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Set to be released on Feb 28th 2024, the record is destined to establish him as one of the UK’s most exciting new global artists. \n\u003cbr\u003e \n\u003cbr\u003eAs we’ve heard from the singles ‘Cry At The Moon’, ‘Picasso’, ‘Daisies’ and ‘Always Like This’, the album achieves a rare blend of qualities. On ‘The Panic Years’, Bradley’s new songs take in touches of indie-rock, Americana, ‘80s synth and psychedelia but they also sparkle with pop addictiveness. Just as importantly, the songs go far deeper into his personal experiences: life, love, lust and learning - a diaristic collection of rite-of-passage moments that fans will instantly connect to.\u003c\/p\u003e\n\n\u003cp\u003eBradley says, “I hope these songs and stories can help them navigate those experiences. They can become the soundtrack to their lives, whether they’re dancing, crying, going out or whatever it is. 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Bright-eyed, melodic music inspired by travels in Epping Forest\n\u003cbr\u003eas much as it was by spontaneous collaboration, these 11 tracks deliver an intriguing journey through (and beyond) the forest - crystal\n\u003cbr\u003eclear melancholy interspersed with benign drone rituals. The music on their self-titled debut takes a step away from the widescreen\n\u003cbr\u003eproduction of the artists’ other groups and instead revels in the instinctive, warm tones of acoustic instruments; guitars, cellos, clarinet,\n\u003cbr\u003ea harmonium and bells providing the earthy sonic environment for these spacious songs. Starting out as quickly-recorded acoustic\n\u003cbr\u003eguitar and bass pieces by Lewis Young (Leaf Library drummer) they were then taken up by Mike Cranny (guitarist and singer in fellow\n\u003cbr\u003eWalthamstow travellers Firestations), cellist Hannah Reeves and additional Leaf Library member Matt Ashton. Each added parts\n\u003cbr\u003eremotely, engineered in their home studios, before singer Marlody brought her crystalline voice to the music; layered harmonies and\n\u003cbr\u003etwisting, looping phrases that tie the story together. Alongside these sketches were Lewis’s trips to the forest with a train of bells and a\n\u003cbr\u003ebattered old violin, all dragged through mud, fallen leaves and brambles to create otherworldly yet natural sounds - music that sounds\n\u003cbr\u003elike it’s sprung from the forest floor. Lewis likens this ritual to “uncovering music that’s always been… a summoning of spirit folk, used\n\u003cbr\u003eto appearing in autumn, taking a pilgrimage through forests with joy and frivolity. A Miyazaki-meets-Chaucer kinda vibe.” While the\n\u003cbr\u003emusic is inhabited by these eerie and historic landscapes - camps, iron age forts, the folklore and the golden atmosphere of autumn -\n\u003cbr\u003ethe lyrics speak to more personal (if occasionally abstract) concerns, both revelling in the escape enabled by the forest and worrying\n\u003cbr\u003eabout the encroaching city at the edge of it.\u003c\/p\u003e","brand":"Fika Recordings","offers":[{"title":"Default Title","offer_id":55143581057398,"sku":null,"price":24.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0568\/6450\/6005\/files\/mirroreddaughters.jpg?v=1736792078"},{"product_id":"apta-the-pool","title":"Apta - The Pool","description":"\u003cp\u003eThe Pool represents Apta's most focused and compelling release to date. Based on the transformative plunge of a psychedelic\n\u003cbr\u003eexperience, it maps both tentative footsteps into the unknown and euphoric, melodic bliss. Recorded using a combination of modular\n\u003cbr\u003esynthesis, Arp Odyssey, bass, guitar, Elektron grooveboxes and (for the first time in Apta's recorded history) a hint of vocals. There are\n\u003cbr\u003ewisps of melody from the outset, woven through skittering modular synths and saturated bass guitar. But it's on the post-rock indebted\n\u003cbr\u003e'Shiver' and follower 'Awash' that Apta's distinctive mix of ambient music and flourishing melody take the fore. W also get some more\n\u003cbr\u003eoff-piste excursions, widening the boundaries of Apta's already diverse sound and resulting in an album that falls somewhere in the\n\u003cbr\u003emiddle ground between post-rock, pop ambient and kosmische. Though there are definitely echoes of that pristine production aesthetic\n\u003cbr\u003ethat has defined Apta's sound to date, there are a lot more layers involved, with both gritty percussion and analogue distortion playing a\n\u003cbr\u003emuch more significant role, echoing the waves of emotion involved in the tryptamine plunge, and resulting in a stylistically varied, but\n\u003cbr\u003efamiliar experience. 'The Pool' is both surprising and intriguing, richly layered but undeniably melodic, and has found it's perfect home\n\u003cbr\u003eon Castles In Space. Barry Smethurst expands: \"The Pool' to me feels like the sort of album that epitomises what I'm trying to do with\n\u003cbr\u003emy music, influenced by melody-laiden electronica and guitar-led post rock while sounding like neither. I've always felt that it would be\n\u003cbr\u003enice to have another layer to my compositions (a minor key here or there) and some less upbeat pieces, and I think the theme of the\n\u003cbr\u003eLP works perfectly as a parallel, with both moments of sublime joy and flickers of the intimidating unknown coming together. 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His first band, The Spike Drivers, was one of the very first true psych bands, the Motor City’s answer to Jefferson Airplane and The Byrds. Following that band's collapse, Lucas paid bills doing session work with Motown. And there he recorded, in 1972, the demo for Warner Brothers which would become Ted Lucas, released in two private editions in 1975 and known informally to friends and family as The OM Album, after Lucas' own label. 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