spelling to kick back against the 'quintessentially English' tag the band often got given. It also found them leaving behind indie dance and serving up some extra acoustic and orchestral elements with plenty of synth-pop hooks and dance grooves.

Review: Working Men's Club have already gone on a wild ride despite only forming in mid-2018. They were already on Melodic with their debut single one year later, soon snapped up by Heavenly who released their self-titled debut in 2020. As they've grown fast, their sound has raced towards a compelling kind of synth pop clearly indebted to the likes of Cabaret Voltaire and The Human League, but certainly not constrained by those monolithic influences. On their second album, lead single 'Widow' points to a powerful, subtly noirish sound. It's a little more bombastic compared to the angular funk of earlier single 'John Cooper Clarke', but not less refined and clear in its intentions.