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Alternative & Indie - Released January 17, 2020 | 4AD

The shoegaze revival is upon us, so a revisit of the classics can only do a world of good. The first Pale Saints album, which came out in February 1990, is precisely a milestone record in the dream pop and shoegaze movement. For its 30th anniversary, it is being rereleased in a remastered deluxe version, in 24-Bit Hi-Res quality, adorned with never-before-heard demos. At the time, the 4AD label was living a sort of golden age with the establishment of the Cocteau Twins, Dead Can Dance, Throwing Muses, This Mortal Coil and of course Pixies. The record label headed by Ivo Watts-Russell kept their roster fresh by signing bands such as Belly, Lush and Pale Saints. The Leeds-based group, formed in the late-1980s, based the originality of their sound in the duality of singer Ian Masters’ delicate voice and the wall of sound created by the guitars carrying fairly pop melodies. Evanescent fury, raging daydreaming… in a way, this is the dichotomy of shoegaze. Gil Norton, who made a name for himself by producing Ocean Rain by Echo & the Bunnymen and Doolittle by Pixies, is in the mixing booth for five of the tracks, with John Fryer from This Mortal Coil covering the other half of the album. Once the album starts, the sound of this first Pale Saints opus is unmistakably Cocteau Twins or Jesus & Mary Chain. Some may even draw comparisons with My Bloody Valentine, despite their iconic Loveless coming out only a year and a half after Comforts of Madness in November 1991. More of a cult figure than he is given credit for, Ian Masters is more than just a run of the mill shoegaze singer: he knows how to orchestrate different rhythms and especially how to compose often-perfect pop songs, stringing them together so that the project as a whole feels like one single composition. This feeling is amplified by the absence of any gaps between the eleven tracks. Thirty years later, this masterpiece has not only not aged a bit, but stands out amongst its contemporaries. © Marc Zisman/Qobuz
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Alternative & Indie - Released February 16, 2009 | 4AD

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Alternative & Indie - Released July 19, 1999 | 4AD

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Alternative & Indie - Released December 6, 2005 | 4AD

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Era

Alternative & Indie - Released June 15, 2015 | 4AD

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Electronic - Released February 21, 2020 | 4AD

Hi-Res Distinctions Pitchfork: Best New Music
Rising from the darkness of the Canadian rave scene at the start of the 2010s, Grimes quickly made her way up the ladder of success. Her synthetic hit Vanessa allowed her to amass a fanbase that was obsessed with her post-teenage voice and elfish look, and at the end of the 2010s, Pitchfork named Oblivion (written following a sexual assault and taken from her 2012 album Vision) the second-best song of the entire decade. It’s this kind of distinction that reminds us that she is an artist that knows exactly how to transcribe emotions into songs, and not just the girlfriend of multi-billionaire Elon Musk. Miss Anthropocene sees Grimes morph into a climate supervillain, a ‘goddess of plastic’ that’s here to take some of the heat off climate change. Musically, Grimes has not drastically changed, with a signature synth-pop sound that borrows from rock on My Name Is Dark, drum’n’bass on the excellent 4ÆM or trip-hop on So Heavy (I Fell Through the Earth), which reminds you of Massive Attack or Transglobal Underground. Well inspired, Grimes continues to hit the mark. © Smaël Bouaici/Qobuz
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Electronic - Released February 21, 2020 | 4AD

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Alternative & Indie - Released May 17, 2019 | 4AD

Hi-Res Distinctions 4F de Télérama
This eighth album from The National is refreshingly different, somewhat modifying the well-oiled mechanics of this American band. First and foremost, this is achieved through the presence of several female singers who support the leader Matt Berninger on most of the tracks. The most memorable are the performances of Gail Ann Dorsey (David Bowie’s bassist) on Had Your Soul With You, as well as the particularly poignant performances of Lisa Hannigan and Mina Tindle on So Far So East and Oblivions respectively, the latter being especially moving. Why this sudden feminine presence for an exclusively male band? It’s likely because the album was conceived after filmmaker Mike Mills asked The National to put his short film I Am Easy to Find into song form - a film which happens to be centred around a woman. It’s this relationship to images that has somewhat upended the Brooklyn band’s pop formula. There are a few references to some classics of cinema, chiefly Roman Holiday by William Wyler (1953). But apart from the new cinematic release, fans of The National will still find the legendary melancholy of the group in both the lyrics and the music. The presence of heart-wrenching strings on all the tracks (with the exception of the staccato violins on Where Is Her Head) as well as a recurring introspective piano (notably in the beautiful Light Years) will particularly be remembered. Bryan Devendorf’s singular rhythms plays on contrasts, occasionally making striking jerks (Rylan, The Pull of You) as well as adding a sensual flair (Hairpin Turns, I Am Easy to Find). © Nicolas Magenham/Qobuz  
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Alternative & Indie - Released October 11, 2019 | 4AD

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Music
Less than six months after releasing their highly acclaimed third album, U.F.O.F., the Brooklyn indie-folk band Big Thief returns with Two Hands. While its Irish twin sounds incredibly controlled and labored over, the majority of Two Hands are one-take recordings (tracked live in the middle of a Texas desert) with no overdubs, capturing the arresting beauty of their live performances. Lead single "Not" is the loudest and most intense Big Thief song to date. Frontwoman Adrianne Lenker’s croon is pushed to a panting rasp during the track’s teetering climax, and its second half is overtaken by a gangly, drawn-out guitar solo gracelessly deconstructing into ringing noise. However, despite the crashing drum fill that kicks off the record, "Not"’s striking diversion from their signature serenity is the album’s only moment of its kind. The main difference is that here, Big Thief sound looser and less concerned with painstaking prettiness. Instead, they let the tape roll and see what happens. Perhaps the most commendable aspect is that even without the benefit of studio wizardry, this band can still make magic happen. © Eli Enis / Qobuz
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Alternative & Indie - Released April 17, 1989 | 4AD

Distinctions The Qobuz Ideal Discography
After the shock of Surfer Rosa, fans des Pixies found a tighter, less abrasive, but happily no better-behaved second album. The opening punch of Debaser, the saintly nonchalance on I Bleed, the enlightened surf pop of Monkey Gone To Heaven, the gag of La La Love You: Doolittle, released 1989 stored up all manner of gems, some troubling, others fascinating, others still surprising (everything that happens in the two mere minutes of Waves Of Mutilation is mind-bending), without ever looking like just another production of the times. This fusion of punk rock, surf music and pure pop achieves perfection here. After a record like this, we can have a better idea of where Pavement and Nirvana (Cobain named the Pixies as his favourite group) got their inspiration from...© Marc Zisman
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Alternative & Indie - Released May 3, 2019 | 4AD

Hi-Res Distinctions Pitchfork: Best New Music
UFO we understand. But UFOF? The additional F is for Friends according to Big Thief. UFOs and friends then? The band’s singer Adrienne Laker gives us a loose explanation: “Making friends with the unknown… All my songs are about this” With the guitarist Buck Meek, the bassist Max Oleartchik and the drummer James Krivchenia, Laker releases her third album. The Brooklyn quartet’s music is a sort of folk mixed with indie rock. Without sounding too much like them, this 2019 album sometimes contains the DNA of Sonic Youth (such as on Jenni). The result is alluring, almost shimmering. But upon a closer look, “UFOF” is a bizarre and strange, almost abnormal record. And like the late Elliot Smith (Laker’s idol that one recalls on Betsy), the beautiful melodies and tremendously artisanal guitars hide an evident melancholy and unusual, unnerving situations. Perhaps that would explain the UFOs? A less ‘polished’ and luxurious record than Masterpiece (2016) and Capacity (2017), UFOF shows a group ready to question itself and evolve its art. © Marc Zisman/Qobuz
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Alternative & Indie - Released April 26, 2019 | 4AD

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The element of surprise has inevitably been lost but the magnetism remains; this girl is unstoppable. Hannah Toop aka Aldous Harding reinterprets a tried and tested formula. Accompanied again by John Parish, PJ Harvey’s producer, the New-Zealander favors eccentric harmonies that are as rugged as they are stirring to create a sublime sound that distinguishes her from other songwriters. After her breakup with Marlon Williams, Aldous delivers a painstakingly melancholic opus that, at times, exhibits a darker side (Pilot) as well as lighter tones (The Barrel) through tracks that are packed with raw emotion despite the blunt and unfiltered lyrics. After an eponymous first album and the revelatory Party released on 4AD, Harding has realized a third success with the very succinct Designer. © Charlotte Saintoin/Qobuz
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Alternative & Indie - Released March 6, 2020 | 4AD

Hi-Res Distinctions Pitchfork: Best New Music
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Alternative & Indie - Released February 1, 2019 | 4AD

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Zach Condon quickly realized that he wasn’t always going to be able to wander through the subway carriages with his brass band. That even his hardcore fans would eventually grow tired of him and stop handing him their spare change... On his 2015 album No No No, the brain behind Beirut beautifully transformed his experience in the Balkan folk/Mexican scene into brilliant high-flying pop tracks. He sculpted a more artisanal sound and renewed himself while keeping the dreamy, magical singularity of his universe that’s dominated by brass and percussion.Condon is a true citizen of the world: he was born in Albuquerque, lives in Berlin and writes in New York as well as in Puglia, Italy. It is there that one finds Gallipoli, a coastal city that lends its name to this fifth album. Condon has a voice that’s characterised by a wistful lyricism, giving his songs an undeniably melancholic feel. Sat behind his Farfisa organ or his Korg synthesizer, and surrounded by Nick Petree on drums, Paul Collins on bass, Ben Lanz on trombone and Kyle Resnick on trumpet, Condon builds his songs like Russian dolls. There’s a playful side which is largely amplified by the Farfisa. And through his world music and lo-fi melodies, Gallipoli covers the entire range of everything that Beirut has generated in just over ten years. © Marc Zisman/Qobuz
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Alternative & Indie - Released April 30, 1998 | 4AD

Distinctions The Qobuz Ideal Discography
"Seeking fans of Peter, Paul & Mary and Hüsker Dü". It was this simple small-ad that saw Frank Black, then going by "Black Francis" find his Pixies band-mates, surely the most innovative adventure in rock of the late 1980s. Teetering on an unstable bridge linking the wildest, most de-structured punk and the most joyful pop, the Boston quartet shook things up with their changes in rhythm and other bizarre dissonances. For their first recordings from 1987 and 1988, everything and anything was grist to the mill of their genius: surf music, bubblegum pop, art rock, angular post-punk – each great swerve madder than the last. Joey Santiago's guitar is wild with electric shocks; Kim Deal is bouncing off the walls, and Black Francis belches out the craziest stories. A simply spellbinding first album! © Marc Zisman/Qobuz
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World - Released June 2, 2008 | 4AD

Distinctions Exceptional Sound Recording
With a regular American deal in place for the first time ever, thanks to 4AD's linkup with the WEA conglomerate, Dead Can Dance made a splash on commercial alternative radio with "The Ubiquitous Mr. Lovegrove," the first single from Into the Labyrinth. Raga drones, a strange clattering beat, a haunting wind instrument, orchestral shading, and Perry's ever-grand voice make it one of the more unlikely things to be heard on the airwaves in a while. It all begins with yet another jaw-dropper from Gerrard, "Yulunga (Spirit Dance)," with keyboards and her octave-defying voice at such a deep, rich level that it sweeps all before it. Wordless as always but never without emotional heft, the song slowly slides into a slow but heavy percussion piece that sounds a bit like "Bird" from A Passage in Time, but with greater impact and memorability. As the album slowly unwinds over an hour's length, the two again create a series of often astounding numbers that sound like they should be millennia old, mixing and matching styles to create new fusions. Perhaps even more impressive is that everything was performed solely by Perry and Gerrard -- no outside guests here, and yet everything is as detailed, lush, and multifaceted as many of their past albums. New classics from the band appear almost track for track: Gerrard's a cappella work on "The Wind That Shakes the Barley," the gentle beauty of "Ariadne," the rhythmic drive and chants of the title song. The conclusion is a slightly surprising but quite successful cover -- "How Fortunate the Man With None," an adaptation of a classic Bertolt Brecht tune about the turn of fortune's wheel. Given a restrained arrangement and Perry's singing, it brings Labyrinth to a satisfying end. © Ned Raggett /TiVo
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Electronic - Released April 7, 2014 | 4AD

Hi-Res Distinctions Hi-Res Audio
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Alternative & Indie - Released August 30, 1993 | 4AD

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Alternative & Indie - Released October 11, 2019 | 4AD

Less than six months after releasing their highly acclaimed third album, U.F.O.F., the Brooklyn indie-folk band Big Thief returns with Two Hands. While its Irish twin sounds incredibly controlled and labored over, the majority of Two Hands are one-take recordings (tracked live in the middle of a Texas desert) with no overdubs, capturing the arresting beauty of their live performances. Lead single "Not" is the loudest and most intense Big Thief song to date. Frontwoman Adrianne Lenker’s croon is pushed to a panting rasp during the track’s teetering climax, and its second half is overtaken by a gangly, drawn-out guitar solo gracelessly deconstructing into ringing noise. However, despite the crashing drum fill that kicks off the record, "Not"’s striking diversion from their signature serenity is the album’s only moment of its kind. The main difference is that here, Big Thief sound looser and less concerned with painstaking prettiness. Instead, they let the tape roll and see what happens. Perhaps the most commendable aspect is that even without the benefit of studio wizardry, this band can still make magic happen. © Eli Enis / Qobuz
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Alternative & Indie - Released September 8, 2017 | 4AD

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They’re not ones for making waves and it’s not often that their music comes out of supermarket or airport speakers. Yet The National have become a major band - major because they are able to sell out concert halls, stadiums even, in the blink of an eye. And above all, they continue to create indie rock while offering rather classic melodic frames that never stray far from the status quo. Less adventurous than Radiohead, Matt Berninger and two pairs of brothers (Aaron and Bryce Dessner and Bryan and Scott Devendorf) use their individual and original ideas with the sole purpose of enhancing their songs. We find on Sleep Well Beast, which has just been released, this perfect mix of unified and experimental sounds which embellish their more than perfect compositions. As we often find with The National, simply listening just the once is not enough to be irradiated by the power of their songs. This is confirmed in this seventh album from the New Yorkers. Take your time, reflect upon each lyric, each instrumental effect. It is then and only then that the shell will open to reveal its beauty.

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