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.

Jennie Abrahamson

Gemini Gemini

    Fourth album from Swedish Jennie Abrahamson. Includes collaborations with Johannes Berglund (The Knife, Owen Pallet).

    Johan Agebjörn releases a new solo album, ‘Notes’; a dreamy, melancholic and mostly instrumental collection of songs.

    The starting point for the album was the electric piano sound of the Casio MT-52, a cheap keyboard from the early 80s that was mostly used on an amateur level. It's used (together with other sounds) on almost every track on the album.

    Agebjörn says “There's some kind of unintended sadness, simplicity and authenticity in the Casio MT-52 sound. Most of the tracks are without drums. Lately I've felt that drums are mostly in the way, taking attention from details of the harmonies in the music, especially when there are a lot of notes (e.g. in arpeggios). Often I've had long drumless intros on my productions, for that reason, and since this is not at all intended to be dance music, I (in most cases) decided to let the harmonies stand for themselves. It sounds more naked and clear, though on some tracks I used some drums to obtain some more energy and motion.

    The album includes collaborations with Sally Shapiro, Loney Dear and Young Galaxy (as well as a remix for Brain Machine that fits to the album's style). Some songs sounded like instrumental versions of pop songs, so I decided to have vocals on them. It was of course natural to ask Sally on two tracks. Loney Dear and Young Galaxy are both making dreamy music with great expression, so I thought they would both be exciting collaborators on this album, and I'm honored they wanted to sing on my productions."


    2xCD Info: Includes bonus CD 'Music With Less Electricity'.

    JM Airis

    Wild Birds

      Below the hustle and bustle of New York City’s streets, lies ‘Terminal NY’, the bunker-come-recording studio of Wisconsin journeyman-songwriter JM Airis. It’s where Wild Birds was conceived - Airis’ striking new noir-folk album that’s all set to soar from the grit of the Brooklyn basement and circle the Empire State Building, bringing a moment of calm to the pulsing heartbeat of the big city.

      Airis covers a lot of territory with this album, from the swaggering to the solemn as he delves into the darker side of Americana music. Filled with heavy emotions and heart felt lyrics, Wild Birds pushes the prominence of airy spaces, synth notes, and the relegation of guitars to a supporting role pushing this recording to the edge of folk noir, if it’s even definable.
      From structure to sound, Airis is deliberate in his creation of making even the least audible punctuations perfect. Every single chime, raw rhythm, and acoustic string reverberation is exactly as Airis intended it to be, all while not being over produced.

      All together, Wild Birds is a bare-eyed view from above, a finished mirror of the simplicity distance provides and a back-to-the-land reminder that not everyone in the city is singing songs about the hustle.

      Whilst Airis’ previous offering Indian Summer was applauded for its traditional grass roots approach that couldn’t be further from his time as drummer in NYC outfit Dead Sparrows, Wild Birds brings everything bang up to date with the prominence of synths, airy spaces and the relegation of guitars to supporting role.

      Surrounded by old 50s and 60s tube schematics and internet forum kits that manifest as functional Microphones, EQs, Compressors and Preamps within the concrete and tin frame of the converted textile warehouse, what they lack in authenticity is more than made up for with their unique and honest sound. From the southern-gothic style of ‘False Birds’ that recalls the lo-fi nature of BRMC’s semi-acoustic album Howl, to ‘Infinite Sun’s neo-country slide guitar and the moody narco-blues of ‘Cant Hurry’, each song stokes the fire that is Airis’ creative process and is a further exploration into the darker psyche of Americana.

      Recorded almost entirely by Airis himself, leading the way on guitar and vocals, he also enlisted the skills of Young Magic’s Melati Malay who provides backing vocals to the blissed-out, reverb heavy ‘14 Shadows’, plus the technical expertise of Kloke records’ Kloke (high guitar), Ryan Olson (electric drums), and Solid Gold’s Adam Hurlburt (bass) with the “Wild Birds” live band consisting Graham Finn (synth/slide guitar/bass), Street Smells’ Evie Beach (keyboard/drums), and Alan O’Keeffe (guitar).


      2xLP Info: Double LP on black vinyl (please note no download code included).
      LP comes with a loose insert.

      In recent years we've seen a whole host of production talent spring forth from the brownstones of Brooklyn, and J Albert may well be the latest star on the borough's house and techno scene. With three releases to his name already in a busy 2015, Albert arrives on Opal Tapes with four tracks of deep, gritty and groovy house biznizz which should propel him to a loft apartment in New York's electronic high rise. The A-side opens in stomping fashion as the subby bassline and hardhitting rhythm of "Kiss The Ground" force their way through the squealing synth tone and hissing tape distortion to pin you to the dancefloor. Drawling vocal samples add a little life and soul to the ghetto roughness, giving your head something to focus on while your body takes over. On A2 cut, "We Know", Albert  adds a little vinyl crackle to the tape hiss before unleashing a proper peaktime viber on our asses. Combining the analogue with the electronic, the Brooklyn producer teams a killer double bassline, jazz piano and brushed hats with a raw drum box beat for a fierce floor filler. "M15 (Ivy Mix)" kicks off the B-side in deep and atmospheric fashion, heading towards dub techno with a simple sub bassline and a murky soundscape, before it evolves into a quite unique hybrid of hardcore, dub and Balearic house. If you conjure up some Amen breaks, a Deepchord soundscape and Gottsching guitars, then you're on the right track. Last but not least, "Hold Your Breath" stumbles through the smoke and strobes of the techno wasteland as that repeated phrase cycles away alongside metallic synth washes and a stomping beat. Heavyweight club tackle!


      Patrick says: This funky little sucker's just had me and Kickin' Pidge rocking round the clock. Proper house!

      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.

      JT Allen & Little Richard's Band

      Working Hard / Freeway Crowd

      Belting double sider from Atlanta, Georgia. 'Freeway Crowd' should please any raw funk aficionado, kicking things off with a cracking break for all the hip hop heads. Super rare, and fetching over £400 for an original copy Crowbar felt this gem of a record deserved to see the light of day again. The label were actually offered a large sum of money from a jealous collector who wanted to stop this incredible record being re-released. Sorry blubbs. Luckily money isn't everything to the Crowbar peeps and since the band originally cut the record to entertain, they thought they would be doing the band and of course you an injustice by not making this beauty available for release again nearly 30 years after it was originally recorded. So here it is fully licensed, remastered, and ready to go at a much more affordable price. "Don't you believe in magic? Slow down.... Lets enjoy the ride". 'Working Hard' on the other hand is one of those hard-edged funky mid-70s socio message dancefloor bombs that does it just right. Hugely in-demand on both soul and funk scenes. Very limited press.

      Get yours before they are gone.


      7" Info: Limited dinked 45.

      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.

        Jamie Anderson & Content (Jesse Rose)

        Body Jackin'

        This is the first release by Jesse Rose and Jamie Anderson on Gigolo Records. And what better way to debut for the label than with a new track based on four times Grammy nominee Steve 'Silk' Hurley's classic house hit "Jack Your Body". 20 years after the track originally scored US and UK number ones, Rose and Anderson pay respect to Silk with "Body Jackin'".

        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.

        John Andrews & The Yawns

        Bit By The Fang

          "Bit by the Fang is the first solo album from singer / songwriter John Andrews and his imaginary backup band The Yawns. Andrews began recording the album in 2013 while working at a Salvation Army in the Amish country of Lancaster, PA, his home at the time. As the new year rolled around, he followed a demanding schedule of writing, recording and touring with both Quilt (drums) and Woods (keys). It wasn’t until a well-earned break that he found the time and energy to complete the solo record he started months before. He recounts the difficulties involved: ‘Traveling so much caused my whole living scenario in PA to kind of fall apart,’ he tells, lamenting over the comfort only home can provide. As he moved back to his hometown of Yardville, NJ, he set up camp in his grandparents’ empty living room to record and perform everything entirely by himself once again.

          “Warm acoustic guitars, honky-tonk piano, lap steel, singing saw and fluttering violins all sing together on this well crafted, yet comfortingly sloppy, psych-country / R&B record. A self-taught piano player, Andrews maneuvers with the precision of a player well beyond his years. Lyrically and stylistically he tackles the subject of death with the lightheartedness of a Saturday morning cartoon in ‘”I’ll Go to Your Funeral (If You Go to Mine).’ It’s hard not to conjure comparisons to Michael Hurley, Daniel Johnston or Kevin Ayers. This album is a great introduction to the grandiose fables of characters at the mercy of Andrews’s oddball mind.” - Jeffrey Silverstein.

          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.

          Eagerly anticipated debut album from 20 year old New York native Jo-Vaughn Virginie Scott, better known as Joey Bada$$. Following on from the successful EP's "1999" and "Summer Knights", this debut album is a mix of East Coast hip-hop / rap across x17 tracks. Producers who contributed on this album include fellow Pro Era members, Kirk Knight and Chuck Strangers, as well as Statik Selektah, DJ Premier, Hit-Boy, J Dilla, Basquiat, Freddie Joachim, and Lee Bannon.

          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.

          John Baker & The BBC Radiophonic Workshop

          The Vendetta Tapes

            A brand new compilation of rare material by John Baker from the BBC Radiophonic Workshop!

            John Baker (who worked for the BBC alongside Delia Derbyshire) ranks as one of the world’s most influential electronic musicians. His talent as a jazz pianist and ability to manipulate tiny fragments of tape into new sound is legendary.

            Whilst working on ‘The John Baker Tapes’ compilation for Trunk Records, producer Alan Gubby unearthed several reels of music and sound effects from the 1960’s BBC TV series ‘Vendetta’ - a mafia themed cop thriller starring Italian actor StelioCanelli (Barbarella, Django, Planet Of The Vampires). The theme tune for the show was composed by John Barry whilst Baker produced all the incidental music. He created brilliant, tense, rhythmic and unhinged James Bond style themes for the show between 1966 & 1968, featuring radiophonic beats, twanging bass lines and screaming jazz solos.

            Available for the first time ever, Baker’s soundtrack for Vendetta displays his skill in fusing groovy tape loops, ambient drones and bass textures with real instruments. The music is thrilling, sleazy, deranged and very hip. Highlights from the score are presented on this compilation alongside other rare and previously unreleased Baker tracks, all digitally remastered by Mark Ayres from the Radiophonic Workshop archive.

            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.

            It seems like a lifetime since Bristolian producer Julio Bashmore burst onto the scene with his bass heavy take on UK house, holding it down for the dancefloor with heavyweight cuts like "Um Bongo's Revenge", "Batty Knee Dance" and "Father Father". In fact, the young producer has only been around for five years, and his extensive discography stands as evidence of his prolific talent. The all conquering brilliance of 2012's "Au Seve" saw him propelled into the fringes of the mainstream, where he's remained up until now, effortlessly pleasing radio one playlisters, dancefloor militants and club veterans with his perfectly crafted productions.

            "Knockin' Boots" sees Bashmore on superlative form, weaving an assortment of expertly chosen samples and well crafted instrumentation into a dozen floor filling tracks which could each serve as a single. Titular opening cut "Knockin Boots" and "Holding On" are peaktime disco house rollers, while "She Ain't" cranks things up a notch to shake its ass at the fringe of the Dance Mania sound. "Let Me Be Your Weakness" and "Rhythm Of Auld" fuse synthetic soul with bass heavy house, harking back to Bashmore's earlier work on Futureboogie, while "For Your Love" featuring the excellent Seven Davis Jr on vocals sounds every bit as good as a dream collaboration between the two artists should. As we flip to the C-side we feel the force of a couple of heavyweight voguers, vamping around on the darker side of ballroom house before Bashmore teams up with Okmalumkoolkat to give us his own batshit take on hip-house! Imagine Ata Kak freestyling over a pitched up soundstream record and you're on the right track. The final side plays host to a trio of emotive terrace anthems, beginning with the glowing pads and warm bassline of "Simple Love". "Kong" slows the pace a touch, stitching together the history of UK house music into a R&B topped smoothy that should sit nicely next to the recent Jamie xx LP. Album closer "You & Me" brings us all together in the middle of the dancefloor, skin tingling with along with the ascending chord progression, arms aloft to the sound of the heartbroken vocals. A perfectly crafted and sequenced debut, "Knockin Boots" sees Bashmore journey through the full range of emotions without ever taking his eyes off the dancefloor. 

            Hot on the heels of Tenderlonious' "Thoughts Of You EP", Jeen Bassa's first solo offering is another strong release from London's most talked about musical collective, 22a. One of the three outrageously talented Deenmamode brothers (Mo Kolours & Reginald Omas Mamode IV), Jeen Bassa has remained the most elusive of the 22a collective until now. Raised in the west-country but currently residing in South-East London, Jeen Bassa's warm and woozy productions stand out in a world saturated with bland Dilla-esque pastiches. Reminding me a little of Al Dobson Jr's solo debut on Rhythm Section, and Manchester's Be, "The Seven Movements" from last year; it’s another one of those schizophrenic musical offerings which moves around an organic theme quickly and succinctly, keeping you hooked till the end through a series of dynamic tracks and infectious skits. Twenty-two minutes of 'future rare-groove'. This is some heavyweight business not to be missed! Personal favourites include the undulating, bass heavy grooves of "Herb & Rhythm", the twilight atmospheres of "My People (7 Seas)" and the street-ready sounds of "Body Talking". Although I'm sure "Latin Fingers" will go down a treat at the aforementioned Rhythm Section dance, while "Cocoa Lotion" will certainly tweak the deep house heads interest. There's something for everyone I can promise you! Thoroughly recommended - move quick!

            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

            Sit down and take your notebooks out, it's time for a history lesson kids. In 1990, when your parents were giddily necking smarties like they were, well, smarties, the soundscape was light, uplifting and harmonious. Still basking in the afterglow of the summer of love, the clubs were full of diva-sampling, piano vamping odes to togetherness, tenderness and other hippy nonesense. Then Joey Beltram unleashed this pitch black blast of pure evil into the clubbing consciousness and began the process which eventually spawned your beloved Berghain. In his mind, he was creating a harder and darker strain of house music, but to the Europeans, he'd opened the floodgates for a form of techno brutalism a million miles away from Detroit's Belleville Three. The New Yorker extracted unyielding tension from a tough 909 program, bolstered it with the most malevolent and menacing bassline and created a classic with the addition of eerie choral vox, skewed string samples and the guttural whisper of "Ecstacy". Don't fuck around, just make sure you own a copy.

            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.

              John Beltran continues his relationship with Delsin Records with the release of a new ambient album, 'Espais'. Beltran has long been a master of his art, turning out seminal LPs and EPs on labels like Peacefrog, Millions of Moments and Text Records. 'Espais' is an absorbing soundtrack featuring 17 pieces of immersive, sonically lush and rich music. As he has throughout his career, Beltran makes use of modern techniques and classical composition to craft a wide range of blissfully soul soothing moods and supple, subtle grooves.

              Tracks like "Espais" are uplifting and heavenly with their sombre chords, "Přestávka" is angelic and crystal clear, where "Ruimten" is rather more meaning and forbidding. Its textures are frazzled and almost industrial. Elsewhere efforts like "Dream Tangle" blend synthetic machine made sounds with more organic strings and the results are truly moving throughout. Unfolding like a proper journey with a carefully threaded narrative, this album is yet another testament to Beltran’s ability to sculpt sound in intricate and compelling ways.

              Jorge Ben

              Ben è Samba Bom - LP + CD Edition

              “Once in a while, an unexplained phenomena emerges in popular music. Other times, artists of real value are surprisingly swallowed by the abyss of anonymity. But what rarely happens is the emerging of a truly authentic talent - not only in popular preference - but also in selling records. In other words, someone with proven artistic ability to get beat in the music scene with full mainstream acceptance. This happened to Jorge Ben, he’s became one of the most prominent exponent of Brazilian music. This is his third legendary LP, and as usual features some of the best arrangers in the genre such as Meirelles. Nelson and Gaya”

              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 of diverse ethnic musical forms incorporating both indigenous instruments and electronic elements.

              For "Eclipse" Emotional Rescue boss Chuggy and Balearic shepherd Moonboots took a stroll through Bergia's 25 year solo career, picking out their personal favourites amongst the embarrassment of riches. While the exotic flavours of "Ballenas" and "Himalayas" recall the finest moments of the Finis Africae project, sweet vocal cuts like "Midnight Round Mekines" display Bergia's mastery of the pop format, giving Fleetwood Mac a run for their money in the soft rock stakes. Beautifully packaged and expertly selected, "Eclipse" should warm the cockles right through til next winter.


              CD Info: CD includes 5 bonus tracks.

              Jac Berrocal, David Fenech, Vincent Epplay


              'Antigravity' is a new trio album from legendary trumpeter Jac Berrocal and two fellow travellers in the French avant-garde, David Fenech and Vincent Epplay. A lugubrious mise-en-scène in which ice-cold outlaw jazz meets musique concrète, DIY whimsy and dubwise studio science, all watched over by the lost souls and hungry ghosts of rock & roll.

              The Berrocal / Fenech / Epplay trio’s first album together, 'Antigravity' is a richly imagined universe combining original compositions and détourned standards. Berrocal revisits his own signature piece ‘Rock 'n Roll Station’, which first appeared on his ’77 LP 'Paralleles' with chain-wielding, leather-clad wildman of British rock & roll, Vince Taylor, singing the lead, and Berrocal on mic’d up bicycle; here, the Frenchman takes the vocal reins. A barely recognisable interpretation of Talking Heads’ ‘The Overload’ pushes beyond the bush of ghosts into a fourth world dread-zone of stalking drum machine rhythms, humid electronics and jagged guitar phrasing, while ‘Where Flamingos Fly’ reroutes the Gil Evans Orchestra’s classic rendition through the seamiest back-streets of the 13th arrondissement; there, as on the trio’s reading of ‘Kinder Lieder’, the mood is romantic, but stark, isolationist: imagine Chet Baker falling through the glacial sound-world of early PiL or Scott Walker’s Climate of Hunter.

              Originals include the agitated Iberian psychedelia of ‘Spain’, and ‘Panic In Bali’, which begins in seemingly trad-jazz fashion only to swell into a cacophony of a gurgling electronics and fevered ‘Lonely Woman’ quotations. ‘Solaris’ is a swirling, suspenseful arabesque of whiplash guitars and Black Ark FX, Berrocal’s trumpet hitting deep blue notes while his vocals are sliced and diced and tossed into a yawning void of tape-delay - like 'Antigravity' at large, the result is oblique, dissolving, forever out of reach. Despite the chilly, sometimes austere mood of the album, it is, ultimately, a deeply human and welcoming work, with a playfulness and sly humour pervading: see the anarchic cross-hatch of ‘Ife Layo’, or ‘L’essai des Suintes ou le bal des Futaies’, Berrocal’s poetic disquisition on the infinite variety of female genitalia. Mischief and misdirection are rife here, and fans of Officer!, Henry Cow and the ReR axis will find much to chew on. Play, as we know, is a serious business. Put another way, and to quote Berrocal entirely out of context, Antigravity is completely crazy, completely timeless, completely out. As its title suggests, the objective is nothing less than lift-off, weightlessness, a total unshackling from earth. Sunglasses on, collar up, let’s go.

              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.

              Jane Birkin & Serge Gainsbourg

              Jane Birkin / Serge Gainsbourg

              Vinyl release features 180 gram wax, thick gatefold jacket, liner notes, lyrics, and bonus picture sleeve 7" single of non-album cut “La Chanson de Slogan” b/w “Orang Outan”. Remastered from the original tapes by Dave Cooley (Melody Nelson).

              Building on the North American re-introduction to the maestro's work with 1971's masterpiece concept album 'Histoire de Melody Nelson', Light In The Attic Records is thrilled to announce their follow-up Gainsbourg reissue, 1969's Jane Birkin/Serge Gainsbourg (often referred to as 'Je T'aime… Moi Non Plus').

              Recorded as a series of duets and solo performances with lover, actress, and model Birkin, the pair's chemistry-enhanced collaboration was thrust upon the record buying public to much shock and horror, but indeed found global success. The disc quickly shot its cigarette brandishing author and fresh-faced vocalist into the international spotlight; and although lead-off single "Je T’aime" and its seductive purrs reached top slot in the UK charts, none other than the Pope branded the tune offensive and blasphemous. Ever the conversationalist, Gainsbourg wittily replied, "we couldn’t have gotten a better PR man!" Indeed Serge, indeed.


              LP Info: Limited 180g pressing.

              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.

                FORMAT INFORMATION

                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.

                James Blackshaw


                  Apologia is the 'lost' first solo guitar recording by James from 2003, which self-released on CD-R in an edition of 30. Now released on vinyl in a limited edition of 500.

                  "‘Apologia’ was written on a cheap Yamaha guitar with a ridiculously high action over the course a couple of months in 2002 and recorded in February 2003, a few months before I picked up a 12-string guitar for the first time and wrote and recorded my first release, ‘Celeste’. I’d just started fingerpicking and had gotten comfortable enough with some techniques to experiment with open tunings of my own devising and write my own compositions, which were at that time very inspired by the musicians I adored - John Fahey, Robbie Basho and lots of old country blues players like Mississippi John Hurt, Blind Blake and Reverend Gary Davis. I burned about 30 CD-Rs with homemade covers in jewel cases, gave most to friends and family and sold a few in the record shop I used to work in Soho. I felt for some time afterward like I was only just starting to find my own voice with ‘Apologia’ - the songs are shorter and more straightforward and the cyclical structures and appreciation of drones and overtones really came to the fore later on, as did my appreciation of adding other instrumentation and experimenting with sounds generally. Plus, I wasn’t entirely happy with the sound of the recording (some small EQ changes and reverb was added for this edition) and let’s just say the situation in the studio was far from ideal, but that’s another story. For that reason, I never chose to reissue ‘Apologia’. Now, almost 12 years later, I’m hearing them in a different way, realising the songs' charms rather than simply concentrating on the flaws. It doesn’t sound quite like anything I’ve ever done since and there’s a simplicity and raw energy about them that I’ve grown to appreciate. It’s an interesting snapshot of where I was then and how things have changed. It is an absolute pleasure for me to work with Bladud Flies! to release ‘Apologia’ as a limited edition LP now - something I would never have dreamed of back in 2003." - James Blackshaw.

                  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.

                  'Summoning Suns' is James Blackshaw's tenth studio album and the first recording to feature his voice and lyrics. Drawing inspiration from 60's and 70's singer-songwriters, baroque/orchestral pop and folk music, while still sounding contemporary, 'Summoning Suns' is Blackshaw's foray into more traditional forms of songcraft. Blackshaw sings in a gentle but assured voice, occasionally reminiscent of Harry Nilsson, Jim O'Rourke and Elliott Smith, while his words combine his personal experiences, neuroses and fantasy through many layers of abstraction, poeticism and dark humour.

                  While the deft fingerpicking acoustic guitar style of Blackshaw's previous recordings is still a prominent part of the sound, the songs are lushly and intricately arranged for drums, bass, piano, violin, flute and pedal steel guitar and features contributions from Simon Scott (Slowdive), Annie Nilsson and Japanese musicians Mori Wa Ikiteiru and Kaoru Noda (with whom he duets in Japanese on one song).

                  The fourth release on 1-800-Dinosaur comes from label co-founder and resident DJ James Blake. Road tested at summer festivals and on the 1-800-Dinosaur BBC R1 residency show the "200 Press EP" consists of 3 off the wall soulful house tracks and a weird poem, split across a 12" and 7" vinyl doublepack. "200 Press" kicks us off in deep and subby fashion, as Blake combines neo soul with deep, bass-led house. Layering slowed down hip hop vocals with his own idiosyncratic vocals over a synth heavy melody and stumbling rhythm, the producer creates a wall of sound that could just as easily be four different tracks being dropped at once. On the flip "200 Pressure" is a dark and disturbed future dub incarnation, which finds the synth line of the original mangled and hung out between rattling beats and echo laden samples. Over on the 7", Blake shows off the poise which made him a star on the sweet and subtle "Building It Still". The producer achieves the perfect balance between the deep and metallic sub and his gently played piano and sampled vocals. I can see this being a secret weapon and collectors item for his fans over the years to come. On the flip, we're treated to a odd and uneasy poem, over the kind of melancholy and jazzy piano Keith Jarret made his own. The artwork has been carefully designed in photoshop by a designer before being printed onto individual labels by a machine and then stuck onto the vinyl. Each vinyl has been carefully placed into a black cardboard sleeve. This is the first ever release to be mastered by a pack of lions at the Addis Ababa Zoo in Ethiopia. For further enquiries please contact Jah.

                  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.

                  FORMAT INFORMATION

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

                  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.

                  Jean-Marie Bolangassa

                  Brazzaville Percussions EP

                  Sofrito come correct again, delivering the latest in a long line of essential pan-global audio, this time courtest of Jean-Mari Bolangassa. "Brazzaville Percussions" sees the M'Bamina founder member wickedly fusing the rhythmic sounds of Congolese roots and swinging techno into three boom shots of raw, virtosic percussion threaded with complex drum-machine programming and sparse synths. "Disna Ngai" stretches across the whole of the A-side, treating us to a seven minute assault of tumbling conga, ringing cowbell and sharp bongo hits, only augmented with a slamming 909 beat and the occasional organ note or two. B-side opener "Rikikida" opens with the 'boiiing' of spring reverb and the rhythmic rap of the track title before evolving into the kind of deep, mid tempo afro percussion cut you'd expect to hear in an '82 Baldelli set or a deep session from Jan Schulte. "La Vie" rounds the package off with a ferocious 160BPM storm of TR-707 programming and african drums, perfect for the esoteric jungle cats on a Blackest Ever Black tip. As a handy bonus to fans of the recent Rhythm Section releases, might I suggest you play the A-Side at 33 for a deep organic rhythm track.

                  James Booth


                    Memory-taper James Booth trickled through his teen years in Manchester tracking melancholia house shadows and overcast bedroom bangers on a home-rigged dictaphone/Tascam arrangement, and though he's since upgraded his studio assemblage the essential agenda remains unchanged. "Reunion" is his debut, documenting ten of his choicest Northern isolation reveries, a Polaroid-hued tube-ride-turned-rhythm-odyssey through 150 shades of grey, from the nocturnal ice-house jazz of "End Tipsy" to the foggy, 5 AM club deja vu, "Seeing Voices." An alternately hushed and hypnotized journey to the end of the night, in search of pleasures known and unknown. Again, please.

                    FORMAT INFORMATION

                    Cassette Info: Pro-dubbed, hand-numbered tapes in new SILK label J-cards. Edition of 100.

                    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!

                    FORMAT INFORMATION

                    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.

                    James Brown And The Famous Flames

                    Night Train / Think

                    Two iconic mod / soul tracks by the Godfather of Soul himself - James Brown and his Famous Flames. First spun at the Scene Club, London, by legendary DJ and label owner Guy Stevens, “Night Train” was originally a 12-bar blues instrumental and its roots can be traced as far back as 1940. Lyrics were first added in the early fifties but James Brown put his own stamp on it by shouting a list of cities off his East coast touring schedule. The energy of Brown’s delivery and the exotic sounding American locations caught the imagination of Britain’s young Mods and it’s never lost it’s appeal. “Think” is the title track from Brown’s third album and is a cover of the 1957 “5” Royales R&B hit. Brown makes it his own and transforms it into an insistant dancefloor workout complete with an extended sax break.

                    No People Records collection would be complete without a contribution from the Godfather of Soul himself. "Escape-Ism" is 70s-era James Brown at his finest, supposedly written to kill time while he and The JBs waited for Bobby Byrd to arrive at their studio. A winding, two-part funk/soul epic, spanning both-sides of the single, the track reached #6 in the Billboard R&B charts, #25 in the pop charts, and would later be sampled by The Beastie Boys, Public Enemy, and Big Daddy Kane. It's now presented here for the first time in over 30 years, in its original 7" single format.

                    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.

                        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

                        Grace - Vinyl Extra Edition

                          New vinyl series from Sony Legacy UK. "Vinyl Extra" are classic albums, re-issued on heavyweight 180gm black vinyl, including a card slipcase CD insert.

                          "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.

                          Recorded for Radio Broadcast in New York & Boston. Many music critics of the day were not only intrigued but enamoured by Jeff Buckley when his musical career began to take off in the early nineties. Jeff Buckley born in California in 1966 and as the name suggests, he was the son of legendary singer, composer and guitarist, Tim Buckley, hence the early fascination with his artistic potential. Appearing on the world stage in 1994 with the critically well received album, Grace Jeff Buckley was poised to become a successful artist through the nineties and into the new millennium. However this sadly never happened as he would die in the spring of 1997 before fully realising his potential and only a half finished second album which was subsequently released posthumously.

                          This double album of radio broadcasts contains a wide and eclectic range of songs and performances, including songs that would appear on Grace. Drawn from broadcasts both before and after Grace, these performances show another side to Jeff Buckley. The songs featured here include Hallelujah, a song now strongly identified with Jeff Buckley and many covers of songs by Bob Dylan, Van Morrison and Elton John. More importantly for the first time this release includes the full unedited performance from WMFU at Upsala College on the 11th October 1993.

                          • This package contains Rare Radio Broadcasts and performances from singer song writer Jeff Buckley
                          • Includes complete unedited Radio performance from October 1992
                          • Includes rarely heard songs and cover versions
                          • Rarely Seen Photographs
                          • Liner notes by Broadcaster/Author Jon Kirkman. 

                          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.

                          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.

                          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.

                          Julie Byrne

                          Melting Grid / Emeralds

                          "I saw Julie Byrne play out in the sticks at SXSW this year in Austin and totally blew me away, on a psych folk tip - reminded me of Linda Perhacs, Karen Dalton and Vashti Bunyan, that good. We are stoked to be releasing a seven inch on pink vinyl of two select tracks Melting Grid and a direct to tape version of Emeralds." - Static Caravan.

                          “The songs of Julie Byrne are hushed and mysterious. Close-miked within the natural reverb of windowless rooms, utlising fingerpicked nylon-strung guitar and Byrne’s rich sequestered voice, they unfold from bare folk simplicity to abstracted tales of home life and longing that conjure up a simultaneous feeling of warm cabin intimacy and a deep interior sadness.” – MOJO Magazine.

                          FORMAT INFORMATION

                          Ltd 7" Info: Limited pink 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

                          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.

                          A master of romantic abstraction, Jefre Cantu–Ledesma is not new to the scene. In fact, he's been releasing a steady stream of music for nearly twenty years. With the brilliant album A Year With 13 Moons, however, the ever–prolific Ledesma appears to be hitting a new high. Or low, depending on how you like to see things.

                          Using a friend's reel to reel tape player, Cantu employed electric guitar, modular synthesizer, drum machine and concrète sounds from his surroundings at the Headlands, recorded while walking to the studio, cooking in the kitchen, talking with friends, the ocean, films he was watching, driving in a car. Everything was record stereo to tape.

                          The result is gorgeous, haunting and sprawling. A companion to his last full length LP, Love is A Stream, (Type, 2010), 13 Moons, is a dense, swirling mass.

                          Essex-born, Liverpool-based songwriter James Canty returns with a new five track EP.

                          EP title track 'Love' is packed with harpsichords, synthesisers and electronic flourishes, coming across like some amazing future-retro psych-folk experiment. The collection of tracks follows two years on the road across Europe for Canty, with the five songs written and recorded in the home studio of producer and Obscenic Records chief Joe Wills.

                          "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".

                          John Carpenter

                          Escape From New York - Expanded Vinyl Edition

                            Originally released on CD in 2000, the expanded soundtrack edition of John Carpenter’s classic 1981 thriller included over 20 minutes of previously unreleased music plus music from scenes deleted from the final print.

                            The masters were re-mixed from the original multi-track session tapes by long-time John Carpenter associate Alan Howarth.

                            This is the first time the expanded edition has appeared on vinyl in its complete form,

                            including original dialogue highlights.

                            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: Was £31.99. 180 gram 2xLP in a deluxe gatefold sleeve. One-time pressing on black vinyl and randomly-inserted orange vinyl.

                              John Carpenter

                              Lost Themes

                              John Carpenter, the legendary director and composer behind Halloween, Escape From New York, They Live, Assault on Precinct 13 and many more announces his debut solo album ‘Lost Themes’ on Sacred Bones Records. 

                              John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes that drive them can be stripped to a few coldly repeating notes, take on the electrifying thunder of a rock concert, or submerge themselves into exotic, unholy miasmas. It’s work that instantly floods his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fufighters, or a mirror holding the gateway to hell. Lost Themes asks Carpenter’s acolytes to visualize their own nightmares.

                              “Lost Themes was all about having fun,” Carpenter says. “It can be both great and bad to score over images, which is what I’m used to. Here there were no pressures. No actors asking me what they’re supposed to do. No crew waiting. No cutting room to go to. No release pending. It’s just fun. And I couldn’t have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (Davies, who scored I, Frankenstein) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn’t dealing with just analogue anymore. It’s a brand new world. And there was nothing in any of our heads when we started other than to make it moody.”

                              As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Singularly titled to inspire dread with such names as “Vortex,” “Dominion,” “Abyss,” and “Purgatory,” but all linked into a unified whole, Lost Themes has a mesmerizing power. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfeld’s Tubular Bells and the raging guitars and chiming percussion of Goblin’s Suspiria. “’Both classical music and rock and roll are part of my musical language, which is riff-driven,” Carpenter explains. “So if you listen carefully, I’m sure you can hear some echoes from my past. But I’m sure that’s true of any composer. You just bring your music along with you.”

                              John Carpenter And Alan Howarth

                              Halloween II - Clear Vinyl Edition

                                Death Waltz Recording Co. present Halloween II Original Motion Picture Soundtrack by John Carpenter & Alan Howarth. Original art by Brandon Schaefer. Includes sleeve notes from Alan Howarth & Brandon Schaefer.

                                Death Waltz Recording Company is proud to present the return of one of horror's scariest boogeymen, as well as one of the genre's most iconic theme tunes with John Carpenter and Alan Howarth's score to Halloween II. Set directly after the events of the first film, Rick Rosenthal's sequel sets itself up as the slasher equivalent of The Empire Strikes Back, making a family connection between Laurie Strode and Michael Myers while getting some good kills in at the same time. Carpenter and Howarth's score is beefier and more intense than before, using layers of electronics to drive the audience to madness.

                                As before, Myers aka “The Shape” is propelled by that theme, souped up with a new and more powerful arrangement from Carpenter and Howarth. Halloween II is more overtly synth and is perhaps less focused than the original score, although that certainly means it's nastier and more schizophrenic. The score also brings back the evocative 'Laurie's Theme', incorporating into a score full of harrowing musical effect, its synthesised howls and wails piercing your ears so that by the time 'Mr. Sandman' comes around, you'll feel just like the final girl, delirious at having survived the aural ordeal. And that's just when The Shape wakes up.

                                FORMAT INFORMATION

                                Ltd LP Info: 180g frosted clear vinyl.

                                John Carpenter And Alan Howarth

                                Halloween III: Season Of The Witch - Clear Vinyl Expanded Edition

                                  Death Waltz Recording Co. present Halloween III Brand new remaster for 2014 taken from the original analog tape and including 11 never before released cues exclusive to this record. Original Motion Picture Soundtrack by John Carpenter & Alan Howarth. Original art by Jay Shaw.

                                  Deluxe reissue includes 400 gsm Gatefold sleeve and contains exclusive by Director Tommy Lee Wallace , Artist Jay Shaw and film expert Kim Newman also includes an interview with John Carpenter by Joseph Burnett.

                                  Death Waltz Recording Company is proud to return another previous release to its ranks a true classic of horror cinema scoring, with John Carpenter and Alan Howarth's score to Halloween III: Season Of The Witch. Bravely dumping the character of Michael Myers, the film instead looked at the concept of Halloween itself as a subject, with a mystery involving an Irish toymaker, three gruesome masks, and a chunk of Stonehenge. Eviscerated on release, it's now been re-evaluated as an underrated picture, not least because of Carpenter and Howarth's score.

                                  Whilst it left the original themes at home, Halloween III still has a plentiful array of musical delights to scare the living daylights out of you. The main title has a palpable sense of dread, with low droning synths providing a backdrop for high-pitched lines representing a television signal. Edged notes along with a foreboding rhythm provide high tension along with stabbing wild synths, while a certain piece of driving music gives a sense of fate dragging you to a very bloody and nasty death. And then there's the Silver Shamrock theme. 

                                  FORMAT INFORMATION

                                  Ltd LP Info: 180g orange vinyl.

                                  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.

                                  Death Waltz Recording Co. present They Live

                                  Original Motion Picture Soundtrack by John Carpenter & Alan Howarth

                                  Original art by Gary Pullin

                                  Deluxe reissue includes an interview with John Carpenter by Luke Y.Thompson, sleeve notes from Alan Howarth & Gary Pullin & an article exploring the illuminati in They Live by Vigilant Citizen.

                                  FORMAT INFORMATION

                                  Ltd LP Info: 180g frosted clear vinyl.

                                  Written and recorded over the past year, the album features Casablancas and Voidz band members Jeramy Gritter and Amir Yaghmai (Salt & Pepper) – guitar, Jeff Kite – keyboards, Jake Bercovici – bass, Alex Carapetis – drums and was produced by Shawn Everett.

                                  The album incorporates world underground music from the 70s and 80s, hardcore/punk and modern harmony, using modern and analog recording and sampling techniques.

                                  Of the album's title Casablancas says, "Tyranny has come in many forms throughout history. Now, the good of business is put above anything else, as corporations have become the new ruling body. Most decisions seem to be made like ones of a medieval king: whatever makes profit while ignoring and repressing the truth about whatever suffering it may cause (like pop music, for that matter)."

                                  Julian Casablancas + The Voidz

                                  Tyranny - USB Lighter Sleeve Edition

                                    USB lighter sleeve - Limited edition lighter sleeve containing the 12-track album as high quality MP3s on a built in USBflash drive. Features custom Julian Casablancas+The Voidz artwork.

                                    Written and recorded over the past year, the album features Casablancas and Voidz band members Jeramy Gritter and Amir Yaghmai (Salt & Pepper) – guitar, Jeff Kite – keyboards, Jake Bercovici – bass, Alex Carapetis – drums and was produced by Shawn Everett.

                                    The album incorporates world underground music from the 70s and 80s, hardcore/punk and modern harmony, using modern and analog recording and sampling techniques.

                                    Of the album's title Casablancas says, "Tyranny has come in many forms throughout history. Now, the good of business is put above anything else, as corporations have become the new ruling body. Most decisions seem to be made like ones of a medieval king: whatever makes profit while ignoring and repressing the truth about whatever suffering it may cause (like pop music, for that matter)."

                                    Johnny Cash

                                    Man Comes Around / Personal Jesus

                                      THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                      Two classic singles from his legendary American Recordings sessions.

                                      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 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 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

                                          Universal Music are proud to present the Johnny Cash American Recordings LP boxed set, a classic black box housing all studio albums released between 1994 and 2010 on 180gm vinyl. Considered to be one of the most influential artists of the 20th century, the multi-platinum-selling country music legend, redefined the genre and earned a long line of awards and accolades throughout his 40-year career and he was the only artist to be inducted into the Country Music Hall of Fame, the Rock and Roll Hall of Fame and Nashville Songwriters Hall of Fame.

                                          STAFF COMMENTS

                                          Laura says: Produced by Rick Rubin, the American Recordings brought the genius of Johnny Cash to a whole new (young) audience. Collecting together Cash originals with reworkings of gospel and country standards along with covers of songs by contemporary artists (Nick Cave, Nine Inch Nails, Bonnie Prince Billy and U2 to name but a few) these albums form a stunning collection.

                                          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

                                          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.

                                            Johnny Cash

                                            At San Quentin

                                              Perhaps even more so than its predecessor, "Johnny Cash At San Quentin" captures Cash at his most raw and uninhibited. The artist's raucous rapport with his captive audience is obvious on an inspired mix of Cash classics ("I Walk the Line," "Folsom Prison Blues"), jailhouse ballads ("Starkville City Jail," "San Quentin"), traditional tunes ("Wreck of the Old 97," "There'll Be Peace in the Valley") and well-chosen covers (Bob Dylan's "Wanted Man," the Lovin' Spoonful's "Darling Companion"). The album's most popular track, though, remains the Shel Silverstein-penned novelty number "A Boy Named Sue," which became the biggest hit single of Cash's career.

                                              FORMAT INFORMATION

                                              LP Info: 180 gram audio quality "legacy vinyl".

                                              Johnny Cash

                                              The Legend Of

                                                Originally a single-disc compilation album of country music singer Johnny Cash's career. It is the first such album to contain material from Cash’s American Recordings era in addition to songs from his time at Sun and Columbia.

                                                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.

                                                  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!

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