New Burial E.P. containing 2 new tracks.
2. State Forest
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New Burial E.P. containing 2 new tracks.
2. State Forest
Last year, Scott Hill (vocals/guitar) found the original tapes from the Godzilla recording sessions produced by Josh Homme (Queens Of The Stone Age/Kyuss) and unearthed a secret that had been in his garage since 1996…The band had recorded 4 songs that had never been released.
The vinyl packaging is comprised of 3 x 10” records.
Pilon combined searing estilo Krioulu drumming and the hybrid ColaZouk style with blissful synth work and rugged guitar licks, creating a stripped-down, addictive sound that masterfully straddled two worlds, a seductive electro-Funaná carnival born from the first few sips of hot milk.
This LP, drawing from the six most powerful songs from Pilon’s three-album catalog.
Jason Williamson – “Discourse chapters that dark silence in the vaults of the unskilled worker. The acceptance of all that is horrible and endured. Moments of connection between living vessels are rare but sometimes they do pass through the wire and lives are understood for a flicker of a second.”
“Eton Alive chronicles the scenes outside, mostly sleeping bags. Dulled reds, greens and cardboard head boards. Paper cups, bitten around the edges, full of copper.’
Jane Weaver’s multi-layered synthetics evolved into a welcoming slew with 2014’s ‘The Silver Globe’, continuing through to 2017’s ‘Modern Kosmology’. ‘Loops In The Secret Society’ is a re-imagined journey through parts of both albums, with new ambient pieces primed and polished; with new tangents explored in a lab-friendly blossoming of the Weaver vision that travels yet further into the psych of our future.
Co-conspirators include Henry Broadhead, PJ Phillipson and Andy Votel.
Peter Doherty & The Puta Madres release their eponymously titled debut album on Friday 26th April though Strap Originals/Cargo Records. A single, mixed by Cenzo Townshend, ‘Who’s Been Having You Over,’ is available now.
‘Peter Doherty & The Puta Madres’ was recorded live to beautifully capture the essence and spirit of the Puta Madres at a family home overlooking a fishing village in Étretat Normandy, over 4 days last summer and mixed at Urchin Studios (East London). The album is engineered by Dan Cox (Laura Marling, Thurston Moore, Florence & The Machine)and produced by Jai Stanley (long time friend and manager).
Hot on the heels of 2018’s successful reunion with garage-psych testifiers Thee Hypnotics, singer/guitarist Jim Jones returns to give 2019 the kick-start that it so urgently needs with his current band, Jim Jones & The Righteous Mind, and the release of their incendiary second album, CollectiV.
Rising from the ashes of The Jim Jones Revue, Jim Jones & The Righteous Mind paint from a broader sonic palette. Incorporating elements of chain gang chants, mutant soul and gospel, and psychedelia, Jim Jones & The Righteous Mind are fervent torchbearers for rock’n’roll at its most primal, feral and elemental.
Brian Jonestown Massacre burst into 2019 with the release of their 18th full-length album. Released on Anton Newcombe’s A Recordings on 15th March 2019. Recorded and produced at Anton’s Cobra Studio in Berlin.
Features Sara Neidorf on drums, Heike Marie Radeker (LeVent) on bass, Hakon Adalsteinsson (BJM / Third Sound & Gunman & Holy Ghost) on guitar and Anton Newcombe on multiple instruments. Guest vocal appearance on ‘Tombes Oubliées’ by Rike Bienert who has sung on previous BJM albums.
Sleaford Mods are one of the most important, politically charged and thought-provoking duos currently making their mark on the UK music scene and beyond.
They are now poised to release their fifth studio album entitled ‘Eton Alive’ in February 2019.
The new album, which features 12 new tracks from the prolific artists, was recorded in Nottingham. The record will be the first release on Jason and Andrew’s newly formed label ‘Extreme Eating’.
The Lemonheads’ first record in 10 years!
Covers album – Includes versions of Nick Cave, Yo La Tengo, The Bevis Frond, Eagles and more.
Banana scented scratch & sniff vinyl sleeve!
“The Lemonheads are no strangers to a cover, the grunge-pop heroes perfect the art.” NME
“Happy In The Hollow is entirely uncompromising: an atmospheric capturing of a state of mind that touches on Post Punk, electronic dissonance, acid folk and Krautrock. Familiar qualities like metronomic rhythms, warping guitars, undulating synths and Tom’s gentle, reedy vocals are all in there, but so is a greater emphasis on melody, a wider scope, and a combining of the reassuring and the sinister that is as unnerving as it is captivating.”
“Sunshine Rock is one hell of a way to wrap up the busiest decade of my career,” he shares. “The autobiography, the Disney Hall tribute show, reissues of several albums from my catalogue, three current rock band albums, several world tours, and now this new album — I’m humbled and grateful to still be making new music while celebrating my lifetime songbook.”
TUTTI is Cosey Fanni Tutti’s only solo album release since 1982’s Time To Tell.
Renowned for her art, her work in the sex industry, as co-founder of Industrial music and Throbbing Gristle, and her pioneering electronic music solo and as Chris & Cosey, Carter Tutti and Carter Tutti Void, she has created throughout with the motto “my life is my art, my art is my life”.
On his debut album Free Me, Burundian-born JP Bimeni astonishes with a voice that recalls Otis Redding in his prime whilst resonating with the soul of Africa.
A refugee who’s been living in London since the early 2000s, Bimeni sings songs of love and loss, hope and fear, with a conviction that comes from the extraordinary experiences life has thrown at him.
Global pop star and 3-time Grammy winner Angélique Kidjo has partnered with 2015 Grammy producer of the year Jeff Bhasker (Kanye West, The Rolling Stones, Beyonce) for a full circle re-imagining of Talking Heads’ 1980 landmark album Remain in Light.
“No Filter” is the rightful extension of the Sleaford Mods idea in my opinion but dont let that drive you into thinking this is some rehash.
John Paul has, with the help of Rat and Steve Underwood, created a horrible account of modern forgotten england from the edge of his stool in the corner of the pub away from all the hard men he once ran with. Its the re-awakening of a mind trying to tune into truth and its brutal.
Longtime Woodstock resident, guitarist Peter Walker is joined in a mighty super-session with Harmony Rockets (Mercury Rev), Martin Keith, Nels Cline (Wilco), and Steve Shelley (Sonic Youth), ‘Lachesis/Clotho/Atropos’ is a mind-melting inter-generational collaboration that could only have coalesced around the wool-sweaters, warm teacups and moldering bookstores of “Old Old Woodstock”, both the real and mythologized versions.
Factory Floor were originally commissioned by curator Chris Bell of London’s Science Museum, to write a live score for Fritz Lang’s 1927 silent cinematic landmark, Metropolis.
The 150 minute brand new score was first performed at the Science Museum’s IMAX on 28th April 2017, coinciding with the 90th anniversary release of Metropolis and as part of the acclaimed Robots exhibition and event series. Following the success of the London Science Museum event, Factory Floor took to the studio to record the score in its entirety.
Rhythms is the debut album by Goatman, a new solo project by one of the mysterious members from the Swedish collective GOAT. Recorded in GOAT’s northern Swedish home town of Korpilombolo in late 2017 – the 6 tracks on Rhythms reveal a true collision of African Rock, Jazz, Reggae, Gospel and Psych, but all put through the famous GOAT filters.
Whilst on their previous albums they’ve dealt in everything from jazz, soul and folk through to krautrock, stoner and doom, on this collection of tracks the Australian heavyweights hone their batch to psych-freak-outs into ten mind altering prog-tainted jams.
Fuzz Club have created a must for audiophiles and record collectors alike. The lacquer was cut at half-speed by engineer-extraordinaire Miles Showell (The Beatles, Rolling Stones, The Who) over at Abbey Road Studios
Immersion are Malka Spigel and Colin Newman. Although best known for their work with, respectively, Minimal Compact and Wire, the duo’s work as Immersion provides an outlet for their ongoing fascination in crafting enthralling, unique musical soundscapes.
“A collection of seductive instrumentals that’s as sensual as it is hypnotic” (Drowned in Sound)
“Achieves a kind of hypnotic power” (Mojo)
“Full of infinite wonder.” (The Quietus)
his is first full length offering from the Brian Jonestown Massacre for 2018, a second, self titled, album will be coming out in September.
This is the 17th full length release from the band & the style is less experimental & more of a retracing back to the traditional sound of the band.
Recorded between 2017 & 2018, this 9 track album will please old & new fans alike.
Following them on their two-year journey from Sherwood to chart success, award-winning music documentary Bunch of Kunst tells the story of three guys taking on the music business on their own terms „This documentary film is the perfect antidote to those sexy, racy, rock’n’roll yawns most bands hide behind. We are indeed, a Bunch Of Kunst.“ Jason Williamson, Sleaford Mods
“When musicians have this intensity in them, they often get to it sooner and stay put. Ms. Wolfe sounds like she’s using it by choice, not disposition; she can use different kinds of darkness as colour or tincture.” – NY Times
“The reigning dark priestess of goth-scarred art rock.” Rolling Stone
The combination of Albini’s recording and the ultra-talented Graeme Ramsay on ‘real’ drums brings these frantic songs to life. However, the real difference comes out in the way those super-fast, ever-jangly guitars sound… they’re warmer, they’re rockier, they’re more modern. More… Albini!
“Epic kraut-pop opera teeming with motorik rhythms and analogue synths.” NPR
“A mind-expanding delight, devoid of retro posturing.” Guardian
“Sparkling strangeness from one-woman genre-buster..superb.” Uncut
“Intoxicating space-rock.” MOJO
Two new tracks by Burial, rendered in his singular ambient style.
Total running time of seventeen minutes and thirteen seconds.
A. Subtemple [ 07:23 ]
B. Beachfires [ 09:50 ]
First time on vinyl, limited edition of 500!
Classic production and lionhearted lyrics, juxtaposed with an array of effortlessly comical skits make Ftlt an impressive addition to Klashnekoff s catalogue, showcasing all his different talents. Here is an accomplished artist that can produce seriously good music without taking himself too seriously. And the album speaks for itself.
There’s no theme to the album, just vibes. Half of it was made in London when I was thinking a bit more introspective, and the other half when I was outside London and more relaxed. So it s a combination of both vibes, but more to the point it s just good music. Ftlt..F*** The Long Talk!
LIL UGLY MANE ‘Mista Thug Isolation’ Special 5th anniversary neon yellow vinyl reissue of the 2012 Classic.
Silver/Lead is the 15th studio album from musical pioneers Wire. It arrives on the 40th anniversary of their debut performance. Yet it’s about as far from nostalgia as you could get. This is the sound of a uniquely addictive 21st century psychedelic post-punk.
From 2013’s strangely beautiful Change Becomes Us (“It’s fantastic.” – Pitchfork) to the crackling motorik of 2015’s Wire (“It’s all really well turned, potent and crisp.” – The Guardian), and last year’s punchy mini-album Nocturnal Koreans (“It’s a cracker and sounds defiantly modern.” – The Quietus).
Consequently, although it may be being released on the band’s 40th anniversary, Silver/Lead is an album which has nothing to do with the past and everything to do with the future.
Don’t Get Lost was fully recorded & produced at Anton’s new Cobra Studio in Berlin. It is the 16th full length release from the Brian Jonestown Massacre recorded from March 2016 to October 2016 .
With band members Ricky Maymi, Dan Allaire, Collin Hegna & Ryan Van Kriedt. Also Emil Nikolaisen from the Norwegian band Serena-Maneesh & Pete Fraser (The Pogues, New Young Pony Club) on saxophone joins the band on this album, plus vocal performances from Tim Burgess (Charlatans), Tess Parks and Shaun Rivers.
New single by Burial released on Hyperdub.
Two new pieces named ‘Young Death’ and ‘Nightmarket’, just over 13 minutes total running time on 180g 12” vinyl
Sleaford Mods’ third Berlin show took place at Kreuzberg’s legendary SO36 club.
The band took to the stage on a hot sweaty June night and played to a sold out audience. The show was captured by a german documentary crew and this limited edition album captures the highlights of that incendiary performance.
Amongst the 14 tracks on the album are favorites like “Tied Up In Nottz”, “Jobseeker”, “Fizzy” and the great crowd-pleaser and closer “Tweet, Tweet, Tweet”.
The recording is testament to the connection between the band and those that follow them. Hear the glourious carnage and madness throughout the record’s duration.
No language barriers, no borders, no restrictions of any kind.
Public Service Broadcasting are pleased to reveal the release of a double LP/CD live album of their sold-out performance at Brixton Academy from ‘The Race For Space’ Tour, recorded on 29 November 2015.
The show features arena-level production crammed onto the Brixton stage with a 13- piece choir, 5-piece string section, expanded brass section, a longer set list, Smoke Fairies guesting on Valentina, a surprise special guest, dancers, pyrotechnics and more as the London-based band wow a hometown crowd with a very special performance. The release will be accompanied by a DVD filmed on the night along with an audio commentary from the band and bonus features.
Third World Pyramid is the first album that was fully recorded & produced at Anton’s new Cobra Studio in Berlin. It is the 15th full length release from the Brian Jonestown Massacre recorded from early 2016.
Featuring Ricky Maymi, Dan Allaire, Joel Gion, Collin Hegna & Ryan Van Kriedt from the band.
Also Emil Nikolaisen from the Norwegian band Serena-Maneesh joins the band on this album , plus vocal performance Tess Parks and Katy Lane.
Anton Newcombe has been a very busy man these past 2 years, kicking off with the critically acclaimed Brian Jonestown Massacre album ‘Revelation’ in May 2014.
Zomby’s new album is his most focussed to date. His ultra-modern music has a unique character, and ‘Ultra’ really displays his ability to create varied and detailed mutations.
On ‘Ultra’ he warps discordant Eski grime (‘Burst’, ‘Freeze’, ’Yeti’), creates dreamlike blooms on ’Her’ and ‘Thaw’, and builds crystalline music box takes on house and 2step on ‘Glass’ and ‘I’. Zomby also collaborates on the album with Darkstar, Rezzett, Banshee, Burial and HKE.
These all throw up unpredictable fusions and immaculate fissions.
Perhaps the most puzzling aspect of Requiem comes with the closing track “Ubuntu”. The song is little more than a melodic delay-driven electric piano line, until we hear the refrain from “Diarabi”—the first song on their first album—sneak into the mix. It creates a kind of musical ouroboros—an infinite cycle of reflection and rejuvenation, death and rebirth. Much like fellow recluse Pynchon, GOAT doesn’t offer up any explanations for their strange trajectories. But like Pynchon, they have managed to create a world of their own where the line between truth and fiction is so obscured that all you can do is bask in their cryptic genius.
This single is from the forthcoming album “Third World Pyramid” which will be released in October 2016.
The B side “Playtime” is exclusive to this release ,recorded in March 2016 in Anton’s studio in Berlin . The band start their 2nd part of their European Tour starting in August.
This single brings the traditional Brian Jonestown Massacre sound mixed with eastern influences & bringing it up to date with the benefit of all the additional weirdness that’s been discovered in the past 40 years.
SILVER APPLES new album, ‘Clinging to a Dream’, the first in 19 years, features 11 new songs and was recorded at the ChickenCoop studios in Fairhope, Alabama, USA and was produced by Graham Sutton in London, UK. These new songs carry on the tradition begun in 1967 by Silver Apples of merging pure, raw electronic sounds with melodic poetic content and represents 40 years of polishing and refining this experiment.
The result, as usual, is surprisingly original. ChickenCoop Recordings is Silver Apples own imprint, the same name given to the backyard studio in Alabama by Simeon Coxe, founder and surviving member of Silver Apples.
From the opening notes of Smoke that Reggie and throughout the 8 track record, DJ Earl lays down expertly crafted footwork rhythms filled with wavey synths and killer vocal hooks.
Every track on Open Your Eyes is a collaboration- as DJ Earl teams up with other Teklife members from his native Chicago and beyond.
The cover art has been provided by Shepard Fairey, a long-time friend and mentor of Ashes57. It is an honour to have his iconic Obey artwork adorning a Teklife record.
Having completed a preliminary round of work on their eponymous 2015 album at Rockfield Studios,Wire found themselves with 19 tracks. Among them, there was a critical mass of 11 aesthetically unified songs. In typical Wire fashion, however, the remaining material was something other: it had the sound of a band already moving in a different direction, beyond the album project in which they were engaged at that time.
These tracks were the basis for Nocturnal Koreans. The difference between the two clusters of work birthed at Rockfield has its roots in discrete approaches to the studio process itself. Nocturnal Koreans emphasises studio construction over authentic performance, using the recording environment as an instrument, not just as a simple means of capturing Wire playing.
Raime’s second album, Tooth, arrives June 10, 2016 on 2xLP, CD and digital formats.
The widescreen melancholia of their 2012 debut, Quarter Turns Over A Living Line, gives way to an urgent and focussed futurism, in the shape of eight fiercely uptempo, minimal, meticulously crafted electro-acoustic rhythm tracks.
The DNA of dub-techno, garage/grime and post-hardcore rock music spliced into sleek and predatory new forms.
On the 17th of June, Public Service Broadcasting will release The Race For Space / Remixes, twelve tracks that tell the story of the USA and USSR’s battle for supremacy in space, this time remixed by and through the lens of PSB’s talented musical contemporaries.
The album includes brand new mixes from Field Music, Boxed In, Vessels, Dutch Uncles, Robert Babicz, Maps and Copy Paste Soul plus Psychemagik, Blond:Ish, Petar Dundov and Kauf.
Darren Hayman suggested to me that The Wave Pictures make an album with one microphone. Everybody together in one room playing live into one microphone. You get the picture right once and you capture it. No mixing later.
The idea appealed to me enormously. It’s a really beautiful sound, the one microphone sound. The results tend to be mysterious and lively, and it’s a very romantic way to record, too..
Containing all new studio recordings Chris Carter, Cosey Fanni Tutti (Chris & Cosey / Throbbing Gristle) and Nik Colk Void (Factory Floor) expand and explore onward from their critically acclaimed 2012 debut album ‘Transverse’.
Featuring their distinctive metallic guitar sound, distorted vocals, resounding bass lines and electro industrial rhythms this music is not for the fainthearted..
‘What The World Needs Now…’, is the 10th studio album from legends Public Image Ltd (PiL).
The 11-track album follows the huge critical success of 2012’s ‘This is PiL’, the band’s first album in 17 years. In winter 2014 PiL returned to Steve Winwood’s Wincraft studio in the Cotswolds’ to record the new album ‘What The World Needs Now…’ .
Commenting on the album, John Lydon says, “Buy now while stocks last.”.
“The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along.
‘Key Markets’ is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. It’s a classic. Fuck em.” .
“Her darkest, heaviest and most personal album yet . . . a haunting, doomy exercise in loud-quiet dynamics.” Rolling Stone
Abyss captures this dichotomy, this battle between the soothing and the upsetting, and demonstrates why Chelsea Wolfe has become one of the most intriguing songwriters of the decade..
The debut album from Scor-zay-zee Aeon: Peace To The Puzzle
“His music reminds me of my work where you can be laughing your head off one minute, and then it can turn on its head the next” – Shane Meadows.
“If Godspeed around the turn of the millennium felt like a band of the moment, now, in a time of rapid cultural turnover and bite-sized music consumption, they feel out of step in a very necessary way.” – PITCHFORK
“This Montreal collective still sound like nothing else…The Godspeed ethos of wordlessly eliciting universal truths remains as devastatingly effective as ever.” – THE GUARDIAN.
“I had this idea that I wanted to avoid things that had a particular kind of tradition,” explains singer and guitarist Colin Newman. “I thought the three-chord trick was too simplistic and that the one-chord trick would be better. Or the two chord trick where the second chord is definitely not the right chord.” Graham Lewis.
“The interesting thing about this project is that the film does not exist either. Even so, I imagined and I realized its soundtrack… Now it’s your turn, you are the listener to imagine the film.”.
The Race For Space follows Inform – Educate – Entertain, Public Service Broadcasting’s debut album which reached #21 in the UK album charts and was nominated for ‘Best Independent Album’ at the AIM Awards 2013, as well as being The Guardian’s Album of the Week and one of BBC 6Music’s Top 10 albums of 2013..
“Jessy Lanza‘s excellent debut album is another expansive move from the enterprising, fast-evolving Hyperdub label. After releases from the likes of Laurel Halo (USA), Steve ‘Kode9’ Goodman has been looking increasingly further afield to continue his mission of relentless innovation.” The Guardian.
Produced in New York City by Stuart Argabright, Black Rain’s founder and figurehead, Dark Pool is a work of hard-edged sonic fiction rooted in cyberpunk’s quintessential neo-noir cityscape/dataspace but projecting into a farther future of biotechnological advancement and alienation..
Their long awaited second album, produced like their first by Jim Sclavunos (Grinderman, Nick Cave & the Bad Seeds, The Cramps) takes their kaleidoscopic heaviosity and sepulchral style to a whole new plateau of riff-driven dementia..
Commune continues on with World Music’s acidic grooves, hypnotic incantations, and serpentine guitar lines but also introduces a darker, more angry edge to the band, not seen before on previous releases..
“The music I want to hear doesn’t exist unless I create it.” Anton Newcombe NME ‘In the Studio’
“The unlikely but lovely sound of a plan coming together.” Q
“As notorious as he is prolific.” Record Collector.
“No label has more vibrantly reflected the morphing spirit of underground dance music.” Trap
“Shatters any doubts over the label’s continuing vitality.” Clash
“Two rambunctious hours of uptemp bolts of energy.” NME.
“Sometimes, in times of complacency, what we really need is a band to rock up and tell everyone to fuck off.” NME
“Sleaford Mods’ world exists on a borderland between coherent and cryptic.” Mojo
“Toilets are an Inspiration.” Mojo Q&A.
“This Is PiL sees a shape-shifting band that has now evolved into a mischievous and settled four-piece. ” The Quietus.
“It seemed like a good idea at the time…,” begins the explanation of Wire’s original motivation for ‘Change Becomes Us’.
Born out of part frustration and part accident, it quickly found its feet as an aggressive verbal onslaught on all that is contrived and connected to the day-to-day hammer of low paid employment and domestic situations arising from that trap..
Comprised of three new pieces with a total running time of 28 minutes, available on 180g 12″ vinyl, jewel-case CD, and digital download.
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