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'.

    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.

      Joey Anderson

      Earth Calls

      Arriving completely out of the blue and unexpectedly, Joey Anderson supplies the deep dark electronics on the latest Deconstruct release. Deconstruct records became hugely sought after the small runs causes nightclub devastation through tracks by Levon Vincent and DJ Qu. This is only the forth release since 2008! Joey Anderson is relatively unknown apart from a collaboration with DJ Qu and a solo EP on UntilMyHeartStops. The title track "Earth Calls" is one of those mind-bending electronic house trips synonymous with this and their parent label Underground Quality. The super extended arrangement (well over ten minutes) moves through an eerie collage of loose piano notes, gliding synth bass, darting leads and some really unique dub / echo artifacts; making for a brilliant atmosphere track, a mood setter of the highest order, and a great way to get your already-filling-up-quite-nicely dancefloor into a squashed-like-sardines-and-ready-to-dance-mosh-pit! "Hydrine" on the flip uses big synthesized tom toms and some metallic leads and washes to create a suspended trip through a mechanized futurescape. Soon enough you're lost deep within the nuclear core of the record, far from reach of any human interference. The track fizzes and crackles on regardless, its machine code rhythms relentless in their actions. Superb record! Act NOW!


      Ltd 12" Info: one copy found!

      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.

        John Arnold Feat. Ty

        Style And Pattern (Nuff Version) - Moonstarr Remix

        After dropping the ace "Rise Up" on the "Heavyweight" sampler, John Arnold returns with a storming club joint featuring Big Dada's Ty on vocals, who flexes his lyrical dexterity over frantic broken afro beats and a rude bassline. The resulting "Style And Pattern" (also the title track from Arnold's sophmore LP for Ubiquity - due Autumn 2005) is top drawer DJ ammunition and comes in original or more stripped-down Moonstarr reworks. Essential!!

        John Arnold

        We're Not

        "We're Not" is an electronic broken beats groover with treated vocal snippets. On the flip Ayro's mix is on more of a deep Basic Channel style electronic-dub-house tip. All that and a weird electronic squelcher "Fabric" too.

        James Arthur's Manhunt

        It's Working

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

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

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

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

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

        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 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.

        Julio Bashmore

        Rhythm Of Auld / Knockin Boots

        Julio Bashmore returns alongside J'Danna with "Rhythm of Auld". A boogie-fused future soul romp with lush vocals and exceptional Bashmore synthwork the trademark. Pairing J'Danna's sensual voice with 80s-informd licks and flurries, plus a nice rounded drum palette makes this the perfect crossover track, landing somewhere between classic Detroit beatdown, 80s boogie, pop prowess and Bashmore's unique style. "Knockin' Boots" is also undeniably Bashmore - as he turns his hand to more a frenetic, looped house sound but one that twists heads through a series of dynamic breakdowns and drops. Keeping you on your toes till the very end. Great stuff.

        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.

          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.

          James Bernard

          The Devil Rides Out OST

          Holy satanism! It's the music from this 1967 Hammer Horror cult classic (digitally remastered of course). Includes ten page booklet with film history and full colour film pics - see a man with a goats head! Look at Paul 'Good Life' Eddington being scared! etc.

          James Bernard

          The Hammer Frankenstein Film Music Collection

          Music from all seven of Hammer's Frankenstein films which were made between the mid 50s and mid 70s. Can't think of anything to do? Let's make another Frankenstein film! Includes ten page full colour booklet with film photos / histories.

          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 ‘n 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 ‘n 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.

            Jherek Bischoff

            Eyes / Young & Lovely


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

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

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

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

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

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

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

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

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


              CD Info: Re-issue.

              James Blackshaw & Lubomyr Melnyk

              The Watchers

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

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

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

              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).

                James Blake

                Retrograde / Overgrown


                  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.

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

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

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

                  STAFF COMMENTS

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

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

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

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

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

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

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

                  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.

                    Jon Brion

                    Paranorman OST - Glow In The Dark Edition

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

                      James Brown / Percee P

                      Make It Good To Yourself / Lung Collapsing Lyrics

                      The Originals is back once again, this time getting down with the Godfather of Soul himself and the super funky 'Make It Good To Yourself' which appeared on the Black Caesar soundtrack in 1973 but has never before been released on a 45. Loaded with breaks to sample, the label pair James Brown with one of Percee P’s dope early releases, 'Lung Collapsing Lyrics' from 1992, which takes the funky break and slows it down to a hip hop beat. This one's also on 45 for the first time!

                      James Brown And The Famous Flames

                      Cold Sweat Parts 1 & 2

                      Taken from his 1967 album of the same name, "Cold Sweat" is a stone to the bone, much copied but never bettered funk classic. This 45 splits the track into the main song on side A and a more instrumental (apart from Brown's trademark grunts and 'give the drummer some' shouts) version on the flip.

                      FORMAT INFORMATION

                      7" Info: Ultra limited warehouse find - these are ORIGINAL dinked copies in King / Queen range bags, NOT represses!!

                      James Brown

                      Can I Get Some Help / Get It Together

                      This is the fifth in the series of rare James Brown recordings. On side one we have a previously unreleased long version of "Can I Get Some Help", finding an extra three minutes of this much sampled dancefloor classic. Hip hop jams to use this break include Tim Dog on "F**k Compton", Schooly D on "Peace To The Nation" and Kool G Rap & DJ Polo on "Play It Cool". On side two there's another funk classic "Get It Together", recorded in 1967 and also previously only issued in much shorter form. For the first time, Brown gives each band member some solo time, and then signs off with 'Fade me out, i've got to leave anyway' - this wasn't an ad-libbed cue for the engineer, he really had to go immediately: ahead lay advance promotion for the next nights gig!

                      FORMAT INFORMATION

                      12" Info: Faithfully reproduced 60s style retro label artwork.

                      Three rare, early / mid 70s James Brown cuts, backed by the distinctive sounds of the JBs. I couldn't find any of these titles listed on any of his 1970s LPs, but this EP includes "Can I Get Some Help", Baby Here I Come" and "Since You Been Gone", all of which are totally fantastic! Check the first track, it's approx ten minutes of tight-knit horns, guitars and funky drums - genius!

                      Another three amazing tracks from the vaults of Mr James Brown, circa the early / mid 70s. Includes "People Get Up And Drive Your Funky Soul" (from "Slaughter's Big Rip Off" - this is the only track I could find info about!), "Untitled Instrumental" and "Funk Bomb" (Instrumental), all of which have that distinctive JBs backing. Essential.

                      James Brown

                      Rapp Payback (Where Iz Moses)

                      Totally fantastic 1980 comeback single from James Brown, who'd been somewhat sidelined by the late 70s P-Funk revolution. This is pure disco-funk dancefloor dynamite, and my favourite JB track ever. It's split into two parts over this 45, with part two turning into an extended free-for-all jam.

                      FORMAT INFORMATION

                      7" Info: Ultra limited warehouse find - these are ORIGINAL dinked copies, in ORIGINAL picture 7" disco bags, NOT represses!!

                      Three tracks of mind-blowing 1970s funk from the boss. Includes a reworked version of "She's The One" using the "Funky Drummer" beats, "Funky President" from 1975's "Reality" LP and the much-sampled CLASSIC 1970 cut "Funky Drummer" in its full length version, plus a bonus beat edit, the latter possibly by Danny Krivit. Needless to say, if you've not got these - YOU NEED THEM.

                      James Brown


                        Two black felt slipmats with a picture of the Godfather Of Soul and the tag-line 'A James Brown production' printed in a brown-ish circle.

                        Three cuts of Junior Brown / Phil Pratt's 'What A Disaster'. The rhythm was recorded in Jamaica by Sly and Robbie and was included on the 'Dial M for Murder' LP. The Junior Brown vocal was voiced in the UK and originally released on the Mystic label in the early 80s. As well as the vocal and dub versions, Pressure Sounds have added an extra mix by The Disciple for this 10" dubplate reissue. A killer release that comes in a hand stamped bag made out of re-cycled card.

                        James Brown & Fred Wesley

                        Slaughter's Big Rip Off OST

                        James and Fred get cinematic on yo' ass! This blaxploitation soundtrack comes from 1973 and features the tracks "Really, Really, Really", "Sexy, Sexy, Sexy" and "Transmographication" (no, really!).

                        FORMAT INFORMATION

                        LP Info: Original gatefold sleeve artwork.

                        James Brown

                        Feelin' James

                        THE classic James Brown breaks turntablist cut up! Edited by one Danny Krivit. It's a funk breaks party-mix, with extra scratching etc (pretend it's you mixing live, and go for a piss. No-one will notice!!).On the flip there's three solo break tracks to mess with.

                        James Brown

                        The Payback

                        This LP comes from 1974 and features James Brown and co at their low down funky best.

                        FORMAT INFORMATION

                        2xLP Info: Original gatefold sleeve artwork.

                        James Brown


                        Another James Brown LP that goes for silly money for original copies. Raw soul and r'n'b from 1960.

                        FORMAT INFORMATION

                        LP Info: Original artwork.

                        Jack Bruce

                        Fields Of Forever / Drone


                          TWO TRACK 7” RECORD STORE DAY ONLY SINGLE

                          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.

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

                            Jeff Buckley

                            Grace Around The World

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

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

                              Jeff Buckley

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

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

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

                                  John Cale

                                  Sun Blindness Music

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

                                  John Callaghan

                                  It Might Never Happen

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

                                  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.

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

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

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

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

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

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

                                  Jean Carn

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

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

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

                                  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.”

                                    FORMAT INFORMATION

                                    Ltd LP Info: Super limited black and white vinyl edition housed in a gatefold sleeve.

                                    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)."

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