Abandoned Love Records specializes in indie rock, art folk, lo fi, dream pop, and instrumental music of the highest order.

Brico-la-di-da-ge Pop.

Emily Scott, Rob St. John, Pete Harvey and Joe Smillie.

Fire Records // Listen Collective Booking (UK / EU)

These songs could save your life. Click for more on the links below

Current album `Trophic Asynchrony' released via Song by Toad records on Yellow and Orange 12" Vinyl and DL/Streaming on July 9th 2021:

https://songbytoadrecords.bandcamp.com/album/trophic-asynchrony

Contact Adam:  
aw.staff82[at]gmail[dot]com

Adam Stafford is a musician, film director and photographer from Falkirk, Central Scotland. 

His solo albums include the Paul Savage-Produced Build a Harbour Immediately(2011), Imaginary Walls Collapse (2013, nominated for a Scottish Album of the Year Award), Taser Revelations (2016), the Photobook/LP Reverse Drift (2017) and double LP Fire Behind The Curtain (2018, voted Clash Magazine's 20 Best Scottish albums of the 21st Century).

Stafford is known for his intense live performances which incorporate pop melodics, shamanic shambling, post-punk, avant-garde and a capela experimentalism to dizzying effect.

Once there were three.

The Son(s) released their self-titled album with Olive Grove in 2011 to much critical acclaim (thank you Drowned in Sound). 

The subsequent ten track mini LP, ‘Leviathan', recorded overwinter in an empty Edinburgh tenement, is a thing of real beauty and includes The List single of the month ‘If I Hear You Talk Apostrophes Again’ - “untrammelled DIY glam-strop” - (kudos Nicola Meighan).

The Son(s) second album, 'The Things I Love Are Not at Home' followed in 2014, which included collaborations with SAY Award winner RM Hubbert and Pete MacDonald (Randolph's Leap/State Broadcasters) and single ‘Death, With Castanets’ - “a giddy, all-too-brief slice of bookish, psychedelic pop”.

In 2018 & 19 a new line up of The Son(s) played several low-key shows supporting the likes of Kathryn Joseph, Randolphs Leap & RM Hubbert in Glasgow & Edinburgh - road testing a new set of songs. These songs are due to make up a new Son(s) LP, due to trouble your ears sometime before the apocalypse hits in the early 2020’s.
 

The List - "Grammatical funk, cross-dressing blues and skewed-folk despotism never sounded so full of the joys of spring" 

Daily Record - “So well crafted and honey-dipped in harmonies that it's hard to stay tethered to your home"

The Herald - “A psychedelic-folk wonderland, with vocals gorgeously behind the beat and music intrepidly ahead of the pack.”

Drowned in Sound - "...like the menopause in surround sound..”

The Eastern Swell are an Edinburgh band influenced by progressive folk, experimental rock and pastoral psychedelia. With strong live performances, the band have supported well-known touring bands and have played iconic venues such as King Tuts in Glasgow. In November 2014 the band released a short psych-americana EP, influenced by the 70s folk scene. The EP received positive reviews from critics and sold out in hard copy. The band are due to release their debut album in 2016.  

ISLE OF EIGG. MUSIC, MUSIC, PARTY TIMES, MUSIC, PARTY.

Amy May Ellis, BAS JAN, Alabaster dePlume, Firestations, Josie Long, Tuff Love, Insect Heroes, Rozi Plain, Kid Canaveral, Seamus Fogarty, Randolph’s Leap, eagleowl, Monoganon, Victoria Hume, Ichi & Pictish Trail.

Cate Le Bon is an artist hailing from Carmarthenshire, rural West Wales. Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum as well as 2016s Crab Day and the Mercury Award nominated Reward, Cate Le Bon’s solo work — and indeed also her production work, such as that carried out on the recent John Grant album, Boy From Michigan, or  Deerhunter's Why Hasn’t Everything Already Disappeared?  (4AD, January 2019) — has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster.

New album Pompeii bears a storied title summoning apocalypse, but the metaphor eclipses any “dissection of immediacy,” says Le Bon. Sonically minimal in parts, its lyrics jog between self-reflection and direct address. Written primarily on bass and composed entirely alone in an “uninterrupted vacuum,” Le Bon plays every instrument (except drums and saxophones) and recorded the album largely by herself with long-term collaborator and co-producer Samur Khouja in Cardiff, Wales.

The songs of Pompeii feel suspended in time, both of the moment and instant but reactionary and Dada-esque in their insistence to be playful, satirical, and surreal. From the spirited, strutting bass fretwork of “Moderation”, to the sax-swagger of “Running Away”; a tale exquisite in nature but ultimately doomed (The fountain that empties the world / Too beautiful to hold), escapism lives as a foil to the outside world. Pompeii’s audacious tribute to memory, compassion, and mortal salience is here to stay.

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