{"title":"Fiction","description":"\u003cp\u003eFounded in 1978 by Chris Parry, Fiction is a renowned UK indie label that has been home to iconic band The Cure for over two decades. With its releases manufactured and distributed by Polydor (now Universal), the label has also licensed its music to various other labels worldwide. Known for its distinctive sound and influential artists, Fiction continues to be a driving force in the music industry.\u003c\/p\u003e","products":[{"product_id":"let-them-eat-chaos-album","title":"Let Them Eat Chaos ALBUM","description":"\u003cp\u003eKate Tempest started out when she was 16, and over ten years later she is a published playwright, novelist, poet and respected recording artist. 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Invention by its very definition being a 'unique method, composition, or process'. First Mind ticks all three boxes, and it ticks them in spades. As a founding member of sprawling, Mercury Prize nominated jazz collective, Portico Quartet, Nick played an otherworldly new instrument called The Hang, and their music still resonates today in broader circles outside of any insular jazz clique (Alt-J quoted one of Nick's Portico lyrics on their debut album). Nick though wanted a change, and one where the creative process was perhaps a more singular vision, albeit no less liberal-minded. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eFirst Mind\u003c\/i\u003e is an engrossing listen, and not easily defined. It encourages an open-mind (the 'First Mind' perhaps), and a sense of the worldliness that Nick poured into its making. Cucurucu is an interpretation of DH Lawrence's poem, Piano, wrapped within a heady groove. And groove, for all its modern day baggage, is at the heart of everything Nick Mulvey does. Nitrous, a song about a daydreamer selling laughing gas, positively radiates with a classic chug and groove when the bassline slinks in. There are contemplative moments too, 'Fever to the Form' and 'Meet Me'. There are poignant odes, whilst 'The Trellis' and 'Juramidam' showcase that leftfield, Eastern-inflected guitar technique. 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And being in awe of women within that. Their dignity, strength and courage in how they can deal with these things that feel beyond a man.” \u2028\u003c\/p\u003e\u003cp\u003eAlbum opener ‘When Everything Was Lost’, is chilling ozone rock with a hint of Bon Iver, capturing what Leo calls “that initial bombshell feeling”. From there, \u003ci\u003eUltrasound\u003c\/i\u003e picks its way through the wreckage, seeking light, with the languid and lustrous pop-gaze trio of ‘Bleach’, ‘Nightmares and Ice Cream’ and ‘Rabid Dog’. The hallucinogenic ‘Nightmares…’ was based on a dream Leo had about seeing his partner in the afterlife: “It was a very beautiful abstract thing that we were together and there was this total acceptance of what had happened and it was euphoric,” he says. \u003c\/p\u003e\u003cp\u003e  At the album’s core sit three songs of support and consolidation. ‘Make You Proud’ is about wanting to be the best version of yourself out of love for another. 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Worlds were turned upside down and inside out. Lives became seismically different, whilst every day a carbon copy of the last. So, whilst Covid pulled the duvet tightly up over our heads and sat on it whilst we muffle-screamed that we could not breathe, it was also the unlikely backdrop to welcoming new life. Vocalist Juliette Jackson might have started lockdown teaching fans how to play guitar on Zoom to help pay the rent (including, to her eternal bemusement, one Courtney Love), she ended it as mother to a super little human being. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eHere is Everything\u003c\/i\u003e documents the arrival of that fragile but mighty baby in real time, and the excitement and fear felt by this fragile but mighty mother. 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Keyboards are marshalled by old V2 labelmate Ben Christophers and drums are filled by Alex Reeves. elbow's brass section add to selected tracks whilst Rachael Gladwin, a steadying contrast to the party vibe of the team due her being pregnant, plays the harp and kora. 'Courting the Squall' is powered by influences and ideas that 'don't fit the elbow template'. Some tracks, notably 'Angela's Eyes', 'Harder Edges' and 'Belly of the Whale', come completely from groove, finding a sweet spot between Manchester's baggy past, long term love Tom Waits and Bowie's mid-70's albums, particularly 'Sound and Vision'. This change of type engendered a change of vocal approach, a clipped and more direct Garvey voice coming across, a hark back to his early days writing lyrics influenced by his listening to hip-hop where short delivery carries rhythm alongside meaning. Lyrical concerns encompass those familiar to Guy's past work at times, the big themes of love and friendship, the lure of his Northern homeland but tracks and lyrics were not always pre-planned. On one occasion a bird observed from the window of the recording studio became the catalyst for the music, at other times a loose jam approach crystallized both lyrically and musically into a finished composition. There were no rules. Having guested on various artist's albums as a vocalist, 'Courting the Squall' sees Guy duet on his own music again with the sumptuous 'Electricity' featuring Jolie Holland conjuring up images of illicit jazz dives in fin de siècle Paris or prohibition era New York in the distinctly non urban studio setting outside Bath. Alongside Jolie's credit, another, less familiar set of co-writers appear on the album but we'll leave that to you to discover. Yet not all of 'Courting the Squall' is a move away from the familiar. 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