John Abercrombie

Cat 'n' Mouse

Add the considerable talents of violinist Mark Feldman to the sensitive guitar stylings of ECM stalwart John Abercrombie and you've got the makings of one of this brilliant artist's finest recordings for a number of years.

Jewel Akens

My First Lonely Night / A Slice Of The Pie

Outta Sight Proudly present the spring collection, aka the latest offerings in their northern soul reissue series.

Finally, the label pays homage to the late great Jewel Akens who sadly passed away earlier this year, March, 2013.

Akens will be forever remembered for his 1965 No.3 pop hit “The Birds And The Bees”, but here Outta Sight feature his two northern soul classics “My First Lonely Night” and the original cut of “A Slice Of The Pie”. Both are essentials for all northern soul spinners.

This wonderful self-titled album by pianist, singer and composer, Johnny Alf, was first released on vinyl in 1966 by Rozenblit. Here the bossa nova pioneer sings beautiful songs, featuring the legendary musicians Hermeto Paschoal (flute) and Airto Moreira (drums).

When Alf was 9, his mother's employers, picking up on his talent for music, offered him a deal: if he passed the entrance exams to a well-regarded local state school, they would pay for his piano lessons. Alf spent the next six years studying classical piano, Brazilian popular music and US jazz. Heavily influenced by composers such Ss Debussy and Bach, as well as jazz musicians such as Cole Porter and George Gershwin, Alf co-founded a Frank Sinatra fanclub in Rio in the late 1940s.

His first major career break came when he was recruited to play in Hotel Plaza in the Copacabana neighbourhood, a meeting point for musicians that many see as the birthplace of bossa nova. Among the regulars were Carlos Lyra, Roberto Menescal and Antonio Carlos Jobim (Girl from Ipanema). Alf's reputation for pioneering a new sound earned him the nickname 'Senhor Modernidade' - Mr Modernity.

Over the following decades, artists such as Simone, Alcione and Emilio Santiago recorded Alf's tracks. He produced only 20 records, yet he had a huge impact on his country's music.

He died aged 80 in 2010. After his death, the lyrics to one of his best-known songs - Eu e a Brisa (Me and the Breeze) were read out in the Brazilian senate.

Jack Allett

The Collapsing Middle

    Debut full length vinyl release from Jack Allett, formerly known as Spoono, who previously had a CDR on Blackest Rainbow followed by a split LP with Cam Deas, and a 7" on The Great Pop Supplement. Jack also plays with Ben Knight (Helhesten) in the duo Towering Breaker. This debut waxer is a fine introduction to one of the UK's most interesting solo guitarists. Jack blends sublime finger picking with swirling drones and psychedelic static to create a sound that is very much his own. A must for fans of acoustic guitar music from the past few years, Jack could well be one of the most interesting players there is at the moment.


    Ltd LP Info: Vinyl edition is housed in a full colour pro printed sleeve and is pressed on heavyweight black virgin vinyl and also comes with a CD copy.

    Johnny Amelio

    Jugue / Downbeats

    Super rare wild rocker from California on the Blue Moon label with one of the heaviest frantic rockabilly with killer guitar breaks ever and sexy sax to boot. Johnny Amelio is now a Pastor of a small Church in California, and a very nice guy. "Jugue" was written and recorded by Johnny Amelio 1958 with backing from Bill Paradis and his Downbeats, who get their eponymous "Downbeats" track on the flip.

    Jason Anderson

    The Hopeful And The Unafraid

    With six officially released albums, two more in the can, four probably-never-to-see-the-light-of-day records in his closet, a few live albums on the shelf and a Myspace song-a-day project, the quietly prolific Jason Anderson returns to K with "The Hopeful And The Unafraid". While he also played guitar in Mount Eerie, has drummed with Tilly And The Wall, and played piano with David Dondero, you've probably heard little about him. "The Hopeful.." was made at Soma Studios in Chicago, on a two-day tour break in January of 2006. Recorded in a matter of hours-tracking the vocals, guitars, and drums simultaneously-Jason's goal was to make an organic documentation of songs he'd been playing every night for half a decade. Thusly, all the vocal parts are first takes. There were some indulgences, though, as some guys who used to play in Magnolia Electric Co. came by to put down pedal steel and guitar leads. The album takes a stab at capturing some of the energy Jason loves putting into every show he plays, whether there are five or fifty people present.

    James Arthur's Manhunt

    It's Working

    JAMES ARTHUR (former member of the NECESSARY EVILS and GOLDEN BOYS, to name but two) has been rattling ear drums with his newest combo, JA's MANHUNT) for several years now. On this latest single the band is channeling some serious Hawkwind vibes with one song stretched over both sides of the single. Dense, wild and excellent. Edition of 500.

    After more than two decades of behind the scenes collaboration Juan Atkins & Moritz Von Oswald present 'Borderland' - their first album together using their own names - on Tresor Records.

    The album - made up of eight tracks, which seamlessly blend the styles of both masters (although leaning further towards Von Oswald's dub-techno sound) - was recorded at the beginning of 2013 over various studio sessions in Berlin and is released as a series of three 12"s and a CD album.

    The CD opens with 'Electric Garden (Deep Jazz In The Garden Mix)', which features German trumpet player Sebastian Studnitzky, whose muted, treated notes work perfectly with the loping dub-techno grooves. "Footprints" was the second work to be produced in the 'Borderland' studio sessions. It's a robust house groove reminiscent of earlier collaboration between both men such as the anthemic “Starlight” released on Metroplex 18 years ago, or Moritz' 'M' series. 'Treehouse' revisits classic house adding the ample proportions characteristic of the duo’s sound. "Mars Garden" returns to the "Electric Garden" theme with a high dose of ultra deep gritty spiralling kosmische dub-funk of 'Mars Garden'. 'Digital Forest' feels like a dystopian soundtrack to a drive through old Detroit slowly transforms into colossal dancefloor jam.

    Tresor deliver the definitive Juan Atkins Detroit techno / electro record label Metroplex, featuring compositions by Atkins under various psuedonyms; Cybotron, Model 500, 3mb, Infiniti etc. Featured here are ground-breaking early works such as "Alleys Of Your Mind", "Clear", "No UFO's", "The Chase", "The Passage" and "Off To Battle" - electronic compositions that will always be counted as foundation blocks for a music style that endures to the present day. Inspired by the European computer music of Kraftwerk and Depeche Mode, and the US P-Funk of Parliament / Funkadelic, Juan Atkins delivered a new sound that changed the face of electronic music forever.

    Joan Baez

    In Concert Part 2

    "In Concert 2" captures Joan Baez at her best, stood before a receptive audience, with only a Gibson for company, perfoming an exquisite mix of traditional and contemporary folk tracks that have a timeless perfection about them.

    Bailey is a prolific songwriter, having published over 300 songs, many of them classic soul tracks co-written with Ken Williams. More recently the title track from this 1974 LP was recently featured on Gilles Peterson's "Gilles Digs America" compilation. The original productions on the album (many home made on a basic tape machine), were enhanced with strings, rhythmic overdubs and other instruments to create one of the best soul albums of all time. Everything about this album oozes quality from the great songs, the arrangements and JR's soulful vocals - pure magic! After seven years of trying, Soul Brother have finally been able to license and reissue this classic album, which has been heavily in demand for many years with original copies fetching up to £200.

    Jessica Bailiff

    At The Down-Turned Jagged Rim Of The Sky

    Kranky was a bit surprised earlier this year when Jessica Bailiff contacted them and asked they wanted to preview her new album for possible release. They had no idea she had even been working on an album, let alone had completed one, and they were rewarded with a listen to her most compelling album to date.

    After being in Europe for 5 weeks as a touring member of Boduf Songs, Jessica Bailiff spent much of 2011, writing and recording At the Down-Turned Jagged Rim of the Sky in her spartan home studio. Sequestering herself through the hot summer months until finished, she then passed the tracks on to her friend Odd Nosdam for final mixing.
    *Down-tuned, distorted bass guitar adds a new color to her palette, but familiar ones also come into play: fuzzed and delayed electric guitar, organ, piano, cello, and drums. Noisy pop-tinged love songs nestle slyly in a bed of off-kilter lullabies and dark, metallic waltzes.

    No need to recycle descriptives like “lo-fi” or “hushed vocals” - these are spurious words. This is another intimate collection of songs recorded entirely by Jessica at home, in a room next to where she sleeps. If you listen carefully, you might hear her dreaming.

    Supply number seven arrives courtesy of John Barera and Will Martin, who fire a slavo of retro-fitted bombs at the heart of the dancefloor. "Awake" kicks us off in peak time fashion, as the duo bring together those most cosy of bed fellows, a slamming house beat and a sweet disco sample. Lush strings, the tinkle of keys, a filtered bassline and skipping percussion? Look for me in the bassbins. "Say It Now" cools things off a little, as John and Will get real deep with minor key pads, rhodes riffs and a irresistible bassline. There's an organinc rattle in the rhythm that reminds me of Marcellus Pittman and unless I'm deeply mistaken the smooth vocals are lifted from those NYC Peech Boys. "Unknown Factor" is proper heavy duty heads down tackle in a 90s style. Another ace filtered bassline wriggles along at the bottom end, while druggy synth vamps and strings take care of the rest of the frequencies. "Yen" closes the EP in contemplative mood. Once again John and Will get deep, this time with a heavier beat, delivering melodic and subtle house that'd make Move D very jealous. 

    Goldfinger was the first James Bond soundtrack to hit the number one spot in the US charts and features music composed, arranged and conducted by the prolific John Barry. Goldfinger was also the first Bond film to feature Shirley Bassey performing the main title track, which also features here (obviously!).

    John Barry

    The IPCRESS File OST - Bonus 7" Edition

    The IPCRESS File from 1965 starring Michael Caine and made by a large portion of the James Bond production team is one of the classiest spy movies as you could wish to see, despite its ironic depiction of the world of spies as presented by the James Bond Franchise. We can thank the score for a large part of its charm, which was composed by the legendary John Barry.

    For this film, he decided to play the main theme on the cimbalom, a type of Hungarian dulcimer. Its spiky, abrasive and twangy sound emphasizes the loneliness and forlorn nature of the main character, Harry Palmer. The theme, which was sampled by DJ Premier, is presented in different jazz, swing, and blues arrangements.

    For the Music On Vinyl release, all the instrumental tracks of this distinctive & innovative score are bundled on one LP, and snippets of the film's famous dialogue are collected on a separate bonus 7".


    LP Info: 180g vinyl pressing in gatefold sleeve.

    John Barry

    Eternal Echoes

    Apart from 10 unrivalled James Bond scores, John Barry has written over sixty major film scores and won five Oscars. He's arguably the finest screen music composer alive today and this selection of eleven new compositions are very much in the mood and style of his cinematic works.

    A rather lovely little single this, from Jane Bartholomew. Her distinctive, sweet vocals complement beautifully the haunting strings and gentle piano keys. It's quite a stripped down song to start with but it rolls along nicely on a simple rhythm of snare-rim beats and shimmering cymbals slowly building in intensity as it goes, with the piano keys becoming heavier, the strings more menacing and guitars added to the mix. "Edge Of The World" on the flip is a lovely mournful song this time with Jane's quirky vocals over a simple string and piano arrangement.


    Ltd 7" Info: Beautifully packaged in a letterpress printed sleeve.

    A brilliant Latin-soul / boogaloo album from Joe Bataan, and the biggest selling Latin LP of 1968, so it obviously needs checking out. There are some real winners here, including "It's A Good Feeling (Riot)", "What Good is A Castle" and the classic "Ordinary Guy".


    LP Info: US import reissue with authentic replica artwork.

    Joey Beltram

    Energy Flash - Remastered Edition

      Joey Beltram ‘Energy Flash’ re-mastered by Matt Colton. Pressed nice and loud on a one sided 12”.

      Joey Beltram


        Official R&S reissue of the 1990 12" that launched a million copycat producers. But none could replicate the incredible bass signal that New York's Joey Beltram created on "Energy Flash". One of the first techno classics to come from outside of the Detroit-Chicago axis, such was the demand for "Energy Flash" that it was quickly licensed to Derrick May's Transmat imprint.

        For this 2004 LP, Beltran dives deep into his latin roots, injecting electronic warmth and broken beats. Lush pads ride dancefloor friendly rhythms, making way for global collaborations with Andreas Saag, Colonel Red, Local 12, John Arnold and Ayro. The San Francisco Bay Guardian says; 'A thick and spicy blend of Brazilian and Latin rhythms rub up against serious dancefloor productions'.

        Another fantastic compilation from Sunkissed featuring six incredible Afro Latin flavoured Balearic rarities from 70s / 80s Brazilian singer / songwriter Jorge Ben. A stunning selection of hard to find tracks that all found favour both on Italy’s Afro-funky Cosmic scene and on the dancefloors of Ibiza and beyond. Standouts include the floor friendly ‘Ponta De Lanca Africano (Umbabarauma)’ and ‘Energia Bom Bom’ as well as the brilliant ‘Falcao’ only ever available before as an in-demand limited 1983 seven inch but all the cuts are essential and a great way to collect some of the best work by such a wonderful artist. Top stuff!

        Emotional Rescue is proud to present the first ever collection of works from Spanish song writer Javier Bergia. As a member of Finas Africae his name is finally coming to prominence. Now with this selection of his music from 1985 to today, the depths of his acoustic, folk and Balearic writing can be heard. Born in Madrid in 1958 to a family steeped in both classical and Spanish traditional music, Javier 's unique mastery of guitar, percussion, voice, poetry and composition is drawn from both this grounding and upon his lifelong musical inquisitiveness'. Since 1980 he has been an integral part of the ancient music group 'Atrium Musicae '. In 1984 he founded, with Juan Alberto Arteche and Luis Delgado, the groundbreaking group 'Finis Africae' as a sonic investigation into a fusion o f diverse ethnic musical forms incorporating both indigenous instruments and electronic elements.

        As a solo artist, his career blossomed when, in 1985, he recorded his first LP, the acclaimed 'Recoletos' and he has since recorded thirteen solo albums . With Luis Delgado he recorded the now classic album 'La Fl or De Piedra' under the name Ishinohana and regularly appears with singer Ismael Serrano. Javier has composed music for and collaborated on many documentaries, films and advertisements as well as collaborating on protects with a myriad o f artists including Maria del Mar Bonet, Joaquin Diaz, Vainica Doble, Marina Heredia, Pablo Guerreo, Antonio Vega and Cafe
        del Mar. Today he participates in the Sephardic music groups 'Halilem' and 'Alquibla', as well as diverse alternative chamber music groups. Javier works around the world as composer, arranger and producer and he appears daily with Manolo HH on Radio Nacional de EspaNa.


        CD Info: CD includes 5 bonus tracks

        Staying on the Mediterranean coast for their third release, Music From Memory this time shift their attention to the work of Mallorcan musician Joan Bibiloni.

        Primarily a guitarist, Bibiloni was creating music at an early age, releasing his first single at the tender age of 15. In his twenties he formed Spanish prog-rock outfits Zebra and Euterpe where he would meet Pepe Milan, the two of them becoming the bluesy folk duo 'Milan & Bibiloni'. Bibiloni himself would later go on to play with a number of luminary musicians such as Larry Coryell, Daevid Allen and John Cage to name but a few.

        In 1982 Bibiloni set up his own label Blau in order to highlight the much overlooked work of musicians not only on his home island of Mallorca but across the Balearic Islands. In doing so he created a platform not only for
        local talent but also for his own music to breathe a new life, much influenced by the landscape and life that surrounds the islands.

        Whilst Bibiloni's first solo releases on his Blau imprint have stronger echoes of contemporary Jazz fusion of the time, it is on the album known as 'Una Vida Llarga I Tranquila' where Bibiloni really began to experiment with new sounds and technologies; fusing tape loops, drum computers and synthesizers.

        Taking these more electronic infused works as a departure point for the compilation and drawing on material from across his following five albums, ‘El Sur’ sets out to highlight Joan Bibiloni’s unique ambient fusion and sun-drenched Mediterranean beach boogie.

        Jean-jacques Birgé / Francis Gorgé / Shiroc

        Défense De

          First ever vinyl reissue of this cult album from 1975. Défense de was the first album of Jean-Jacques Birgé and Francis Gorgé, before founding Un Drame Musical Instantane with Bernard Vitet in 1976. They had started to play together while at high school, and on their debut LP they were joined by percussionist Shiroc (who also played in Speed Limit).

          The album's four tracks were recorded in the family apartment of free jazz producer Sebastien Bernard, who had several nice instruments belonging to his father, like a pipe organ, an electric piano, a xylophone and a cello, a.o. The songs were taped on an 8-track recorder and also feature Antoine Duvernet from Urban Sax, who added tenor sax. Shiroc and pianist Jean-Louis Bucchi (also from Speed Limit) joined the duo some months later and the songs they feature in were recorded live in studio.

          Birgé and Gorgé gigged as a trio with Shiroc, sometimes with the addition of Gilles Rollet on further percussion. The resulting sounds were released on the 'June Sessions' DVD (included as a free bonus on this LP).

          The DVD includes the experimental movie La Nuit Du Phoque made by Jean-Jacques Birge and Bernard Mollerat in 1974. The movie is a mix between avant-garde French movie and experimental ambience which takes the viewer back in time to 1974. The second part of the DVD includes 'June Sessions' which are very long pieces made by the trio (or quartet at times). Total of about 6 hours of music and 40 minutes movie in a Double LP & DVD set.


          Ltd LP Info: LP and bonus DVD.

          Jherek Bischoff

          Eyes / Young & Lovely


            The latest signing to The Leaf Label is multi-talented Seattle-based composer/arranger/producer Jherek Bischoff

            His first release for the label will be this strictly limited edition 7” single for RECORD STORE DAY

            ‘Eyes’ is a collaboration with ex-Talking Head and international treasure David Byrne

            There will be just 500 of these singles released in Europe by Leaf.

            The two songs are a taster for Jherek's forthcoming album Composed, out in late May

            ‘Young And Lovely’ features the talents of Parenthetical Girls’ Zac Pennington and acclaimed French vocalist Soko

            The individually hand-numbered 7” is packaged in a full-colour die-cut sleeve

            The songs will ONLY be available in this format until the release of the album

            Originally released as a CD-R in an edition of 80 copies on Celebrate Psi Phenomenon in 2004 and reissued as a CD-R in an edition of 100 copies by Barl Fire Records (BF001) and as one half of the "Sunshrine/Celeste" LP in an edition of 525 on Bo'weavil Recordings (Weavil08) in 2005.


            CD Info: Re-issue.

            James Blackshaw & Lubomyr Melnyk

            The Watchers

            "I first met Lubomyr Melnyk at a festival called Hea Uus Heli in October 2008. We were both scheduled to play that day and I was very excited to see him perform. Before the show I bought several LPs from him and mentioned as much. Lubomyr (more than modest and courteous, as he always is) asked me what I was doing at the festival and I replied that I was also performing at the festival a little later, to which he responded "I'll come and watch you", before being ushered into the hall to play one of the most staggeringly sonorous and beautiful sets I've ever heard. It was overwhelming, full of pathos and I left the hall with those incredible overtones hanging in my ears for hours. A couple of hours later, I was onstage when I glanced up and saw Lubomyr, true to his word, stood in the audience watching me attentively. I felt incredibly nervous. It's not everyday you get to play for someone who has greatly inspired and influenced your own music.

            After the show, I packed up my guitar and came out to meet the crowd. The first person who greeted me was Lubomyr: friendly. full of enthusiasm and keen to hear about my music, my processes, the way in which I made music. Yet again, I was overwhelmed - for very different reasons. "You have invented continuous music for guitar!" I don't know if that's true or not, but I can't think of an epitaph that would make me prouder. We also spoke about collaborating that night and via e-mail a while after, but it wasn't until January 2012, shortly after I'd moved back to Hastings, England from Ann Arbor, Michigan and Lubomyr played his first ever show in the UK at Cafe Oto that it came to fruition. John Chantler got in touch, said Lubomyr had a free day after his performance and could I come to London for a day, see what happens? He kindly agreed to record the whole thing.

            We all met at the Vortex Jazz Cafe around midday. We set up, Lubomyr at the grand piano, me directly facing him with my 12-string guitar and began. I would retune at random between songs and together we would find interesting chord progressions, hints of melodies and ways in which to weave those immense overtones that Lubomyr is able to generate on the piano with those of my guitar. No more than two takes per song. Improvisation, spontaneous composition, whatever you want to call it. Either way, it truly felt as if the piano and guitar were as one - inseparable, parts of a bigger whole, a means by which for two people to make one sound. It never felt forced and never less than engaging. Lubomyr was always humble, jovial and open to ideas. The whole session lasted six hours. I'm not a great improviser. I always want to take that raw creative element that the form brings and work upon it, to distill and refine it further. I think Lubomyr feels the same. But there is something about these recordings that would be incredibly difficult to recapture. A small moment in time, feeling perfectly and wonderfully lost within that sound. I'm honoured." James Blackshaw, October 2012.

            In celebration of the centenary of Louis Feuillade’s Fantômas silent film series, James Blackshaw was invited by Yann Tiersen to perform a live score to the fifth and final film, Le Faux Magistrat, at the beautiful and prestigious surroundings of the Théâtre de Châtelet, Paris on October 31st 2013.Fantômas – a master of disguise and symbol of terror – is one of the most popular characters in French crime fiction, as well as a favourite with the avant-garde, particularly the surrealists.Tim Hecker, Amiina, Yann Tiersen and Loney Dear also performed during the event (which was broadcast live on the European ARTE channel) each bringing their own unique sonic perspective to the other installments in the series.Written during the course of a few months, Blackshaw drew influences from French impressionist composers, Brazillian guitar music, musique concrete and the works of other film composer such as David Shire and Pino Donaggio, to create a noirish score that is in turns sinister, quietly profound and thrilling.Personally invited by James Blackshaw, experimental musicians Duane Pitre and Simon Scott (also of Slowdive) contributed drums, electronics, synth, bowed guitar, bass and more to Blackshaw’s nylon string guitar and grand piano, with multi-instrumentalist Charlotte Glasson adding violin, vibraphone and several wind instruments to the 75 minute long work.

            James Blake

            Retrograde / Overgrown


              With his self-titled debut album released what seems like an eternity ago (February 2011), and without the bump of a Mercury Music award win (he was my choice!), new six track mini album "Enough Thunder" feels a bit like a pre-Christmas rush 'hey, don't forget I'm here' offering. But whatever the reason for this set's release, we are blessed with another fine selection of Blake's deeply personal, introspective 'post-dubstep' singer-songwriter tracks.

              Opener "Once We All Agree" features the kind of sparseness, and atmospheric, stripped-back sound that has made Blake's music so appealing, while "We Might Feel Unsound" combines the blip-blopping noises of Chicago footwork percussion with treated piano. The collaboration with Bon Iver,  "Fall Creek Boys Choir" has Blake harmonising (Autotuned style) with Justin Vernon creating a folktronic ballad. Next we have a cover of Joni Mitchell's "A Case Of You"  - a solo piano / vocal offering in the "Limit To Your Love" style. "Not Long Now" continues the footwork influence, while album closer and title track "Enough Thunder" strips away any post-production studio trickery to leave Blake's songwriting talent for all to hear.

              The past couple of years have seen creative explosions and new generations coming through in both dancefloor electronics and heartfelt, introspective singer-songwriting, but self evidently they’ve remained mutually exclusive genre islands. Until now. With a uniquely emotional electronic production style every bit as deeply personal and impassioned as his voice or songwriting, James Blake is sketching out his own place in the musical universe.

              When a teenage James first visited the pivotal London dubstep night FWD>> in 2007, he’d already been to drum ’n’ bass nights with schoolfriends, but the music and atmosphere there were unlike anything he’d experienced. This was what James had been waiting for – he just hadn’t realised. This midnight epiphany in Plastic People’s Shoreditch cellar led, in a few short years, to the James Blake of 2010, a surefooted 22-year-old composer whose extraordinary tracks are not so much breaking down existing musical barriers as leaping over them and creating an entirely new kind of pop that belies its author’s tender age.

              Although loosely tethered to the cutting edge of contemporary electronics, James’s songs possess uncommon grace and soulfulness. Whether intended for the FWD>> dancefloor or, like new single "Limit to Your Love", destined to melt hearts and prick ears, his music is characterised by a playful and arresting honesty, a human touch that, despite his status as a hugely in-demand DJ, naturally aligns him with contemporary artists such as Bon Iver or Laura Marling or the xx.

              Yet more than this, it is the shock of the new in James’s music that’s causing real commotion: the sounds, that voice, the silence, the rhythm (or lack of it), the waiting, the tension. You have to know the rules in order to break them with such conviction, and by daring to be different, James stands head and shoulders above his peers. No doubt, you’ll remember where you were when you heard tracks like "Limit to Your Love" or "I Never Learnt to Share" for the first time.


              2xLP Info: LIMITED deluxe double 180g vinyl pressing in gatefold sleeve with full colour inner sleeves.

              R&S finish off another excellent year (that's 2011 BTW - this 12" has taken forever to arrive!) with a brand new EP from James Blake.

              His "CMYK" and "Klavierwerke" releases for the label are widely regarded to be amongst his best work, and these three new tracks will further his reputation as one of the finest auteurs working in electronic music today.

              "Love What Happened Here" sounds like the mice have taken over the post-dubstep studio, crowding the mic with their pitched-up vox, while Blake reinvents slo-mo soft-pop for the 21st Century. Beautiful and sparse, with hints of Terror Danjah's grime cackle and footwork's intricate beats, the track is built round an almost church-like organ sound and classical keyboard motif. With "At Birth" Blake re-colours his musical palette, taking inspiration from house with a driving 4/4 groove piled up with atmosphere. Lastly "Curbside" occupies the same beatdown hip hop position as some of Nicolas Jaar's work. Kettle Drums, more of those treated vocals and rumbling rocket exhaust noise. Oddball doesn't quite get there!

              STAFF COMMENTS

              Philippa says: Blake returns to R&S with three cuts that take in post-dubstep, house and hip hop.

              Two years after his self-titled debut album took UK bass culture down previously unimagined roads of introspection, James Blake returns with the epic ‘Overgrown’, an incredible album that sees James growing as a singer and songwriter while at the same time returning to the brain melting electronic perfection of his early releases on Hemlock and Hessle, moving way beyond any post-dubstep pigeonholes to include stunning reinterpretations of both hip-hop and house.

              In retrospect ‘James Blake’ can now be viewed as another stepping stone on Blake’s musical evolutionary journey which started with ‘Air & Lack Thereof’ back in 2009. Always travelling a different path to his peers, James is as much a singer-songwriter as he is a bass music producer. On ‘Overgrown’ his latest transitional shift has been made, the layers stripped back to reveal a selection of stark, beautiful and emotive songs, all with James’ heart-wrenching vocals at their centre, set in a simple framework of subtle electronic sounds and beats.

              Title track ‘Overgrown’ sets the scene, offering a Nick Drake style ballad reborn as a spiritually uplifting electronic soul masterpiece. ‘I Am Sold’ recalls the sparse beatbox melancholia of Portishead, while ‘Life Round Here’ also has a certain Bristolian downbeat feel, opening with almost baroque-like keyboard motifs and rimshots and slowly building with electronic noise. RZA adds a rap to ‘Take A Fall For Me’, a bold fusion of hip hop beats and folktronica. ‘Retrograde’ has been used as the album’s teaser track, and you can see why; an amazing song in the style of ‘Limit To Your Love’, with a dense cascade of pitch-shifting synths. Piano / vocal piece ‘DLM’ sees Blake dispensing with the electronic production altogether, an interlude before the dull heartbeat thud, scattering snares and rave airhorns of ‘Digital Lion’ (think Portishead’s ‘Machine Gun’). The differing opening dynamics of ‘Voyeur’ – part love song, part sub bass rumble - evolve into a proper dancefloor track with 4/4 beats, cowbells and synth drones. Set against a ticking rhythm and mechanical scrape, Blake’s vocal soars skyward on the beautiful ‘To The Last’, while the album closes with ‘Our Love Comes Back’, a devastatingly simple ending.

              Garnering equally enthusiastic reviews across the blogosphere and print media alike, ‘Overgrown’ is a work of immense talent that will leave breathless with both its scope and simplicity, and have you already salivating at the thought of Blake’s future inventions.

              Jahdan Blakkamoore is a Brooklyn local hero. Beloved for his charismatic stage presence, pointed lyrics, and powerful voice, Jahdan brings the perspective of Rasta sufferation to the streets of New York in the post-9/11 landscape. Born in Guyana, after crossing into the US alone and undocumented at the ripe age of 8, he quickly began to absorb the swirl of music that thumps out of car trunks and crackles across the pirate airwaves of the borough of Kings. Making his first impact with NYC's golden-era street rap legends Boot Camp Click, Jahdan has been bridging the gap between hip hop, dancehall and roots reggae ever since. This CD / EP finds Jahdan touching down on deep dub-inflected Cumbia beats from Buenos Aires by Chancha Vía Circuito, synthetic dancehall from Vienna's Stereotyp, plus three riddims from lifelong Manhattan boy Shadetek which both reflect and bend the UK dubstep sound. The set includes vocal and dub versions.

              John Blum was born in New York City, April 15, 1968 and has been a mainstay of the free-jazz community there for over 15 years. While in Europe in 1992, he recorded with Clarinetist Tony Scott's Trio which included Antonio Grippi on Alto Sax. Upon returning to New York City, Blum became a member of the Improvisers Collective (1993-1995) and also initiated projects as a soloist and a group leader. By early 1998 he joined together with Antonio Grippi on Saxophone, William Parker on Bass, and Denis Charles on Drums to form The 'Astrogeny Quartet'. A CD of this group was released on Eremite records in 2005. In 2001 Blum recorded a solo piano CD for Drimala Records entitled "Naked Mirror", and was also featured on Butch Morris' "Conduction 117" released on JumpArts Records. In 2003, Blum recorded with Sabir Mateen on Tenor Sax in Sunny Murray's Trio and is featured on Murray's CD "Perles Noires Volume 2" on Eremite Records. He joined the Steve Swell Quintet in 2005 and a CD was released on NotTwo Records of their 2006 NYC Vision Festival performance. In addition to this Trio recorded in 2008, Blum also recorded a solo CD "Who Begat Eye" to be released on Konnex Records in 2009.

              Joe Boots & The Fabulous Winds With Floyd Syandifer Orch.

              Rock And Roll Radio / That's Tough

              Reissue of the original Celestial label release. "Rock And Roll Radio" is fab and tasteful strollin’ R&B mid-pacer from Seattle-based Joe Boots. Apparently Mr. Boot downed a full bottle of whiskey during the recording. Glug, glug, glug... On the flip we have the rollin' "That's Tough".

              STAFF COMMENTS

              Philippa says: Feelgood strollin’ R&B killers!


              7" Info: Limited dinked reissue with replica US label artwork. 500 copies only.

              Jonathan Boulet

              This Song Is Called Ragged / Trounce

              Sydney upstart Jonathan Boulet gives you his new single, 'This Song Is Called Ragged', from the forthcoming album 'We Keep The Beat, Found The Sound, See The Need, Start The Heart'.

              A swirling, percussive uprising of the most positive kind, 'This Song Is Called Ragged' is released as a double A-side 7” picture disc b/w 'Trounce' on Modular Recordings.

              STAFF COMMENTS

              Laura says: An uplifting, heady rush of calypso beats, tribal chants and pop hooks. If this doesn't will the sun to come out in our rainy city, nothing will! While ‘Trounce’ on the flip is a pummelling tribal beat that suddenly explodes into a thunderous collision of drums and guitars. Ace!

              Jonathan Boulet

              We Keep The Beat, Found The Sound, See The Need, Start The Heart

              We Keep The Beat… is a soaring burst of melody and harmony, built on the blocks of primal, incessant rhythm. It features choruses of chanting choirs, speedball drum lines and junkyards of melodic percussion. It’s a dense, cathartic record of unbridled energy and heavy pop.

              On another level it’s collective music. It’s a call to arms for those who are not just listening, but actually hearing it, and it’s best listened to in group situations - the more the merrier.

              Jean-Paul Bourelly

              Trance Atlantic (Boom Bop II)

              Jean-Paul Bourelly is widely regarded as one of the most gifted electric guitarists in Europe today. On the evidence of "Trance Atlantic" it's easy to see why. Along with drummer Dennis Chambers and sax player Vincent Henry he rips into a set of high eneregy jazz fusion tracks that bite and never let go.

              'Zulu Guru' is the first full-length collaboration from singer / songwriter Jesse Boykins III and producer / MC MeLo-X. Both Jesse and MeLo-X have critically acclaimed self-released albums and duets. With 'Zulu Guru', they bring together a solid collection of songs that reflect and define a new direction in hip hop and R&B, both lyrically and musically. This new sound is rooted in traditional soul music, adding elements from multiple genres to serve a purely unique and honest look at modern romance. With 'Zulu Guru', Jesse and MeLo-X absorb influences from around the world into the production including Afro-beat, West Indian, and electronic soul - expanding their brand and message wordlwide. 'Zulu Guru' also features emerging singers Chris Turner and Mara Hruby, rapper MoRuF, style mavens Joshua Kissi & Travis Gumbs of Street Etiquette and wordsmiths Kesed, Trae Harris and Joekenneth Museau.

              "The history of the ZuLu is one rich with stories of royalty, valor and the warrior spirit. In an age of creative freedom through the use of social networks we have become warriors of free expression. Never bound by the shackles of genre, we travel and shift through musical landscapes breaking down barriers in the process. Our approach to music is similar to that of the spirited tribal warrior; conquering new land as we travel the world winning wars through romance. As we venture into a new level in our careers, we continue to embody the Zulu warrior spirit while elaborating on the romantic qualities in everyday life.

              The greatest minds are the ones that connect wholeheartedly with their artistic visions and do all they can to make it reality. The Guru in us all simply craves evolution and tranquility which comes with experience, which is simply the process in which we become more and more true to ourselves: being able to acknowledge our flaws and mistakes and wrongdoings and grow for the better.

              In this music there is honesty; pure understanding or putting forth the effort to understand the emotions that make us do what we do. We write to express and highlight things within ourselves and our culture that we feel hold some sort of significance, good or bad. We deeply connect with the many cultures of the world, traveling and over-involving ourselves with awareness. This music we bring to you is a sonic form of connection, a humbling form of passion, and the advancement of art in form of romance."

              Jon Brion

              Paranorman OST - Glow In The Dark Edition

                US RSD title. We will have a few copies coming in slightly later than the RSD date. Exclusive RSD packaging, limited to 500 copies with 3 different Glow in the Dark variations. Appears clear in daylight, glow RED, BLUE or GREEN in the dark.

                San Fran's Public Release return after something of a hiatus with this slamming house weapon by So Cal hero Jeffrey Brodsky, backed with three divergent remixes from Mark E, Richard Sen and Mike Simonetti. The title cut is a prime time house number which recalls the genre's underground roots through spiralling arpeggios, tweaked-up vocals, and chiming organs. But this isn't just some nostalgic memory, instead Brodsky gives the track some modern muscle via a clean production aesthetic and energetic structure, that locks the vibe in a more contemporary direction. Mark E provides the first remix - it's a move towards the hypnotic, with tribal drums and cascading bells that ought to provide a worthy complement to late night epiphanies, and memorably euphoric moments spent under the mirror ball. Then comes Richard Sen's take, which runs the whole thing through a filter of '80s-style acid house, with a big raw 303 bassline and dubby vocals accented with delays. The final remix duties fall on Mike Simonetti, whose version teases out the song's atmospheric space through tight, heavy drum programming and monolithic washes of synthesizer.

                Jack Bruce

                Fields Of Forever / Drone



                  LIMITED TO 500 COPIES WORLDWIDE.


                  ESOTERIC ANTENNA is pleased to announce the release of an official Record Store Day limited edition Seven-inch single by the legendary JACK BRUCE. A supremely talented instrumentalist and vocalist, eminently respected by his peers, Jack’s pioneering bass playing style has influenced successive generations of bassists, including such luminaries as Paul McCartney, Jaco Pastorius and Sting, alongside more contemporary musicians such as Flea of the Red Hot Chilli Peppers. He is also the possessor of one of the most powerful voices in modern music and a composer of some of the most original and influential music of the past forty-five years. As a songwriter he has written some of popular music’s enduring classics such as ‘Sunshine of Your Love’, ‘White Room’, ‘I Feel Free’ and ‘Theme from an Imaginary Western’.

                  ‘Fields of Forever’ and ‘Drone’ are taken from his stunning new album,“Silver Rails”, his first studio in ten years, recorded at the world famous Abbey Road studios.

                  This release is strictly limited to 500 units, has been newly re-mastered from the original master tapes and fully restores the original release artwork.

                  QTY FOR UK: 240

                  Jack Bruce Band

                  How's Tricks

                  "How's Tricks" was recorded in 1976 by the second incarnation of the Jack Bruce Band with Hughie Burns, Tony Hymas and Simon Phillips. The highlight of this remastered edition however, is the original line-up of Mick Taylor on guitar, Carla Bley and Ronnie Leahy on keyboards and drummer Bruce Gary performing "Without A Word" included as a bonus track and issued for the first time.

                  Jack Bruce

                  Jet Set Jewel

                  Recorded with the same band that recorded "How's Tricks" in 1976, "Jet Set Jewel" is, if anything, a stronger album. The band of Bruce, Simon Phillips, Hughie Burns, Tony Hymas and Dick Heckstall-Smith (on a couple of tracks) have a greater understanding and the songs are really strong. An irony then that "Jet Set Jewel" has remained unissued since its 1968 recording. This was partly due to Bruce and Robert Stigwood falling out and partly due to Polygram (who were buying Stigwood out) only being interested in punk -it was 78 after all. Such a shame as tracks like "The Best Is Still To Come", "She's Moving On" and the title track are amongst the best songs of his solo career.

                  Jack Bruce

                  Shadows In The Air

                  15 new tracks from ex-Cream bassist, Glasgow's finest Jack Bruce. He has Eric Clapton helping him out on "White Room" and "Sunshine Of Your Love" and Gary Moore plays some great guitar on another stand out track "Heart Quake"

                  Jeff Buckley


                    Originally released in 1994, Jeff Buckley's solo debut "Grace" is now considered by many to be one of the best albums of the 90s. "Grace" displays a dazzling array of influences from an artist still developing his craft.

                    Jeff Buckley

                    Grace - 180g Vinyl Edition

                    "Grace" is the only complete studio album by Jeff Buckley, originally released on August 23, 1994. After the death of Jeff Buckley in 1997, the album grew to be one of the most important album's of the 90s. The album was produced by Andy Wallace who had mixed Nirvana's album "Nevermind".

                    In addition to seven original songs, the album included three covers: "Lilac Wine", based on the version by Nina Simone, "Corpus Christi Carol", from Benjamin Britten's A Boy Was Born and "Hallelujah" by Leonard Cohen. Jeff recorded the album with bassist Mick Grondahl, drummer Matt Johnson and guitarist Michael Tighe.

                    Originally released in 1994, Jeff Buckley's solo debut "Grace" is now considered by many to be one of the best albums of the 90s. "Grace" displays a dazzling array of influences from an artist still developing his craft. This 'Legacy Edition' includes a newly remastered version of the album as well as a second disc of recordings showcasing Jeff's expansive interest in various genres. In addition, this brilliant collection includes a bonus DVD featuring unseen footage and all the "Grace" videos. Also included is a deluxe 24 page booklet containing rare or unseen photos.

                    Jeff Buckley

                    Grace Around The World

                      Nearly fifteen years ago, the world was introduced to a young singer/songwriter from New York named Jeff Buckley. His debut album Grace became one of the most acclaimed and influential albums of his generation. To promote the album, Jeff and his band embarked a seemingly un-ending tour – taking them all over the globe from 1994 to 1996. Because the album had no "hit single", Jeff was constantly tinkering with his setlists – both on stage and on TV. He therefore performed almost every track from Grace at least once in his many appearances on local broadcasts around the globe. Now, for the first time, the very best of those performances have been tracked down and compiled into the definitive visual document of the Grace world tour.
                      This limited edition CD and 2xDVD package features a 12 track CD of previously unavailable 'live' tracks plus a 17 track DVD of 'live' footage, MTV interview and the "Hallelujah" video along with the "Amazing Grace" film.
                      This hour long film is a look at the legacy and phenomenon of Jeff Buckley that has been officially sanctioned by Jeff's mother and estate and created by first time filmmakers and fans of Jeff. It's a very indie and intimate look at his relationship to his music. There are rare performances, footage and interviews. There are also interviews with a variety of artists of that pay tribute to Jeff Buckley and how he influenced them (painter, dancer, poets, singers, etc).
                      This limited edition version also includes a 24 page booklet, 2-sided fold-out poster, backstage laminate, tour announcement press release, tour dates postcard and three photo print postcards.

                      For his proposed second album, Jeff Buckley recorded an album's worth of material with producer Tom Verlaine. Deciding that the sound wasn't quite right, the perfectionist Buckley, moved to Memphis to record the album all over again. But then disaster stuck, and Buckley died in a freak accident, disappearing under the waves of the Mississippi River, and the album was never finished. His mother and his record label decided to round up the existing tracks he had been working on, including the Verlaine sessions, and released them as this two CD set, "Sketches For My Sweetheart The Drunk". It is a poignant and fitting epitaph for an unfulfilled talent.

                      Jeff Buckley

                      Live At Sin-e - Legacy Edition

                      Columbia finally get around to giving the EP (long only available on import) the deluxe 'Legacy Edition' treatment. Expanding the original four tracks over a boggling two discs, this album was actually taken from a number of performances over a few months. Embryonic "Grace" originals sit alongside an array of covers that run the gamut of musical eclecticism; Bob Dylan, Nina Simone, Nusrat Fateh Ali Khan, Led Zeppelin. One wonders how he managed to have such a wonderful voice, broad musical tastes and the ability to reinvent them so uniquely, AND to be able to do it all with just a voice and guitar. An essential testament to one of the most talented artists in the history of popular music.

                      The 19 year old singer songwriter from Nottingham releases his much anticipated debut album. He recently supported The Stone Roses in a secret London gig and Noel Gallagher personally requested Jake to join him and his High Flying Birds on tour in Europe and the US.

                      Jake Bugg is back with his brand new record 'Shangri La', following his debut “Jake Bugg” and coming just over a year since that record went straight to Number 1 and sending him into the record books as the youngest solo male to debut at the top of the charts with their first release. It’s fast-approaching sales of one million worldwide and cemented him as one of the most exciting new talents to emerge in recent years. Now hooked up with legendary producer Rubin, he is set to scale new heights. His new album is a much more fully-formed piece of work than its predecessor and is a stand out release of this or any year.

                      On top of the success of his debut, Jake has toured with Noel Gallagher and Snow Patrol in the US. He is currently nominated for two Q Awards (Best New Act, Best Solo Act) and the Barclaycard Mercury Prize. These nominations follow similar nods at this year’s Brit and NME Awards. He drew one of the biggest crowds of the weekend at Glastonbury, as well as at Reading/Leeds Festival, T In The Park and Summer Sonic in Japan. He returned to Nottingham to headline Splendour this summer, a triumphant homecoming show in front of 17,000 adoring fans.

                      Jeff Burch's first solo full-length album is comprised of two expansive instrumental compositions anchored by beautiful old acoustic guitars and a modular synthesizer. He hoists his sounds up through the remnants of the 60's downtown drone spirit, through the fetid fruits of post-war central Europe and the scattered output of present-day suburban outsiders. The arrangements shift gracefully from floods of lush string texture to driving guitar and drum motif, from ebbs of brass and deep electric sine wave to thick hazes of clanging din and steely whine.

                      Composed, recorded and mixed between 2010 and 2012. Recorded with Casey Rice/Designer (Tortoise, Dirty Three) at Classicx, Melbourne and Jamie Kennedy (of Surf City) at Henry Street Studios, New York City Featuring guest percussion by Stephen James (Songs, Rand and Holland), electric guitar by Tres Warren (Psychic Ills, Compound Eye, Messages), tenor saxophone by Marcus Whale Mastered by Patrick Klem (Sonic Youth, Six Organs of Admittance, The Dead C) at Klemflastic Sound, Phoenix.

                      Originally from the crystalline shores of northern New Zealand, Jeff now resides in New York City's torrid Lower East Side. Head of imprint The Spring Press, he has also founded numerous groups in both New Zealand and Australia.

                      Jesse Butler With Freddie & The Continental Playboys

                      Dancing Fever / Tear Drops And Pennies

                      "Dancing Fever" is an obscure ‘unknown’ blues blastin’ twisting dance ditty with thrashing guitar. It comes backed with the pleading blues-soul smoocher "Tear Drops And Pennies".

                      FORMAT INFORMATION

                      7" Info: Limited dinked reissue with replica US label artwork. 500 copies only.

                      'I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.' - John Cage 1937. Although John Cage occasionally worked in large, sophisticated studios - for example, when he composed Fontana Mix in 1958 - his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc. He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits, and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century.

                      Langham Research Centre works within the tradition firmly established by Cage, using resources that would have been available to him. For the realisation of Cartridge Music, moving iron phonograph pickups were sourced and restored. These have a knurled screw designed to hold a steel phonograph needle and, in the piece, other objects are inserted and amplified: pieces of wire, toothpicks, paperclips, etc. The realisation of Fontana Mix includes the individual mono tracks from Cage's original tapes created in 1958. These are played using open-reel tape machines. These practices ensure we work within the limitations that Cage experienced and enable us to get close to the soundworld he inhabited. (Robert Worby, LRC).

                      FORMAT INFORMATION

                      Ltd LP Info: Silver/White vinyl.

                      This unique collaboration was originally released in 1971 and saw Cale (fresh from his ground-breaking work as a member of the Velvet Underground and now finding his feet as a solo artist) and Riley (noted for his highly influential works “In C” and “A Rainbow in Curved Air”) create a work of atmosphere and uniqueness. All instrumental, with the exception of the song “The Soul of Patrick Lee”, “Church of Anthrax” was the perfect melding of the experimental genius of two unique musicians. Hard to catagorise, the album was recorded a year prior to its release by Columbia in February 1971 and actually preceded Cale’s first solo album.

                      John Cale & Friends (Lou Reed, Patti Smith, David Byrne, Allen Lanier, Mick Ronson, And Chris Spedding)

                      Live At The Ocean Club In New York, July 21, 1976

                        The night of July 21, 1976 was a star-studded and memorable one for Downtown NYC music fans, as John Cale, Lou Reed, Patti Smith, David Byrne (of the Talking Heads), Allen Lanier (of Blue Oyster Cult), Mick Ronson (David Bowie), and guitar guru Chris Spedding regaled fans with a slew of Cale classics like “Guts”, “Buffalo Ballet” and “I Keep a Close Watch” as well as the Velvets’ “I’m Waiting For the Man”, and the Modern Lovers’ “Pablo Picasso” (which was produced by John Cale for the Modern Lovers’ 1976 LP). And as if all this weren’t already enough, recording the performance was Andy Warhol himself! Do not miss this slice of music history!

                        John Cale

                        Sun Blindness Music

                        These pieces derive their origin from reel to reel Recordings made in the 1960's on the Lower East Side in New York's bohemian artist communes. The 43 minute title track is heavily influenced by Terry Riley's solo organ improvisational minimalism (Cale and Riley would later collaborate on "Church of Anthrax"). The eleven minute "Summer Heat" is an opressive guitar track and the final track is pure electronic sound.

                        John Callaghan

                        It Might Never Happen

                        Ten years after his first single appeared on the legendary Warp Records, John Callaghan's long-awaited debut album is released by Uncharted Audio. Describing himself as an 'unusual songwriter/performer of thoughtful and spiky electronica from Birmingham', he created a stir with "I'm Not Comfortable Inside My Mind" and "You've Got Your Memories, I've Got My Dreams" – two super-collectable vinyl-only releases on Warp. His remarkable live show has graced many a stage across a variety of Europe's more open-minded venues. The album's themes include the human body, our relationship with it and with our clothing – not surprising since he counts nude modelling among his professions. John describes the album as 'my own soundtrack for my life' – the tracks span a period from 1994-2007. Musically it's unlike anything else: a riff played on a fork is pitch-shifted into a gorgeous melody, a buzzing fly is transformed into a throbbing bassline and all manner of vocal chopping and tomfoolery provide the perfect foil.

                        Straight out of Essex songsmith James Canty brings his riotous acoustic guitar led band to the forefront of the altfolk genre. With crafted songs and reflective lyrics entwined with explosive live performances, echoing Fleet Foxes, ALT-J and Scroobius Pip; Canty proves both a prolific writer and eccentric stage persona.

                        His debut release 'Shark In The Shallows' is out now on limited edition 7” vinyl.

                        "This 6 song symphony of sound juxtaposed with chaos and long stills of almost nothing starts the only way I’d expect it to. The first track “Ballast” comes in with murderous hits, cracks, and drills. It’s hard to put into words exactly what you are listening to. And, that’s what I love about Mr. Cary’s tracks. But, somehow Jeff has forged a signature sound. I have been listening to noise for awhile now. I haven’t hear anything quite like it.

                        [3:30] as a full body of work is not just a digitally distorted camero with the gas pedal to the floor going through a time warp. It is dynamic and almost peaceful at times. With tracks like “Phosphor” and “Node” where you find yourself lost in an ambient sound scape of breathed gesters and things off in the distance. I admire Jeff’s way of knowing when to hold back or be minimal in his approach while yet still having some sort of rage you can’t quite pinpoint but you know it’s there and you can feel it and it’s about to burst and you like it.

                        I have seen Jeff live countless times. I got a chance to see him at one of his most recent performances at Club K where he performed a few of these new tracks live. Being a drummer for over 15 years I tend to latch onto the rhythm of any song I hear. Even in noise I somehow subconsciously makeup a beat I bop my head up and down to. I noticed that I didn’t have to magically make an esoteric drum section for Jeff’s performance. It was already there. Tracks like “1001″ make you feel as a drummer or drum machine is being forced through a grinder with a distortion pedal in the chain.

                        It’s a very purifying experience listening to Jeff Carey‘s works on [3:30]. It’s not for everyone.. But, it sure is hell for noise enthusiasts like me. But, hey.. If you’ve never listened to a “noise” artist before or haven’t gotten down with that scene. Try it out. You might just like this one." - Gutter Magazine.

                        Jean Carn

                        Don't Let It Go To Your Head / We Got Some Catchin’ Up To Do

                        Expansion Records and Philadelphia International Records (PIR) have got together for a series of souvenir 7” single releases to celebrate the 40th Anniversary of the iconic green label. Special PIR 40 logo and design will utilised for the label and 7” range sleeve for this collector’s series. There will be a limited 500 run of each release.

                        On side A we get Jean's super 2-step soul classic "Don't Let It Go To Your Head", which is backed by the smoother "We Got Some Catchin’ Up To Do".

                        Jean Carn

                        Time Waits For No One / Free Love

                        Two more super disco smashes for you, by way of Jean Carn and that amazing voice. On side-A "Time Waits For No One" is a string soaked paean to a broken heart (as per usual), written by McFadden & Whitehead and delivered with that killer vocal, there's a nice break in the middle hinting at Melba Moore's "Standing Right Here". On the flip "Free Love" ploughs a similar furrow, this time written by Gamble Huff.

                        John Carpenter

                        Halloween - Original Motion Picture Soundtrack

                          In celebration of its 35th anniversay, MONDO is pleased to present the original soundtrack to John Carpenter's HALLOWEEN. This release features the most comprehensive version of the soundtrack, never before released on vinyl, cut at 45RPM for the best possible sound quality.

                          FORMAT INFORMATION

                          2xLtd LP Info: 180 gram 2xLP in a deluxe gatefold sleeve. One-time pressing on black vinyl and randomly-inserted orange vinyl.

                          John Carpenter

                          The Fog - Blakes Gold Edition

                            An absolute stone cold classic from director / composer John Carpenter.

                            Death Waltz are thrilled to be releasing a double vinyl album of THE FOG which includes the original movie score as released in 1984 but also a bonus vinyl including all of the original movie cues which have never been made available on vinyl before.

                            Did we mention that the cover art is by Dinos Chapman, yes the Dinos Chapman: as an internationally renowned solo artist, and together with his brother Jake, Dinos Chapman makes iconoclastic sculpture, prints and installations that examine, with searing wit and energy, contemporary politics, religion and morality. The Chapmans have exhibited extensively, including numerous shows at White Cube, Tate Britain, and Tate Liverpool.

                            An edition of 1000 heavy weight 180gram gold coloured vinyl.

                            Packed to black polylined inner sleeves and featuring a heavyweight casebound (tip on) full colour gatefold sleeve.

                            Exclusive new cover art by Dinos Chapman.

                            Liner notes by John Carpenter, Alan Howarth , Randall D. Larson & Dinos Chapman.

                            John Carpenter And Alan Howarth

                            Halloween III: Season Of The Witch

                              Re-mastered by Alan Howarth
                              All new artwork by Jay Shay
                              Sleeve notes by Alan Howarth and Jay Shaw
                              Includes an a2 poster
                              Brand new house sleeve with spot varnish and tons more film info on the back inc credits etc.

                              "You have to bow down before John Carpenter & Alan Howarth. Their score for Halloween III is so far ahead of it's time it's mind boggling. Halloween III is a tour de force of experimental synth tones, intense melodies and dark brooding mood pieces. This is one of my favourite scores of all time and I am honored to have the chance to release it." - Death Waltz Recordings.

                              FORMAT INFORMATION

                              Ltd LP Info: 140 gram black vinyl edition.

                              John Carpenter

                              Assault On Precinct 13 - Original Motion Picture Soundtrack

                              Death Waltz Recording Company are very proud to be releasing one of the most seminal electronic scores in film history. Recorded in just one day, this minimal electro masterpiece by Director/Composer John Carpenter has been sampled by Afrika Bammbaataa, Tricky and covered countless times. This newly remastered version has been approved by director John Carpenter himself who has also supplied brand new and exclusive sleevenotes.

                              FORMAT INFORMATION

                              LP Info: 180gram plain vanilla coloured vinyl cut at 45rpm housed inside a gatefold tip on casebound jacket with spot UV varnish & 8 page fold out booklet featuring sleevenotes by Director / Composer John Carpenter, star Austin Stoker & essays on the film and score by Fangoria editor Chris Alexander and composer Clint Mansell. Brand new exclusive artwork by Jay Shaw.

                              CD Info: CD comes in a three panel fold out sleeve with pop up CD mechanism and features sleevenotes by John Carpenter.

                              John Carpenter

                              Prince Of Darkness

                                "We are very happy to be continuing our series of John Carpenter / Alan Howarth re-issues with Prince Of Darkness, this is undoubtedly one of Carpenters Darkest and most underrated films and the score complements the images perfectly. This has to be one of the most understated, atmospheric and downright scary soundtracks ever made. Carpenter and Howarth keep it simple with oodles of tension, listen to this late at night in the dark and you won't be going to sleep anytime soon!" - Death Waltz Recordings.

                                Music Composed and Performed by John Carpenter.

                                In association with Alan Howarth.

                                Produced by Alan Howarth.

                                Re-mastered by Alan Howarth.

                                Exclusive new cover art by Sam Smith (Responsible for some of our favourite Criteron artwork including Hausu & World On A Wire). Comes with an A2 poster.

                                Sleeve notes provided by Alan Howarth and Sam Smith.

                                FORMAT INFORMATION

                                Ltd LP Info: Black vinyl 140 gram edition.

                                Composed by John Carpenter & Alan Howarth

                                Re-mastered by Alan Howarth

                                All new cover art from Gary Pullen

                                Sleeve notes from Alan Howarth & Gary Pullen

                                For the score to one of his most iconic films Carpenter and Howarth created what can only be described as electronic blues, The score is recognizable as Carpenter but has a dusty , slow pulsating western feel that really does give it a life of its own.

                                FORMAT INFORMATION

                                Ltd LP Info: 180gram black vinyl with spot varnish cover includes giant fold out poster.

                                Johnny Cash

                                16 Biggest Hits

                                  'I Walk The Line', 'Ring Of Fire', 'A Boy Named Sue', '(Ghost) Riders In The Sky'... and 12 other big country hits from the Man in Black.

                                  Johnny Cash

                                  American II: Unchained - Back To Black Edition

                                    This second release in the American Recordings series saw Cash collaborate with Tom Petty & The Heartbreakers. Once again the album featured self penned songs alongside covers, but this time he covered some more contemporary artists too, including Soundgarden and Beck.

                                    FORMAT INFORMATION

                                    Ltd LP Info: Available on 180g vinyl in the UK for the first time.

                                    Johnny Cash

                                    American III: Solitary Man

                                    The third, and to my mind the best of the American Recordings releases. I don't think there's a bad track on this at all, and some of the cover-versions are just awesome. Includes covers of Nick Cave's "Mercy Seat", Will Oldham's "I See A Darkness"(with vocals from Will Oldham), Neil Diamond's "Solitary Man" and "One" by U2.

                                    Johnny Cash

                                    American III: Solitary Man - Back To Black Edition

                                      Arguably the best of the American Recordings series.
                                      Once again Cash worked with Tom Petty on a couple of tracks including the Neil Diamond-penned "Solitary Man".
                                      The album also includes stunning covers of Bonnie Prince Billy, Nick Cave and U2.

                                      FORMAT INFORMATION

                                      Ltd LP Info: Available on 180g vinyl in the UK for the first time.

                                      Johnny Cash

                                      American IV: The Man Comes Around - Back To Black Edition

                                        Following the same path as the previous American Recordings, this album features some of his best songwriting for some time, along with possibly two of the most famous of his cover versions: Depeche Mode's 'Personal Jesus' and Nine Inch Nails' 'Hurt'.

                                        FORMAT INFORMATION

                                        2xLtd LP Info: Available on 180g vinyl in the UK for the first time.

                                        Johnny Cash

                                        American Recordings

                                        The first release in a series of albums for Rick Rubin's American Recordings, is a suberb collection of Cash songs, and stunning cover versions.

                                        Johnny Cash

                                        American Recordings - Back To Black Edition

                                          Originally released on Rick Rubin's American Recordings label in 1994, this album marked a welcome return for the country music legend and gained him a whole new generation of fans.

                                          The album, which combines Cash originals along with covers of classic country and folk standards, was recorded at his Tennessee cabin by Rick Rubin. The stripped back nature of the the recording, just him and his acoustic guitar, demonstrates perfectly the range and emotion in Cash's voice.
                                          A stunning album.

                                          Johnny Cash

                                          American V: A Hundred Highways

                                          In the months leading up to his passing on September 12, 2003, Johnny Cash had been recording new material with producer Rick Rubin. "American V: A Hundred Highways", is the result from those sessions including the last song Cash ever wrote, "Like the 309". Rick Rubin sums up the album, 'these songs are Johnny's final statement. They are the truest reflection of the music that was central to his life at the time. This is the music that Johnny wanted us to hear.' - Rick Rubin

                                          Johnny Cash

                                          American V: A Hundred Highways - Back To Black Edition

                                            The vocals for these tracks were recorded in 2002 and 2003, before Johnny's death on 12 September 2003 at the grand old age of 71. Rick Rubin, who had worked with him on all the previous American Recordings added overdubs later, to complete the recording.
                                            By the time of this recording Cash was in poor health and suffered the loss of his wife June in May 2003. He visits familiar themes: Love, Life, Death and God and they seem somehow much more poignant this time around.
                                            As you'd expect from The Man In Black, he bowed out in style.

                                            FORMAT INFORMATION

                                            Ltd LP Info: Available on 180g vinyl in the UK for the first time.

                                            Johnny Cash

                                            American VI: Ain't No Grave - Back To Black Edition

                                              Originally released in 2010 to mark what would have been Johnny Cash's 78th birthday, this album compiled by Rick Rubin, features songs recorded during the same sessions as 'American V', shortly before Johnny's death.
                                              The songs this time around are rooted in the gospel roots of his childhood and it's a deeply moving, spiritual album.

                                              FORMAT INFORMATION

                                              Ltd LP Info: Available on 180g vinyl in the UK for the first time.

                                              Out Among The Stars is a remarkable new album comprised of 12 recently discovered Johnny Cash studio recordings. The tracks were originally recorded in Nashville in 1981 and 1984 and produced by Billy Sherrill. The album features duets with June Carter Cash and Waylon Jennings plus songs penned by Cash himself.

                                              The recordings, which have never been released in any form, are not demos, outtakes or alternate versions. They remained in the vaults during the years Columbia Records released Johnny Cash's last albums for the label and were subsequently forgotten.

                                              The recordings first surfaced in 2012, when John Carter Cash was cataloging his father's and mother's exhaustive archives. "When my parents passed away, it became necessary to go through this material," he says. "We found these recordings that were produced by Billy Sherrill in the early 1980s…they were beautiful."

                                              Out Among The Stars is a great lost Johnny Cash album connecting the revolutionary rockabilly of his Sun Records years to the epochal final albums he made for American Recordings. Thirty years in the making, Out Among The Stars is a classic Johnny Cash album, about to be heard for the very first time.

                                              FORMAT INFORMATION

                                              Ltd LP Info: 180 gram audiophile vinyl.

                                              Johnny Cash, Jerry Lee Lewis, Roy Orbison & Carl Perkins

                                              Class Of '55 (Back To Black Vinyl Reissue)

                                                Originally released in 1986. The 4 giants of rock ‘n’ roll come together to pay tribute to the spirit of rock ‘n’ roll.

                                                As with all Back 2 Black vinyl re-issues they’re faithful to the original vinyl release and they’re all pressed on 180gram vinyl and come complete with a Digital Download for the album.

                                                Johnny Cash

                                                A Concert Behind Prison Walls

                                                Johnny Cash, the 'Man In Black', is one of the most influential musical figures of the last 50 years. His deep, resonant voice and sparse guitar style have given him an instantly recognisable sound that manages to sit somewhere between folk, rock and country. This concert was recorded at the Tennessee State Penitentiary in Nashville in 1976. It is one of only two of his prison concerts that were filmed for broadcast. It features Cash with special guests Linda Ronstadt and Roy Clark performing a selection of their biggest hits such as "Folsom Prison Blues", "Orange Blossom Special", "A Boy Named Sue" and Ronstadt's version of the Eagles' "Desperado".

                                                Johnny Cash

                                                American IV - The Man Comes Around

                                                Yet another awesome album from The Man In Black. He's always done his own thing, regardless of what the country music establishment, record companies, or the media have thought of his work, whether it be an album of gospel songs, or mainstream pop hits. He's never been afraid to experiment and take risks, and now even at the age of 80, he's doing so, more than any of his contemporaries would ever dare. As with the previous three albums in the American Recordings series, this album includes his own songs, versions of old standards, and (often surprising) cover versions, including Jimmy Webb, The Beatles, Paul Simon, Depeche Mode and Nine Inch Nails. Once again he has also collected together a fine group of musicians to work with. On his cover of Hank Williams "I'm So Lonesome I Could Cry" he duets with Nick Cave, possibly the only person who's vocal delivery is anywhere near as dark and powerful as his own. I must admit I'm not too keen on the family sing-a-long version of "We'll Meet Again", but other than that, I can't fault it. Raw, atmospheric, excellent!

                                                Johnny Cash

                                                Get Rhythm / I Walk The Line

                                                In 1952 a record label started in a bustling Tennessee town. They were fond of acoustic tile, storefronts, the color yellow, the owner producing recording sessions and music that generally moved people. Their output couldn't be pigeonholed to any one genre. They released everything.... country, rock and roll, gospel, bluegrass, rockabilly, blues. If there's an American musical form that came to fruition in the early 20th century, bet your bottom dollar that some outstanding examples of it were recorded and released by SUN RECORDS.

                                                Released in 1956, "Get Rhythm" is an upbeat number by Johnny Cash with positive lyrics speaking of a happy shoe-shine boy. While the song is classic, inimitable Cash, it would quickly become overshadowed by its b-side, "I Walk the Line." A peculiar song that changes key between each verse and has no chorus, "I Walk the Line" would become the song Cash is best known for, a tale of pledged fidelity with lyrical undertones implying even deeper meaning. Rolling Stone magazine ranked the song at #30 in their 2004 list of the 500 greatest songs of all time.

                                                Johnny Cash

                                                Johnny Cash At Folsom Prison

                                                  "Johnny Cash At Folsom Prison" fully captures Cash's gritty intensity and hard-headed humanity, capturing a high-energy set performed for an equally spirited audience. With a set list tailored for the occasion, Cash focuses on songs dealing with crime and imprisonment, balancing dark subject matter with wry, playful humor. The album opens, appropriately enough, with the venerable "Folsom Prison Blues," and continues with such outlaw anthems as "Cocaine Blues," "25 Minutes to Go, "The Wall" and "I Got Stripes," alongside such Cash classics as "I Still Miss Someone," "Orange Blossom Special" and "Jackson," with the latter track featuring Cash's wife and frequent duet partner June Carter. The album closes on an inspirational note with "Greystone Chapel," a song written by convict Glen Shirley, which Cash and his band learned especially for this show.

                                                  Jennifer Castle

                                                  Pink City

                                                    From Toronto, Jennifer Castle writes folk songs about friendship, love and heartbreak.

                                                    ‘Pink City’ is a stirringly beautiful album every bit a step forward from 2011’s ‘Castlemusic’. Its barer arrangements - often just piano, guitar and voice with string arrangements from Owen Pallet - highlight just how good a songwriter Castle is. Her singing has an intuitive style, not always following the expected melody but soaring along on its own current.

                                                    Greil Marcus wrote in The Believer that Castle “reaches a pitch of mystical transport so gorgeously ethereal she seems to drift off into lands that don’t appear on any map.”

                                                    This 1972 outing set the tone for the Jimmy Castor Bunch's 1970s success through an effective and distinctive mix of funk, pop hooks, social commentary, and gonzo comedy. It's Just Begun also helped the group score a million-selling crossover hit single with "Troglodyte." This memorably whacked-out funk jam is built on an infectious fuzz-guitar hook and features Castor detailing the romantic adventures of a caveman who meets up with Bertha Butt, a comic character that would continue to appear on his albums for many years to come. The album also included a b-boy favorite in its title track, a salsa-inflected funk excursion whose breakbeats continued to be spun by DJs well into the 1980s. Beyond these favorites, the group knocks out a relentless stream of thick, funky grooves as Jimmy Castor tackles everything from morality ("You Better Be Good (Or the Devil Gon' Getcha)") to philosophy ("LTD", which stands for Life, Truth, and Death). To add variety, Castor also throws in "My Brightest Day," a sweet, horn-accented ballad, and "I Promise to Remember," an updated slice of doo wop that Castor originally penned for Frankie Lymon and the Teenagers.

                                                    Silicon Soul's Dark Room Dubs label brings us more limited business. Jairo Catelo has been described as a butch Diana Ross on acid.....(!) but let’s try to expand on this. "Soul School" is like French meets tribal house as rolling drums and some very techy stabs compete with looped up disco hooks and some Silicon Soul-inspired white noise sweeps and effects. Very peak time and with a plethora of uses - I could see this working a hundred different dancefloors. Phil Weeks takes the track into driving, sublime tech-house territory, retaining the funky disco loops and bassline but working the flanges and the compression to create something bubbling with a sizzling demonic energy deep within. "Overside (Yairo's 303 Acid Mix)" continues with that constantly bobbing, rolling groove that's synonymous with this EP. Lyrics from 'upside down, boy you turn me....' are re-sung by a new male vocalist and layered up with the very techy, discordant drops and wigged-out grooves. Might read a little hard to digest but it sounds absolutely sick! Finally "The Shake" reeks of carnival spirit, with lots of percussion elements converging on a nagging guitar lick. Those ascending, white noise driven breakdowns and drops are still present and correct and the tracks rhythmic vocal stabs and little brass sections are gonna send the dancefloor spiraling out of control. Absolutely huge twelve, all four tracks dancefloor dynamite! Move fast!

                                                    "Sax Education" takes tracks from various James Chance LPs ("Sax Maniac", "Flaming Demonics", "Melt Yourself Down") and brings us a whole extra disc of him and a minimal band recorded live for radio in Holland circa 1981. Includes "Contort Yourself" (original and August Darnell disco-not-disco remix), "The Twitch", "Disco Jaded", "Hypno Tease" etc. Early 80s punk-funk.

                                                    Judson Claiborne

                                                    Time And Temperature

                                                      Following his self-released solo debut, "Before Midnight Scholar", Chicago's Judson Claiborne continues to document the phenomenon of personal transformation with "Time and Temperature", his new record on La Société Expéditionnaire.

                                                      Each song mirrors the greater truths of introspection through unique tales of characters encountered along Judson’s journey. A remote viewer, working for the CIA, struggles to maintain his relationship with his wife as he travels through time and space. A faded barkeep leaves for the desert to help minimize the number of immigrant border crossing deaths. A literature student falls in love so deeply that he eats his partner to absorb her qualities. An artist violently deconstructs on an urban expressway in protest. The distant melancholy familiar to listeners of Low Skies (Judson's previous band) has grown into emerging layers of song in the tradition of troubadours, journeymen, country-western stars and master-less wanderers.

                                                      The roots of country and folk are palatable, but a very modern sense of uncertainty drains any refuge taken from the dusty nostalgia of lost eras. "Time and Temperature" is the finest blend of Indie Folk with progressive abandon, as the ghosts of the Great Ones smile down on Judson Claiborne with a nod and a wink.

                                                      The artwork is a collaborative effort between the band and New York based Photographer Sarah Wilmer. She is an artist who creates strange, dark, and beautiful images with esoteric, mystical narratives weaved throughout, a perfect marriage of music and photography. Images were created using props, costumes, space, etc. inspired by small details and overall themes from the songs themselves. The crew spent three days playing in the woods near the Michigan shore to create the right environments for the photographs.

                                                      "Time and Temperature" began in the summer of '08 and was finished by spring of '09 in the band’s hometown of Chicago, IL. They worked at Carterco Recording (drummer Jamie Carter’s studio) and at Soma EMS (John McEntire’s studio) with engineer Tim Iseler (Wilco, Iron and Wine, The Swell Season) at the helm. Ronnie Kuller and Jeff Thomas, both of the infamous circus punk marching band, Mucca Pazza, make substantial contributions to the songs. Jeff wrote and conducted the horn and string arrangements while Ronnie played violin and sang harmony throughout the record.

                                                      The album features a cover of “The Woman Inside of Me” by New Zealand singer/songwriter Chris Knox.

                                                      John Clarke - not to be confused with Johnny Clark - had been running with the Wackies operation for six years, ever since moving from Jamaica to New York. He'd cut memorable sevens with co-founder Munchie Jackson for the Tafari label, and with Lloyd Barnes for such Bullwackies imprints as Versatile and Wackies. "Visions Of John Clarke" was a little thrown together for its original release in 1979. Still, its sleeve carried a ringing endorsement from Bullwackies himself and the album attracted the interest of no less than Studio 1 boss Coxsone Dodd, whose bid for distribution-rights was thwarted when the Brooklyn label Makossa quickly put in for a full licence. Out soon afterwards, the new version - entitled "Rootsy Reggae" - duplicated five tracks, but with markedly different mixes, fresh edits, and sometimes new instrumentation.

                                                      FORMAT INFORMATION

                                                      CD Info: CD brings together both "Visions Of John Clarke" and "Rootsy Reggae" albums.

                                                      Johnny Clarke

                                                      Don't Trouble Trouble / Version

                                                      Johnny Clarke's 70s roots cut classic declares 'Don't Trouble The Dreads'. Produced by Bunny Lee and featuring tight playing and a fat sound, it appears on 7" here complete with a great King Tubby dub cut on the flipside.

                                                      John Cooper Clarke

                                                      Disguise In Love

                                                        2005 Remaster with 3 bonus tracks of the 1978 album featuring Pete Shelley (Buzzcocks); Bill Nelson and others.

                                                        John Cooper Clarke

                                                        John's In The Money (Evidently John Cooper Clarke Volume One)

                                                        This album gives a great insight into the early spoken word creative skills of John Cooper Clarke in the late 1970s early 1980s. Pieced together from the massive Martin Hannett audio archive of tapes of John Cooper Clarke it is an audio collage of John’s great observations on life. From short one line quips to longer sections of poetry and dialogue often very ad hoc. The 48 minutes on this album shows John Cooper Clarke’s journey through the murky world of punk rock, loyally followed by Hannett with his tape recorder capturing snippets of John in witty conversation at people’s houses, on stage at gigs and in the recording studio. The titles of the tracks on the album are from the chaotic Hannett tape archive and if the track is a section of poetry may not bear any resemblance to what the poetry was actually named- we bring you the recordings as they were named on the tape boxes. If you want to listen to a window on John Cooper Clarke’s journey through the punk scene of Manchester this CD album is for you, after all where else but with Martin Hannett’s recordings could you listen to a window?

                                                        John Cooper Clarke

                                                        Snap, Crackle & Bop

                                                          2005 remastered with bonus tracks, ripe 1980 album from the legendary UK beat poet! Cameo by Pete Shelley from the Buzzcocks.

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