Track Listings:
Side: 1
1 : Consequences
2 : Starstruck
3 : Night Call
4 : Intimacy
5 : Crave
Side: 2
6 : Sweet Talker
7 : Sooner or Later
8 : 20 Minutes
9 : Strange and Unusual
10 : Make It Out Alive
11 : See You Again

From its iconic artwork to its euphoric, rejuvenated sound, ‘Night Call’ is a thrilling new chapter for Years & Years. Inspired as much by pioneering figures like Sylvester as it is French House, at the center of the record is that mermaid of a muse: a beautiful icon luring men to their death, on an album partly about those searching for love (or a lover), but ultimately finding power in themselves.

Track Listings
Disc: 1
1 : Medley: Sing, Goodbye to Love, Eve, Rainy Days and Mondays
2 : I Won't Last a Day Without You
3 : For All We Know
4 : Close to You
Disc: 2
1 : Yesterday Once More
2 : I Need to Be in Love
3 : The Rainbow Connection
4 : Top of the World
5 : We've Only Just Begun

Richard Carpenter is the iconic musician, producer, songwriter and arranger from the Carpenters, the astronomically successful group who have sold more than 90 million albums worldwide. Richard Carpenter's Piano Songbook reimagines the Carpenters' biggest hits - and some choice favorites that inspired them - on solo piano. The album includes some of the most beloved melodies of all time ("Top Of The World" and "We've Only Just Begun") presented in a gloriously relaxing new way.

Track list
Good As Hell (2:35)
Dance Monkey (3:28)
Blinding Lights (3:19)
Roxanne (2:42)
Bop (2:39)
Yummy (3:24)
Know Your Worth (2:59)
South Of The Border (3:22)
Everything I Wanted (4:02)
Hot Girl Bummer (3:05)
Rare (3:39)
My Oh My (2:48)
Say So (3:57)
Falling (2:34)
Sometimes (4:29)
The Bones (3:15)
True Believer (3:12)
Make You Mine (3:15)
Makeup Drawer (3:01)
Over Him (2:46)
Alaska (3:07)
Sunday Best (2:38)

Track Listings
1 : Active Discovering
2 : Information Is Forever
3 : Sight Of Hirta
4 : A Change Of Attitude
5 : He Was Human And Belonged With Humans (Regis Version)

Visibility Is A Trap is the new EP by Dalhous, comprised of four originals together with a masterfully understated Regis remix of He Was Human And Belonged With Humans . The EP heralds the arrival of the Edinburgh-based project's sophomore album, Will To Be Well, due out on Blackest Ever Black in early Summer 2014. Dalhous first announced its existence in 2012 with the Mitchell Heisman 10 , and last year released its debut full-length: An Ambassador For Laing. Both Visibility Is A Trap and the upcoming Will To Be Well LP reflect writer-producer Marc Dall's continued interest in the language and imagery of self-help, R.D. Laing and the anti-psychiatry movement. Though recorded after Will To Be Well, the tracks on Visibility Is A Trap at first appear to have more in common with the blue ethereal drift of Ambassador. While Information Is Forever and A Change Of Attitude are firmly in the ambient mode, Active Discovering fizzes with arpeggiated energy, and a battery of percussion disrupts the calm surface of Sight Of Hirta . Something is up. All is not as it seems. The Regis remix of Ambassador highlight He Was A Human And Belonged With Humans finds Karl O'Connor in unusually pensive mood. In fact this near-beatless, dubwise version is unlike anything he has put his name to before. Discarding the rhythmic skeleton of Dalhous's original, he gives their weeping saxophone more space to roam and resonate, adding off-beat, sleep-deprived keys, murmured vocal fragments and swells of sub-bass pressure. It could be construed as a love letter to his former home in West Berlin; certainly it evokes and effortlessly updates the drugsick grandeur of later Neubauten or Low side 2.

Track Listings
1 : Karolina
2 : A Moving-On Blues
3 : Dudette
4 : Empty Nights
5 : Kick-Around Johnny
6 : Sacred Place
7 : Do You Know Ida No?
8 : Having a Good Time
9 : I Came to Tell You in Plain English (I'm Leaving You)
10 : Losing My Way

“Jack Name’s songs sound like memories, as familiar as they are foreign. I am addicted to this record.” – Cate Le Bon In a time rife with alienation, Magic Touch, the third album by the ubiquitous and mysterious Jack Name, offers the comfort of contact. With a body of work that ranges from the catchy to the cacophonous, Name has earned the reputation of a musician who’s difficult to define. For over a decade, he’s been a fixture in the Los Angeles underground. His songs have appeared on albums by U.S. Girls (Heavy Light, 2020) and White Fence (Family Perfume, 2012); he’s produced recordings for Cass McCombs; and his experimental music has been performed at the Museum of Contemporary Art in Los Angeles. Magic Touch reveals yet another side of Jack Name. While it’s every bit as intricate as his previous releases, 2014’s Light Show and 2015’s Weird Moons, here he’s done away with the dense production of his earlier work to make a record that feels stark, personal, and effortlessly natural. On Light Show and Weird Moons, Name took a sci-fi approach to dealing with heavy subjects like the role of psych meds in an increasingly authoritarian society, and his own bout with beating cancer. With ​Magic Touch,​ Name brings his lyrical and conceptual focus away from the dream worlds of his first two albums and back to Earth: a simpler place, or so it seems, where humans are falling in and out of love, struggling with loneliness, reaching for connections to each other, and, for better or worse, affecting each other. In a year like 2020, it’s a place that feels familiar and far away all at once. The almost subliminal story arc of ​Magic Touch​ reminds us that ​touch itself is magic.​ Name offers private glimpses of new love as it comes together “Lips on Lips, Hips on Hips,” in the startlingly confidential opener “Karolina;” and in its bitter endings, as on the ice-cold “I Came To Tell You In Plain English (I’m Leaving You).”​ Introspective gems like “Kick-around Johnny” and “Sacred Place” seem to muse about ancient traumas and possibilities of a hopeful future. Then, coming face-to-face with the limits of his own swagger in “Losing My Way,” he advises his listener, “If you still have intuition, hold onto it. Don’t throw it away.” The vocals, recorded close-up and completely dry, make the brutal honesty in the lyrics even more personal and compelling. Name’s delivery is at all times understated, to the point, and utterly believable — a rare and special thing. It takes a certain kind of bravery to step up to that mic without the cloak of allegory, the medicine bag of studio tricks, or even the formulas of modern “pop music” to protect you. It’s mature—but not dull or heavy-handed. Recorded predominantly in Name’s Hollywood apartment with only a RADAR 24-track, even the production on Magic Touch is an intimate affair, with a crystal-clear aesthetic that’s shockingly present— almost as if the band is playing these songs inside your head.