Vocals and Lyrics by Alison Skidmore.

Taken from the new album 'Never The Right Time' out on April 16th.

A film to accompany 'Hard To Tell' by Rebecca Salvadori is here https://youtu.be/0QsiviK5bGA

Never The Right Time

Hard To Tell

Andy Stott - Hard To Tell

One year on from their debut, Rainer Veil explore deep, brittle rave variants on their 2nd EP for Modern Love. The five tracks of 'New Brutalism' are a product of their Northern environment, making pointed reference to the kind of deep-rooted rave heritage documented in Mark Leckey's 'Fiorucci Made Me Hardcore' soundtrack through a prism of angular, vulnerable club music. Conceptually, It adopts a similar perspective on British nightlife to Burial or Lee Gamble, surveying the 'floor as if during an out-of-body experience or through closed eyes from a corner of the club at 5am. Opening track, 'UK Will Not Survive' captures that sensation beautifully with its tape-saturated layers of wistful vocal, woody 2-step and daubs of Reese bass, whilst 'Three Day Jag' isolates that curious blend of hedonism and introspection innate to early UK 'ardcore, albeit without the narco-sweats. Closing number 'Run Out' doffs a cap to grey building sites and strobe-lit clubs alike, channelling diffuse field recordings and half-heard breakbeats with a bleary-eyed, tired and emotional quality.

UK Will Not Survive

Produced slowly and meticulously over the last 12
months, these seven tracks are the closet thing we've
had to a new album from Andy Stott since the release
of his debut full-length Merciless five years ago.
Taking influence from an array of seemingly incoherent
noises, from the indefinable and unforgettable mindtricks
of Arthur Russell to the slowhouse of Kassem
Mosse, from the alternate VHS realities of James
Ferraro and Jamal Moss to the Linn Drum classics of the
vintage Prince era - these seven tracks create their own
pace and agenda, largely shying away from the
dancefloor in favour of something more complex and
hard to define.
Following on from the tribal malfunctions of opening
intro Signature, New Ground heads into a chasm of
layered loops, creating a decimated and re-wired funk
template coloured in with frayed percussion and
dislodged vocal samples. North To South starts off from
similar ground but adds a shuffling vibe at a deceptively
intoxicated 110 bpm.
Intermittent is something altogether different, taking
perfectly formed Boogie templates and screwing with
them until nothing quite fits, brittle elements floating in
and out of time yet somehow keeping it together,
before Dark Details delivers the most dancefloor
compatible six minute stretch of the set, all clanging
stabs and dense percussion, somewhere between
Shackleton and Bam Bam.
Execution and Passed Me By end things off on a slowed
down tip, the former deploying an anaesthetised and
padded 4/4 template sunk deeper into the abyss by
deformed, time-stretched vocals, the latter ending off
proceedings with a more delicate palette, letting go of
all that pent-up emotion with nothing but that rumbling
low-end and some strings for company.

New Ground

Passed Me By

Taken from the album 'Cold Reading, out October 27th 2023.

Cold Reading

Flora Yin Wong - All My Dreams Are Nightmares

‘Blush Study’, taken from the forthcoming album 'Corner Dancer', out via Modern Love on November 10th, 2023.

Produced by Lucy Railton, co-written with Petter Eldh.
Cello, vocals, electronics by Lucy Railton.
Moog, guitar and Polysix by Petter Eldh.  

Artwork by Rebecca Salvadori.

Corner Dancer

Blush Study

Buy Here

Lucy Railton- Blush Study

'Violence' is the first track to be taken off Andy Stott's forthcoming album 'Faith In Strangers' due for release via Modern Love on November 17th/18th 2014.

Andy Stott - Violence

'Faith In Strangers' is the title track from Andy Stott's forthcoming album, due for release via Modern Love on November 17th/18th.

Andy Stott - Faith In Strangers

Featuring Ben Vince on Sax, taken from the "U Can See Alex Park From Ere / Picky Eater" 7", out March 7th 2024 on Modern Love.

U Can See Alex Park From Ere / Picky Eater

Rat Heart - U Can See Alex Park From Ere

Faith In Strangers’ was written and produced between January 2013 and June 2014, and was edited and sequenced in late July this year. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it’s a largely analogue variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener ‘Time Away’ featuring Euphonium played by Kim Holly Thorpe and last track ‘Missing’ a contribution by Stott’s occasional vocal collaborator Alison Skidmore who also appeared on 2012’s ‘Luxury Problems’. Between these two points ‘Faith In Strangers’ heads off from the sparse and infected ‘Violence’ to the broken, downcast pop of ‘On Oath’ and the motorik, driving melancholy of ‘Science & Industry’ - three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity. Things take a sharp turn with ‘No Surrender’- a sparkling analogue jam making way for a tough, smudged rhythmic assault, while ‘How It Was’ refracts sweaty Warehouse signatures and ‘Damage’ finds the sweet spot between RZA’s classic ‘Ghost Dog’ and Terror Danjah at his most brutal. ‘Faith in Strangers’ is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott’s mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott’s career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light.

Faith In Strangers

How It Was

On Oath

Violence

Time Away

Science And Industry

Modern Love’s maiden meeting between UK producer MOBBS and French-Egyptian multi hyphenate Susu Laroche, carving out a channel between hexed trip hop and shoegaze that’s one part DJ Screw, one part MBV.

MOBBS x Susu Laroche - FOREST

Carrier feat Gavsborg - The Fan Dance

Taken from the new Rat Heart album 'Dancin' In The Streets', released via Modern Love on October 17th, 2025.

Rat Heart - NOT 2NITE (feat Cansu Kandemir)

Home Away From Home (Andy Stott Refix)

Arthur Russell - Home Away From Home (Andy Stott Refix)

recorded in early 2016 with the latvian radio choir  🕊🐚

Andy Stott - Song For Chance

Andy Stott's first material of 2010 finds the producer in a hot and sultry mood, delivering two House variants produced with that typically deep and luxurious style. "Tell Me Anything" centres around shuffling snares, a rugged bassline and sparkling keys anchoring the track somewhere between wide open and summery expanses and the compressed warehouse environments of darkest North Manchester. 
"Love Nothing" on the flipside is the slower of the two tracks, but somehow one of the most important of Stott's career, unraveling to expose an unfathomably deep arrangement of decomposed vocals and mangled percussion. It sounds like Newworldaquarium, Mount Kimbie and DJ Qu shooting the breeze, evoking the humid spirit and glamour of a hot summer in the city.

Tell Me Anything

Heat is a surprise new double album from Shinichi Atobe for DDS. It follows on from last year’s “From The Heart, It’s A Start, A Work Of Art” set and continues a run of highly enigmatic, acclaimed and completely unparalleled productions that follow their own timeless logic. There’s no sonic fiction involved - this material really does just turn up on a CD sent by air mail from Japan to Manchester, sparse info, no messing, pure gold.

Heat

Shinichi Atobe - Heat 1

Taken from 'It Should Be Us', Andy Stott’s first release since 2016 and first EP since 2011 - a doublepack of slow and raw productions for the club, recorded this year and following a series of releases that started with ‘Passed Me By’ and ‘We Stay Together’ early this decade. 

There’ll be a new Andy Stott album in 2020, but in the meantime... this one’s for dancing..

It Should Be Us

Andy Stott - Versi

Following on from a pair of Extended Players released in 2011 ("Passed Me By" / "We Stay Together") Andy Stott returns to Modern Love with 'Luxury Problems', an 8 track album of new material recorded over the last 12 months. Five of the tracks on the album feature the voice of Alison Skidmore, Andy's onetime Piano teacher whom he hadnt seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened - but after almost a year of studio work the result is really quite unlike anything you'll have heard from him before. 'Numb' opens the album with Alison's voice; layered and looped but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more f*cked. 'Lost and Found' follows and deploys a growling rave bassline and a disturbed vocal, the beat assembling itself around a squashed Linndrum like a submerged Prince/Cameo production, haunted and impenetrable, but full of funk. 'Sleepless' started life as an African drum edit that sooner or later succumbed to Stott's intense rhythmic shifts. It's a sound that's been imitated countless times since the release of 'Passed Me By', here re-tooled and re-built for its next evolutionary phase. 'Hatch The Plan' ends the first half of the album with some heavily treated location recordings and a low end grind that probably doesnt quite prepare you for the vocal arrangements that follow - it's just a beautifuly inverted pop song. The second half opens with 'Expecting', the most recognisably 'Stott' moment on the album: a wrecked, deliriously knocked-out 4/4 shuffle deployed at halfspeed; those heavy kickdrums sucking in everything around them. 'Luxury Problems' is next and offers up the album's most quietly euphoric and open 5 minutes; conventional arrangements and drumloops disrupted by sharp disco bursts that mess with what you know: it's straight and beautiful and unbalanced and damaged, somehow all at once. "Up the box" switches up the narrative and goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down Amen edit, creating a kind of narcotic Jungle variant that fragments everything and ends just at the point you think it's going to go off, before "Leaving" finishes the album with an almost unbareably beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant.

01-Numb

02-Lost and Found

03-Sleepless

04-Hatch the plan

05-Expecting

06-Luxury problems

08-Leaving

An addendum of sorts to his recent 'Faint Hearted' album, Miles' returns with a half-hour EP more squarely aimed at the floor with four darkened, robust variants. 'Blatant Statement' is up first, slowly emerging from a rough alignment of metallic percussion and abrasive stabs not a million miles removed from the kind of racket you'd most likely associate with Vatican Shadow, before the almost-clipped rub of those super-warm bass stabs shifts the perspective to a different kind of environment altogether. 'Technocracy' delivers an oozing House deconstruction, slowed down and inebriated, while 'Infinite Jest' revolves around an industrial cacophony harnessed into a rhythmic anomaly situated somewhere between a technofied Pete Swanson and a sweaty Kassem Mosse. 'Plutocracy' ends the set with a bleached-out warehouse chug, slowed down and menacing, surrounded by a submerged choral arrangement and more of that toughened hammered-metal sound that runs through the EP.

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