{"title":"Tin Angel","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eTin Angel is an independent record label based in Coventry, England. With a rich history spanning several decades, the label has established itself as a prominent player in the music industry. Known for its commitment to supporting emerging artists and promoting unique sounds, Tin Angel has become synonymous with quality and innovation.\u003c\/p\u003e\n\n\u003cp\u003eSince its inception, Tin Angel has released an impressive catalogue of albums across various genres including folk, indie rock, and experimental music. The label takes pride in nurturing talent and providing a platform for *up-and-coming* musicians to showcase their creativity.\u003c\/p\u003e\n\n\u003cp\u003eWith a roster that boasts some of the most exciting names in contemporary music, Tin Angel continues to push boundaries and challenge conventions. From the haunting melodies of *Laura Cannell* to the introspective lyricism of *Richard Dawson*, each artist on the label brings something distinctive to the table.\u003c\/p\u003e","products":[{"product_id":"tough-baby","title":"Tough Baby","description":"\u003cp\u003eCrack Cloud’s new album \u003ci\u003eTough Baby\u003c\/i\u003e is both a clarion call and a life-manual for the listener. Unsurprisingly, it is a record with purpose and resolve. Nothing is wasted. Sometimes the music feels deliberately compressed, the essences extracted and bottled into an overpowering cordial, as on ‘115 At Night’, which sounds like an ‘80s Van Halen track being squeezed into another shape. And it’s difficult to see how a track like ‘Virtuous Industry’ can hold itself together, such are the sonic hoops it jumps through. The sharp angles and hook-laden guitar lines that were once seen as a trademark sound are less in evidence. Last track ‘Crackin Up’ does nod back to earlier releases with a booming beat and guitars that snag, like wool on barbed wire.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eTough Baby\u003c\/i\u003e contains music to think to, music with which to educate, agitate and organise. Zach Choy: “The name \u003ci\u003eTough Baby\u003c\/i\u003e is an allusion to our Planet. To our Culture. And to our Selves.” It’s made to remind us that whilst we are all in the gutter to some extent, some of us are looking at the kerb.\u003c\/p\u003e","brand":"Tin Angel","offers":[{"title":"Pink | LP","offer_id":50387964920139,"sku":"1164322","price":19.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50387963216203,"sku":"1164321","price":14.99,"currency_code":"GBP","in_stock":false},{"title":"LP","offer_id":50387965411659,"sku":"1164320","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ff6a28a9-fcb6-4cba-a2c2-a27e79944dce_thumbnail_4096.jpg?v=1726338737"},{"product_id":"when-your-this-this-in-love","title":"When Your This, This In love","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eWith \u003ci\u003eWhen You're This, This In Love\u003c\/i\u003e he put all his signature sounds together so if somebody was going to ask what record of his they should listen to then this would be a good start because it has all his styles of song done pretty good on it. He mostly sings folk songs sometimes dressed up as lounge-ballads, rock nocturnes, classical-chansons, time-traveling, lucid, jazzy feeling pop songs too. It might irk the base of your taste or the taste of your base.But it's not so contrarian as that. His songs are pleas. Laments. There's an olive branch behind his back.\u003c\/p\u003e","brand":"Tin Angel","offers":[{"title":"12\"","offer_id":50388031373643,"sku":"2016947","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_3a3ea201_thumbnail_4096.jpg?v=1726339224"},{"product_id":"deep-drive-2","title":"Deep Drive 2","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe identity of \u003ci\u003eDeep Drive\u003c\/i\u003e comes in large part from the way Zummo moves through the world. Using his smartphone, he records daily fragments: of daydreams and conversations, signage and slogans, moments that that strike him as insightful, odd, amusing, thereby creating a sonic collage of rhythms, melodies and voices. His deep baritone is imbued with laconic humour, and \u003ci\u003eDeep Drive\u003c\/i\u003e's track titles riff off his messaging. \"Prepare For Docking\" refers to the Staten Island ferry and the spectacle of humdrum city movements, but also suggests the nautical deep or even extraterrestrial life, with otherworldliness woven deep into the sound. \"It's not a recital,\" says Zummo, of this way of working, \"it's a movie.\" \u003ci\u003eDeep Drive\u003c\/i\u003e, then, is an album about the totality of the artistic process, seen from a generous and honest vantage point. 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And remarkably it does.\u003c\/p\u003e","brand":"Tin Angel","offers":[{"title":"CD.","offer_id":50388072038731,"sku":"1029989","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a4b1182d-9b2f-46f5-9250-44d7d2037f02_thumbnail_4096.jpg?v=1726339468"},{"product_id":"care","title":"Care","description":"\u003cp\u003eClamm's music was already concerned with the woes of the world, but the last two years have added extra urgency to their blown out, dystopian punk power.\u003c\/p\u003e\u003cp\u003eNew album \u003ci\u003eCare\u003c\/i\u003e is bigger, louder and darker than its predecessor. Clamm dodged lockdowns to record at Rolling Stock and Sound Park Studios with Nao Anzai (NO ZU, Cash Savage, Rolling Blackouts). Nao also plays fearsome synth on the album and has joined the band on- stage at recent shows. Saxophonist Anna Gordon (Mangelwurzel) contributes wild free jazz skronk to a number of tracks.\u003c\/p\u003e","brand":"Tin Angel","offers":[{"title":"Yellow | LP.","offer_id":50388622475595,"sku":"1162547","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/1c1893dc-89dc-426f-8eaa-b0a54f85344d_thumbnail_4096.jpg?v=1726345651"},{"product_id":"remote-motel","title":"Remote Motel","description":"\u003cp\u003eThe music of Sing Leaf - the project founded by Canadian artist David Como - often unfolds like fortuitous mementos sent by past selves. Having maintained a prolific recording output since the mid-to-late 2000s, Como's work manifests like reverie-like apparitions of his deepest interests. The brilliant Shu Ra cherry-picked global and local sounds with quizzical melancholy, whereas \u003ci\u003eNot Earth\u003c\/i\u003e nosedived into the cosmic and otherworldly. Unlike its predecessors, Sing Leaf's new album \u003ci\u003eRemote Motel\u003c\/i\u003e - out via Tin Angel Records takes Como to more grounded, earthbound places.\u003c\/p\u003e","brand":"Tin Angel","offers":[{"title":"LP","offer_id":50389960622411,"sku":"2081349","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/5052442023326_997f497b_thumbnail_4096.webp?v=1726376963"},{"product_id":"shimmer-7","title":"Shimmer","description":"\u003cp\u003eShimmer’s tones are unexpected, the combinations of instruments far off the beaten trails of familiar genres. It’s not quite jazz, not quite neoclassical, not quite soul, but something all its own. Saxophone, clarinet, glockenspiel, cello, pedal steel, synths, guitar and human voice merge in ethereal counterpoints that nod to chamber music, while the rhythm section drives the whole thing forward with an uncanny propulsion that feels cool, self-possessed and hyper contemporary. And all the while Shimmer makes sure to keep one foot outside time - stepping alone toward the ageless inward horizon. Its A-side contains four tightly orchestrated tracks recorded in Mexico City in 2023; the B-side is a single long experiment in texture, which Gilgore began writing at the beginning of the pandemic in 2020 and finished remotely in 2023. Think Jacques Brel’s \u003ci\u003eJe suis un soir d’été\u003c\/i\u003e. Think Chicago fusion à la Tortoise. Think the wall-of-sound production of David Axelrod. Think Steve Reich’s organs in polyrhythm. Think Arthur Russell’s neo-classical \u003ci\u003eTower of Meaning\u003c\/i\u003e. Think them all at once, then forget all that and open yourself to something new. What I mean is: when Jarrett Gilgore plays what we call the instruments, he’s not playing instruments. When he plays what we call notes, he’s not playing notes. When he composes what we call songs, he’s not composing songs. 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This bold move came with several adjustments. \u003ci\u003eFault Lines\u003c\/i\u003e is also a European record in its making. It first took shape at a session in Copenhagen in January 2019 where the band, still a four piece, recorded the beds before heading out on tour. The plan was to take a post-tour break and track some ideas that could be worked on remotely until everyone got back together in the early summer. Then everything \"kind of went sideways\". \u003ci\u003eFault Lines\u003c\/i\u003e stayed in an embryonic state for more than half a year, during which Deliluh reconfigured as a two piece. \u003c\/p\u003e\u003cp\u003eThe lockdowns did, however, provide the time to rework material, or reposition ideas in line with the circumstances the pair found themselves in. 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They began playing shows in 2019, sharing bills with virtually anyone who would have them. Jack Summers (vocals\/guitar) and Miles Harding (drums) had been friends and musical collaborators since early childhood. Under various banners, they performed for years with friends and siblings across Melbourne’s underground landscape. It wasn’t until they found Maisie Everett (vocals\/bass) that the CLAMM picture was complete. 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For fans of Arthur Russell, The Roches, Jenny Hval, Yo La Tengo, Cate Le Bon, Purple Mountains, Devon Sproule,  Cassandra Jenkins.\u003c\/p\u003e\u003cp\u003eKneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of? \u003c\/p\u003e\u003cp\u003eYou begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.\u003c\/p\u003e\u003cp\u003eOn \u003ci\u003eProgress Bakery\u003c\/i\u003e, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace. \u003c\/p\u003e\u003cp\u003eThe question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.\u003c\/p\u003e\u003cp\u003eMusic and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.\u003c\/p\u003e\u003cp\u003eSo often on \u003ci\u003eProgress Bakery\u003c\/i\u003e, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:\u003c\/p\u003e\u003cp\u003eI don’t wanna be made to see\u003c\/p\u003e\u003cp\u003eI just wanna ask “what’s that?”\u003c\/p\u003e\u003cp\u003eGrace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.\u003c\/p\u003e\u003cp\u003eLay in bed alone at night and ask aloud to the stillness, \u003c\/p\u003e\u003cp\u003e“What were you doing at the Albuquerque Airport?\u003c\/p\u003e\u003cp\u003eWhat were you doing there??”\u003c\/p\u003e\u003cp\u003eAnd hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place. \u003c\/p\u003e\u003cp\u003eEliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. 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On the last track of the album you’ll hear “Or do you only ever never want to make a single enemy? \/ That’s not freedom or humility \/ It’s nothing, honestly.” Oooh, that's a bad baby!\u003c\/p\u003e\n\u003cp\u003eA celebrated Toronto songwriter and performer, Alex Lukashevsky has always been disobedient.  Which simply means, nothing is off the table when he’s looking for his poetic voice; when trying to find the realest I of the teller. As he sings on the lead track “that musician that’s dead” The musician is radical\/ it’s the world that’s demented\/ listening with their eyes, the music looks dented\/ they’re over-represented.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eOOOOH!\u003c\/em\u003e was recorded in January 2024 at Sound Department in Toronto, engineered by Patrick Lefler (ROY), mixed by Grammy-nominated producer Matt Smith. All the songs were tracked live off the floor in two days, with one extra day for recording vocals, to keep the recording fully alive and breathing. As leader of Deep Dark United, as a solo performer, and a sideman in Brodie Wests’ Eucalyptus and Luka Kuplowsky’s Ryokan Band, Alex has been an outsized influence on the Toronto music scene that spawned acts like Broken Social Scene and Owen Pallett. (Pallett, who has toured with Lukashevsky, went so far as to record an entire album’s worth of Alex’s songs, backed by a full orchestra.) \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eLukashevsky has approached each of his albums and projects as something completely new, using only the musical boundaries he creates with each song. Even when he has recorded songs with nothing but his voice and his own acoustic guitar accompaniment, the results are never “stripped down” or “back to basics,”\u003c\/p\u003e\n\u003cp\u003eGong!\u003c\/p\u003e\n\u003cp\u003eHow do you get to heaven \/ have fun! have fun! \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eIt’s cool to approach music as a game of “spot the influence”; Burt Bacharach-meets-Black Flag; Lana Del Rey-meets-LCD Soundsystem etc. Glorified mash-ups are promising because of their conversational nature. But they can turn us into hyperboreans; blowing cold air beyond ourselves while doing what we can to remain warm.  To devise a game or a narrative is to have a winner and a loser, but we all know that  just as you win\/ so you lose. And does anything really change? Alex Lukashevsky and Cocoa Corner are more at ease drawing blind contours or playing an old game like consequences. They let things add up without knowing particularly how. Cognition is recognition.\u003c\/p\u003e\n\u003cp\u003eLukashevsky, in addition to writing all the songs, plays guitar and sings on \u003cem\u003eOOOOH!\u003c\/em\u003e, doing both in ways that are soulful and spikey at the same time. Joining him on guitar and vocals is his oldest child, Charlie Lukashevsky, who, at 23, is already a talented performer and songwriter in his own right. Cocoa Corner also includes Aidan McConnell, an in-demand drummer and composer, Jack Johnston, a jazz bassist and Barry Harris acolyte, and percussionist Evan Cartwright (The Weather Station, U.S. Girls, Cola, Tasseomancy), who plays steel pan and marching drum.\u003c\/p\u003e\n\u003cp\u003eWorking with his son and with other younger musicians is central to the album’s unpredictable aesthetic. It reinvigorated the sound in unexpected ways. Lukashevsky says, “I had to reconsider my own instincts. I had to deal with being 99 years old.\"\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003eIn addition to these performers, the album includes a tasty contribution from Meg Remy, the visionary musician and producer who is the leader of the critically acclaimed project U.S. Girls. Remy duets with Lukashevsky on the imagistic and sprawling album closer “things keep happening.”\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003eAbout that album title: \u003cem\u003eOOOOH! \u003c\/em\u003eis taken straight from “that musician that’s dead” an arch and unhinged comment on the exertion required to navigate a lifetime of music making. Lukashevsky’s delivery of that one emotive word is a kind of cultural posture, but also a hundred percent primitive expression. The impact is never less than visceral. His vocal delivery ranges through rich baritone blues to keening falsettos to a kind of  sprechstimme that periodically steps out from the music to grab the listener’s shirt.  He doesn’t sound too nice, but he is sincere. When life gives you lemons lament.  \u003c\/p\u003e\n\u003cp\u003eFor \u003cem\u003eOOOOH! \u003c\/em\u003ehis first official full-length album since 2012’s \u003cem\u003eToo Late Blues\u003c\/em\u003e,  (a collection of knotty-yet-effervescent tunes built upon the enchantingly serpentine harmonies of Lukashevsky and his vocal collaborators, Felicity Williams (Bahamas, Bernice) and Daniela Gesundheit (Snowblink, HYDRA)), Alex has once again broken apart and rebuilt his own approach to music. Or rather (because that sounds too over-determined), he has allowed his music to build itself into strange new shapes that only fleetingly and coincidentally, but happily, resemble anything that might be called rock and roll.  There is some editorializing within the song’s lyrics— Lukashevsky even cheekily contributes to the “spot the influence” game with the line “Muddy Waters, Rite of Spring!” a funny pre-emptive strike against anyone already reaching for some variation of avant-blues to describe what the song is up to here. In fact there are many names checked on this record (literally and in spirit); they are the lily pads that trace the path of this expression! Palestrina, Peter Pears and Benjamin Brittain, Andrés Segovia, Stravinsky, Lotte Lenya, Alice Coltrane, Skip James, Chuck Berry, D’Gary, Betty Carter, Mukhtiyar Ali, Chuck D, Yoko Ono, Hailu Mergia, David Bowie, Jane Siberry. rhythm is a skeleton mansion \/ haunted by melody \/ feckless prodigy \/ the world is under a spell \/ cast by some demon angel \/ Practice day and night \/ Try as hard as hell \/ no one can sing that well  \u003c\/p\u003e\n\u003cp\u003e               \u003cbr\u003eMusicians are often worried by the way in which they are prepared to fail rather than how they would like to succeed; it’s such a deep concern that it tempers their creativity and shackles their process. Current cultural proclivities, tend to comfort a certain kind of artistic failure and abnegate another kind. How many testimonials, full of  heartfelt care and investment, have you heard for Taylor Swift, and yet a craftsman like Chris Weisman is often dismissed easily as though he’s doing something anti-social. what’s throwing itself in my ears and my eyes \/ arrogant devil ad hominem christ.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe music you will hear on this recording veers off in multiple directions at once, and features a rock and roll spirit with a divergent heart. This is no sclerotic clomp of the Average Rock Song, but in fact a flood of humanity in all its darkness and moodiness and unpredictability. 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