To celebrate a fantastic year at 4AD, we're offering a 25% discount across our catalogue* until 8th December.

Just use 4ADEOY25OFF at checkout.

Get started by exploring our 2019 releases here


*Excluding pre-orders, boxsets, and all Gene Clark formats.

Why Hasn't Everything Already Disappeared?

Deerhunter - Why Hasn't Everything Already Disappeared?

"Unexpected, strange and beautifully done." - The Guardian (Album of the Week) ****

Q **** | MOJO **** | NME **** | The Times ****

The Independent **** | DIY **** | The Mail On Sunday **** | Uncut ****

Released in January, Deerhunter's eighth LP Why Hasn't Everything Already Disappeared? forgets the questions and makes up unrelated answers. It gets up, walks around, it records itself in several strategic geographic points across North America. It comes home, restructures itself and goes back to bed to avoid the bad news.

Listen and buy here
Watch 'Death in Midsummer'


Ex:Re - Ex:Re

"A spacious, raw record." - Q

"The overall effect is immersive, wallowing, sad but often beautiful." - Uncut

"Fascinating but demanding debut." - MOJO

Running parallel to Daughter, Elena Tonra assumed the pseudonym Ex:Re (pronounced ex ray) for her eponymously-titled debut solo album, a deeply personal record that was made with both a sense of urgency and a cathartic need.

Tonra's candid solo songs document the time after a relationship ended and are written like unsent letters. Taking on a creative moniker, she chose Ex:Re to mean 'regarding ex' and also 'X-Ray' as a way to look inside and see what is really there. Writing took a year but the recording process lasted mere months, turning to Fabian Prynn (4AD's in-house engineer and producer) and composer Josephine Stephenson on cello to help bring Ex:Re to life.

Listen and buy here
Watch 'The Dazzler'


Beirut - Gallipoli

"Triumphant and understated." - NPR Music

"His best album in years, arguably his best yet." - Uncut ****

"Swooningly gorgeous." - Under The Radar

"Gallipoli is the sound of one of our most talented musicians rediscovering his love for what he was born to do." - The Line Of Best Fit (9/10)

"Impressive." - Q ****

"A hug of a record." - Record Collector ****

The 12-track Gallipoli started life in the winter of 2016, with Zach Condon returning to his old Farfisa organ, the same one used to write the first two Beirut albums (2006's Gulag Orkestar and the following year's The Flying Club Cup), which he inherited from a traveling circus when he was a teenager. Following recording stints in New York and Berlin (where he now calls home), Condon settled in Sudestudio, a studio complex deep in rural Puglia, southern Italy. It was here that he rediscovered the old joys of music as a visceral experience which became the founding principle for Gallipoli.

Listen and buy here
Watch 'Landslide'

Methyl Ethel

Methyl Ethel - Triage

"One of Australia's most essential current bands." - Paste

"Methyl Ethel is one of Australia's weirdest, most beguiling bands, with its endlessly creative frontman Jake Webb nimbly leaping between sounds that draw upon classic pop, shoegaze, and R&B." - Consequence of Sound

"Choc-a-bloc with hooks and head-nodding electro-pop from the get-go, Methyl Ethel have reached great new heights with this stellar effort." NME

"Their finest work yet." - The Line of Best Fit

"Quite dazzling." - DIY Magazine

Written, produced and performed by lead singer Jake Webb, mixed by Marta Salogni and mastered by Heba Kadry, Triage was recorded in Webb's home studio in West Perth, Australia.

With the creation of this album, Webb felt a sense of closure - completing the triptych of his three releases. Methyl Ethel has always been a surrealist outfit - a dark and obscured expression of life set to the backdrop of dream pop hooks. But Triage is a more reflective album - one that explores the notion of coming of age, only to reference it for the snapshots and passing memories that it has become.

Listen and buy here
Watch 'Trip the Mains'

Sorry To Bother You OST

Tune-Yards - Sorry To Bother You OST

"A simultaneously erratic and ecstatic medley of instruments and vocal layering." - Billboard

"A clamorous, giddy score... its layered vocal loops and stampeding beats kept up with each increasingly bizarre twist onscreen." - Rolling Stone

"The [score] by Tune-Yards is organic and twitchy." - Vulture

Tune-Yards' official score for Boots Riley's acclaimed directorial debut Sorry To Bother You follows the 2018 release of Sorry To Bother You: The Soundtrack, by The Coup. Riley described the score as "the film's musical voice" and explains the difference between the score and the soundtrack: "The characters can't hear [the score]; the soundtrack, the characters can [hear]."

The score also includes dialogue samples from the film and four bonus tracks never before heard in the film. The bonus tracks feature up-and-coming Oakland artists including Chhoti Maa as well as Lyrics Born and Lateef the Truthspeaker.

Listen and buy here
Listen to 'SIGNS (Detroit's Theme)'

Fond Reflections

Rema-Rema - Fond Reflections

"Essential, overlooked: formative 4AD post-punk exhumed." - Uncut 9/10

"An intriguingly overlooked piece of the 80s underground rock puzzle." - Tiny Mix Tapes

Rema-Rema featured former members of The Models and Siouxsie and The Banshees, and their much-loved Wheel in the Roses EP (1980) was among the first records to be released on 4AD. Their only contribution to the label, they split-up just before its release, going on to form or join bands as diverse as Renegade Soundwave, The Wolfgang Press, Mass, and Adam and the Ants.

The debut album that never was, Fond Reflections, comes almost forty years after their debut EP and has been culled from the band's rich archive of reel-to-reel and cassette recordings, with member Gary Asquith and mixing engineer Takatsuna Mukai painstakingly working on them to make this collection as cohesive as possible.

Listen and buy here
Listen to 'Rema-Rema (Halligans Live Rehearsal Version)'

Aldous Harding

Aldous Harding - Designer

"Both fascinating and frightening, highly eccentric and blisteringly beautiful." - Q *****

"[Its] allure is undeniable." - Pitchfork

"Aldous Harding sounds delightfully free." - The Independent *****

"Disarmingly pretty, an album that's both captivating and indecipherable." - The Guardian - Album of the Week ****

"Cryptic and deeply idiosyncratic songs, a record you don't want to turn your back on in any way." - MOJO ****

"It's easy to become swept up in this world of sustained and excruciating beauty." - Uncut ****

"A breath of fresh air." - NME ****

Rolling Stone **** | The Skinny ***** | The List *****

Designer finds the New Zealander artist hitting her creative stride. After the sleeper success of Party (internationally lauded and crowned Rough Trade Shop's Album of 2017), Harding came off a 100-date tour last summer and went straight into the studio with a collection of songs written on the road. Reuniting with John Parish, producer of Party, Harding spent 15 days recording and 10 days mixing at Rockfield Studios, Monmouth and Bristol's J&J Studio and Playpen.

From the bold strokes of opening track 'Fixture Picture', there is an overriding sense of an artist confident in their work, with contributions from Huw Evans (H. Hawkline), Stephen Black (Sweet Baboo), drummer Gwion Llewelyn and violinist Clare Mactaggart broadening and complimenting Harding's rich and timeless songwriting.

Listen and buy here
Watch 'The Barrel'

Big Thief

Big Thief - U.F.O.F.

"A true masterpiece of folk music from a band working together at the highest level." - Pitchfork (9.2, Best New Music)

"A reminder of how fleeting yet beautiful life is, and an appeal to make the most of it." - The Independent **** (Album of the Week)

"A collection of gentle folk that seems dazed by its own exquisite beauty." - The Guardian ****

"A record full of striking transitions and lucid dreaming." - MOJO ****

"A profound and poised third album." - Record Collector ****

"There's a mystical bind to U.F.O.F. that grips the listener and never lets go." - Uncut (9/10)

"Their most stylistically ambitious record yet." - Loud And Quiet (9/10)

"Consistently soothing and soft." - The Line Of Best Fit (8/10)

"A restless record that refuses to sit still." - Clash (8/10)

Their first of two exquisite 2019 albums, Big Thief's U.F.O.F. was recorded in rural western Washington at Bear Creek Studios. In a large cabin-like room, the band set up their gear to track live with engineer Dom Monks and producer Andrew Sarlo, who was also behind their previous albums. Having already lived these songs on tour, they were relaxed and ready to experiment. The raw material came quickly. Some songs were written only hours before recording and stretched out instantly, first take, vocals and all.

"Making friends with the unknown... All my songs are about this," says Adrianne Lenker; "If the nature of life is change and impermanence, I'd rather be uncomfortably awake in that truth than lost in denial."

Listen and buy here
Watch 'Cattails'

The National
I Am Easy To Find

The National - I Am Easy To Find

"A record filled with beauty." - MOJO **** (Album of the Month)

"As tenderly bruised as they've ever sounded." - Record Collector **** (Album of the Month)

"A moving look at the way small moments make up a life." - The Times **** (Album of the Week)

"To see a band pushing further, dramatically changing the formula this far into their career, is a beautiful thing."- Evening Standard **** (Album of the Week)

"So captivating you want to return to it immediately." - The Guardian ****

"Epic." - Uncut

"Lush, profound, experimental." - NME ****

"An audacious and fascinating album." - Metro ****

"This isn't a collection of alt-rock songs. This is high art." - Associated Press

"Continuing to hone The National's tried-and-true ways into new modes of drama." - NPR

Q **** (Album of the Month) | The Skinny ***** | DIY **** | The List ****

On 3rd September 2017, director Mike Mills emailed Matt Berninger to introduce himself and in very short order, the most ambitious project of the National's nearly 20-year career was born and plans for a hard-earned vacation died. The Los Angeles-based filmmaker was coming off his third feature, 20th Century Women, and was interested in working with the band on... something. A video maybe. Berninger, already a fan of Mills' films, not only agreed to collaborate, he essentially handed over the keys to the band's creative process.

The result is I Am Easy to Find, a 24-minute film by Mills starring Alicia Vikander, and I Am Easy to Find, a 68-minute album by the National. The former is not the video for the latter; the latter is not the soundtrack to the former. The two projects are, as Mills calls them, "Playfully hostile siblings that love to steal from each other" -- they share music and words and DNA and impulses and a vision about what it means to be human in 2019, but don't necessarily need one another. The movie was composed like a piece of music; the music was assembled like a film, by a film director. The frontman and natural focal point was deliberately and dramatically sidestaged in favour of a variety of female voices, nearly all of whom have long been in the group's orbit. It is unlike anything either artist has ever attempted and also totally in line with how they've created for much of their careers.

Listen and buy here
Watch 'Light Years'

Holly Herndon

Holly Herndon - PROTO

"PROTO is as avant-garde as we've come to expect from Herndon's wild and mighty brain, tempered by plenty of beauty and harmony." - DJ Mag - Album of the Month

"Remarkable, futuristic and otherworldly, but brimming with character, the most striking feature about this notionally digitally album is how soulful it sounds." - The Times - Album of the Week ****

"A.I. and IRL in pop harmony." - The Guardian ****

"If PROTO's central question is what we are heading toward, the answer must be a coming together." - The Quietus

"A notable work of art." - The Skinny - Album of the Month *****

PROTO makes reference to what Holly Herndon refers to as the protocol era, where rapidly surfacing ideological battles over the future of A.I. protocols, centralised and decentralised internet protocols, and personal and political protocols compel us to ask ourselves who are we,what are we, what do we stand for, and what are we heading towards?

PROTO isn't about A.I., but much of it was created in collaboration with her own A.I. 'baby', Spawn. In addition to Spawn, Holly assembled a contemporary ensemble of vocalists, developers, and guest contributors (Jenna Sutela, Jlin, Lily Anna Haynes, Martine Syms) to create a record that encompasses live vocal processing and timeless folk singing, and places an emphasis on alien song craft and new forms of communion.

Since her arrival in 2012, Holly has successfully mined the edges of electronic and Avant Garde pop and emerged with a dynamic and disruptive canon of her own, all while studying for her newly completed PhD at Stanford University, researching machine learning and music. Her LP Platform closed out 2015 by gracing year-end lists from Pitchfork, The Guardian, NME, and The Wire. In the aftermath, Radiohead hand-picked her to open up their European tour.

Listen and buy here
Watch 'Eternal'

Small Mercies

Pixx - Small Mercies

"London's Hannah Rodgers continues her joyous genre-leapfrogging, careening between emotionally splattered grunge, tight new wave and rickety electronica, all tied together by one of music's most versatile voices." - The Guardian ****

"Rodgers remains her forcefully idiosyncratic self throughout and endlessly impressive in her ability to draw on electro-pop history." - Q ****

"Pixx digs deeper and builds taller on Small Mercies." - The Line Of Best Fit - Album of the Week 9/10

"Small Mercies sees Pixx deliver an illustrious decimation of toxic masculinity in three acts." - The Skinny ****

"Rodgers is an agreeably free-thinking musical auteur, as happy with a grungy riff as a modeish synthesizer refrain on her smart, playful album." - The List ****

Hannah Rodgers's second studio record is a series of poetic examinations of love across the experiential spectrum, set to a soundtrack that mixes electronic pop and grungy guitar rock with aplomb.

Small Mercies follows the 24 year-old's debut album, The Age Of Anxiety (2017) - an unsettling synth-pop record fuelled by Pixx's own debilitating experience of angst - and 2015's forlorn and folk-edged Fall In EP. Co-produced by Simon Byrt (who worked on both her EP and debut album) and Dan Carey, it sees Pixx assuming different personas to examine the damage done by religion, gender-based power hierarchies and stereotypes, the tipping point of Earth's destruction and love.

Listen and buy here
Watch 'Andean Condor'

Velvet Negroni

Velvet Negroni - NEON BROWN

"An endlessly surprising endeavor... that constantly veers from the trails of presumption and into a wilderness entirely of its own creation." - The FADER

"If it sounds complex and unpredictable, that's because it is. It's also excellent." - The Face

"Nutzman's vocals fluctuate between a choppy Reggae-inspired delivery and a smooth, enveloping melody. The juxtaposition of man and machine is transfixing." - Afropunk

"Gorgeously expansive sounds that meld and melt the lines between everything from lush synthpop, experimental electronic and choppy rap to reggae and dub." - The Observer

"A popping, echo-laden, melancholy '80s funk banger." - Stereogum

"Soulful, punchy & symphonic." - Wonderland

"Channeling the sparse compositions of hometown hero Prince." - Pigeons & Planes

"Woozy." - BrooklynVegan

In late Summer, Minneapolis-born R&B experimentalist Velvet Negroni released his debut album on 4AD.

On NEON BROWN, he is a griot relaying the life and times of his own island of one as he rhymes in double time, or hiccups and la-las through a break, or croons from a room down the hall. As it unfolds into another story of lost love, or another joke about lost drugs, as it tries to make sense of a life spent in the (sometimes harrowing) pursuit of communion. Longtime collaborators Psymun (Future, Young Thug, Juice WRLD, The Weeknd) and Tickle Torture produced the album.

Raised in an outer suburb of the Twin Cities, Jeremy Nutzman - a black kid adopted into a white evangelical Christian family - savored the secular pop music he could only hear as a kid during ice skating competitions. Years later, his refreshingly raw approach to R&B has notched him writing credits for Kanye West and Kid Cudi, plus two features on Bon Iver's latest album. He also wrapped an arena tour supporting Tame Impala, including two nights at Madison Square Garden.

Listen and buy here
Watch 'Kurt Kobain'

Altid Sammen

Efterklang - Altid Sammen

"Adds to the rich tapestry of Efterklang's canon." - Exclaim

"Listening to Altid Sammen in its entirety is time well spent." - AllMusic

"There's beauty here, no doubt." - The Line of Best Fit

Efterklang have released their fifth studio album Altid Sammen, their first release in their native Danish. The album, whose title translates to "always together," arrives seven years after their previous album, Piramida.

Deep and sonorous, Altid Sammen is steeped in the sonic experimentation that has long been their trademark since Tripper, the Danes' 2004 debut. As bold and ambitious in scope as their last collection of songs, Casper Clausen (vocals), Mads Brauer (synths, electronics) and Rasmus Stolberg (bass) have taken another creative U-turn, this time fusing baroque instrumentation with their signature expansive sound.

"Altid Sammen's songs are about belief and togetherness," Clausen says. "Not in a religious way - none of us are believers of a defined religion. The words are searching for meaning in intimate relationships, in nature, in death and eternity. The bonds we create; to gather, hold hands, sing or share a moment together. We're all connected, across nations, age, sex and gender. We come together with all of our backgrounds, and we move apart in all sorts of directions, always together."

Listen and buy here
Watch 'Vi er uendelig'

Gene Clark
No Other

Gene Clark - No Other

"One of the most beautiful records ever made." - Record Collector *****

"Gives this excellent album the treatment it deserves." - Q *****

"A misunderstood touchstone of cosmic American music." - Shindig *****

"A cult classic." - Long Live Vinyl (9/10)

"Shows how deep and far he was willing to go to capture - and share - the salvation in a song." - MOJO ****

"A masterpiece." - The Quietus

"A set of extraordinarily poetic and beautiful songs." - The Economist

"The results are spectacular." - LA Times

No Other, the stunning record by Gene Clark, was finally reissued on 4AD in November - giving the masterpiece the treatment it deserves.

Recorded at the Village Recorder in West Hollywood and produced by Thomas Jefferson Kaye, No Other was originally released in 1974 on Asylum Records, coming a year after the Byrds short-lived reunion. Reaching for the stars, Gene delivered a visionary record of psychedelic rock, folk, country and soul which famously cost a small fortune to make ("It took a lot of time in the studio before we could actually get the songs to the point we wanted them," Gene said in 1977). Although warmly received by critics, No Other was a commercial failure and was subsequently deleted shortly after.

However, as The New York Times wrote around the record's 40th anniversary in 2014, "hindsight has burnished No Other, as it has redeemed other albums that went on to be reconstructed as rock repertory, like Big Star's Third/Sister Lovers and Lou Reed's Berlin," with No Other now being increasingly recognised as one of the greatest of its time, if not all time.

The original tapes have been remastered at Abbey Road, a stunning 5.1 Surround mix of this album created for the first time (done by Neil Wilkes & B.J. Cole at Opus Productions), and both the in the studio and promotional photoshoots have been located. Furthermore, all the studio takes have been forensically worked on and mixed by the duo of Gene Clark aficionado, author and Long Ryders frontman Sid Griffin and John Wood, the producer famed for his work with the likes of Nick Drake, Fairport Convention and Sandy Denny. More than just bonus material, these tracks offer fans an insight in to how Gene approached recording No Other; no track has been edited or composited in any way, allowing for things to be heard exactly as they went down in the studio and before any overdubbing took place.

Listen and buy here
Listen to 'Silver Raven (Version Two)'

Big Thief
Two Hands

Big Thief - Two Hands

"A band that feels, at this moment, totally invincible." - Pitchfork (9.0 - Best New Music)

"It's astonishing just how alive this album feels." - The Independent *****

"Second stunner of the year." Record Collector *****

"Intimate, intuitive, transfixing." - MOJO ****

"It's a blissful listen from start to finish." - DIY ****

"A musical treat, it devastates and uplifts in equal measure." - Loud And Quiet (9/10)

"2019 is Big Thief's year." - The Skinny *****

"Two Hands captures the best of what makes the group's live shows so compelling - their force and immediacy, the unparalleled togetherness of their playing." - NPR

"With each new album, the empathy grows deeper and the images more vivid, and now Big Thief has released two of the best rock records of the year." - Wall Street Journal

"Capping one of the strongest years a rock band has had in a while, this stands as a crowning achievement." - Consequence of Sound

"Get set for Big Thief to steal your heart, again." - Big Issue

"When you're on a roll it's best to keep rolling." - Uncut (8/10)

"A genuinely affecting proposition." - The Wire

"Two Hands is a rarity then, an album that truly stands on its own as a whole work, a whole vision, but also functions in conversation with U.F.O.F." - Stereogum

"Its best moments emphasize the band's gnarled electric energy." - Paste

In October Big Thief released their second phenomenal album of the year.

While some have looked on in wonderment at this prolific band's decision to release two substantial releases in the same year, the decision was, as with every decision the band makes, eminently intentional and deeply considered.

Two Hands is a partner to U.F.O.F.

In Stereogum's recent cover story on the band, Adrianne Lenker beautifully describes how the two albums connect and how they differ: "U.F.O.F. is meant to be more focused on the immeasurable, sort of suspended ethereal playing with textures and colors and layering in the production, staring out into the abyss. And Two Hands is more the micro, zooming into the blood and tissue and guts of being a human, the raw, bare, naked bones, not much layering, capturing just our performances in the room, just very dry, no reverbs, just skin and flesh and human, finite, physical. But I think each of them contains parts of the others."

Listen and buy here
Watch 'Not'


Spencer. - Automatic

Built on top of a retro drum groove and hypnotic bass line, Spencer.'s 4AD debut release is a magnetic gem full of confidence and swagger, an absolute earworm begging for repeat listens. The much-buzzed about 20 year old genre-defying artist melds R&B in his velvety vocals, hip-hop in his off-kilter beats, funk in his effervescent basslines, and moody indie rock in his reverb-soaked guitar. The song is paired with a video chronicling a young love from its beginning to end directed by Danica Arias Kleinknecht.

The new single is off a forthcoming 2020 project.

Listen and buy here
Watch 'Automatic'

Miss Anthropocene

Grimes - Miss Anthropocene

In February 2020, Grimes releases her highly anticipated new album Miss Anthropocene. 2019 saw the release of a number of singles, including her return with 'Violence'.

Listen and buy here
Watch 'Violence'