MAGIC MIX

indie

WEEK STARTING 29 Sep

Genre pick of the week Cover of V For Vaselines - Bonus Disc Edition by The Vaselines.

The Vaselines

V For Vaselines - Bonus Disc Edition

There's that sound again, that Vaselines sound: a winsome sweetness, a touch of melancholy and a lithe, libidinous drive that recalls all the best, coolest rock & roll. Eugene Kelly and Frances McKee's voices intertwine in that ineffable way they have, a sort of highland Nancy 'n' Lee. And those songs: joyous slices of classic pop songwriting brimming with heart and wit. But on their new album V for Vaselines, the guitars are bigger and fuzzier, the beats hit harder and tighter, and the whole affair bursts with punky energy. "We wanted the whole record to be upbeat," says Eugene. "It's as in-your-face exciting as we could possibly make it." It all started a couple of years ago, when Eugene chanced upon a Ramones cover band at a club in the band's hometown of Glasgow. "After that," he says, "I just wanted to write some really short punk rock songs, just get into people's ear straight away and then get out as quickly as possible." At the same time, Frances' kids were discovering the Ramones, and she, too, got the itch to write songs that were "rough and ready" and "quite punchy."

A batch of songs spilled out quickly, including "Earth Is Speeding." "It's about letting go of things and not being too precious," says Frances. "If you get too attached to what's supposed to come out of it, then it's going to be counterproductive." And that's the whole approach of V for Vaselines: "We didn't want to write these songs and then tinker with them forever,Frances adds. "We wrote and recorded them quickly, in a punk way." Very soon, they were recording at Mogwai's Glasgow studio, Castle of Doom, with noted producer-engineer Tony Doogan (Mogwai, Delgados, Belle & Sebastian). Things were very spontaneous often, they didn't even decide who was going to sing each song until shortly before they recorded it. They'd simply bang out a track and move on to the next one. "It was a great experience," Eugene says. "We made a lot of progress, rather than going back to what we'd done 20 years ago." Along for the sessions were some Glaswegian mainstays: Michael McGaughrin (1990s) on drums, Graeme Smillie (Olympic Swimmers) on bass, and guitarists Scott Patterson (Sons and Daughters) and Paul Foley (Mandrake Shepherd). Belle & Sebastian's Stevie Jackson played on a couple of songs, and Frank Macdonald (Teenage Fanclub) played piano and electric piano on two songs.

There's plenty of love gone wrong on V for Vaselines, especially on the duet songs "Crazy Lady" and "Single Spies" and yet the pain is redeemed by the pure joy of the music. "The songs take on a lot of serious issues," says Frances. "But you want to put some levity into things rather than make it all so serious." The opener "High Tide Low Tide" announces what V for Vaselines is all about: upbeat, catchy and loud, it grabs you by the collar and gets you up to dance but it packs a mature punch. "I often cycle along the River Clyde," says Eugene, "and sometimes the river is up and sometimes it's down. And I just started getting a tune in my head. It's about the difficulty with commitment finding the one you love and then being difficult about it when you do. There's a river between you and all you have to do is swim across it. But sometimes you just can't do it."

"False Heaven," says Frances, is about a relationship falling apart. "You think you're in this great place," she explains, "and then you realize it's not a great place it's false, it's not the place you want to be at all." "Single Spies" is one of the more straightforward lyrics on the album: "A couple is breaking up," Eugene explains, "and she says 'I'm leaving you' and the guy is an idiot and he's saying 'What have I done wrong?'" "The Lonely LP" is a rumination on, of all things, music formats, written from the perspective of an old LP, sitting on the shelf, alone and unloved. It's not readily obvious but "Inky Lies" has its roots in the News of the World phone-tapping scandal and takes on celebrity culture: "Do we need all this noise in our lives?" says Frances. "Shouldn't we focus on our own lives and not be influenced by what's going in the lives of people we don't even know?" Eugene was stuck for a lyric for the closer, "Last Half Hour," until he saw a TV show about Tony Hancock, a famous British comedian from the '50s and '60s who eventually self destructed, taking his own life in 1968 amid an alcoholic tailspin. "It's about the has-been, the faded actor, the entertainer who's on his way out but still trying to create," says Eugene. "So the album ends on a final curtain."


FORMAT INFORMATION

CD Info: Includes 4 track bonus disc while stocks last.

Ltd LP Info: Limited edition red vinyl. Includes 4 track CD bonus disc while stocks last.

Ólöf Arnalds returns with a brand new album, ‘Palme’, her fourth, released via One Little Indian.

‘Palme’ represents Ólöf´s most collaborative effort to date and also perhaps her most profoundly sensual and affecting. Musically, it offers up an astonishing wellspring of fresh ideas and playful experimentation that move the sound on from the acoustic approach that predominantly defined her first three records, ‘Við og Við’ (2007), ‘Innundir Skinni’ (2009) and ‘Sudden Elevation’ (2013).

On ‘Palme’ Ólöf is sensitively backed by two trusted collaborators and friends; Gunnar Örn Tynes (founder of electro-folk collective múm) and once again, long-term musical foil Skúli Sverrisson (who has also worked with luminaries Laurie Anderson, Ryuichi Sakamoto and Blonde Redhead).

The constant here, of course, is Ólöf’s effortlessly distinctive vocal. A voice “that can silence a room, such is its sweetness,” as a bowled over Time Out NY once opined. Here on ‘Palme’ it has never been so poignant nor powerfully intoxicating.

“Extraordinary voice, at once lilting and weighted with emotion… The drama here is all in Arnalds’ delivery, which would be remarkable even if she were singing from the Yellow Pages” - Q

“Innocently nostalgic and powerfully feminine” - Uncut

The Arrogants

Introducing...

    The Arrogants have delved into the sounds of mod, garage rock, psychedelia, and blues, first as a 14-year-old duo, then as a 15-year old trio . . . and now with an organist, as a quartet, they are ready to be heard by the wider world. Whilst digging the sounds of the past, they have successfully developed their own repertoire, writing their own songs and gaining recognition in their home town by playing as support to their heroes The Pretty Things and appearing at the Lille Vintage Weekend in front of 15,000 strong crowd.

    Produced by French Londoner Healer Selecta Londoner (aka Yvan Serrano) and mastered by Pete Maher (who has worked for U2, The Killers, Rolling Stones, and Jack White, amongst other famous names), these tracks are intended to introduce the band to a wider audience prior to them putting together a full album. And having been touring extensively throughout the second half of last year and with a full schedule already lined up for this year they have both the songs and the chops.

    Serrano remembers seeing the sixteen-year-old Arrogants on stage for the first time, “It was a strange feeling, as though I was watching an original garage band. Their garage sound is pure, minimal and wild. To make true sixties garage, it should have this youthful energy and not over-do the technical ability to make for a real musical experience.”

    Ausmuteants

    Order Of Operation

      Jake Robertson and Billy Gardner started Ausmuteants in late 2011 in Geelong, Australia, after having played since teenagers in trad garage bands (The Frowning Clouds and The Living Eyes, respectively). Per the norm for good-looking rebels who play by their own rules, they cracked the shits, broke loose with just a synth and drums and, in early 2012, knocked out the Split Personalities tape. The addition of Melbourne’s loose-unit Marc Dean on bass followed, and soon after, ex-Canberran hardcore non-guitarist Shaun Connor on guitar.

      Their second album Amusements (note: not self-titled) comes from this fledgling time as a full band, with a heavy dose of the duo’s songs. Since the runaway international success of that record and playing every second weekend in Melbourne, they’re rocked-out full-tilt with all four members writing and singing new songs—23 of which were recorded live with vocal overdubs in the basement of an old ice cream factory by Mikey Young, then mixed and mastered in his idyllic coastal abode. Again the band and their Australian label Aarght! Records strained the friendship with song picks, agreeing on thirteen to make up Order of Operation.

      This record is better than Amusements any way you cut it: songs, lyrics, delivery and sound. It opens with Connor’s forehead- and thigh-slapping musical and lyrical debut, “Freedom of Information.” From there, songs range from balls-to-the-wall punkers (“Felix Tried to Kill Himself”; “Boiling Point”), well-considered workouts (“Family Time”; “Tunnel Vision”) and unguarded tenderness (“Wrong”; “Looney Bin”).

      Even people who couldn’t stand their earlier juvenile bullshit are now onboard. The toilet humor has been ditched, the band has gotten nasty and written songs about other people’s problems, terrible bands, fighting crime and trading sex for porn. Young was heard to say after one particular vocal take: “You deserve to be bashed for that.” The song’s on the record; you guess which one.

      Order of Operation is now their defining moment. If you don’t like this record, you pretty much won’t ever like Ausmuteants.

      The long out of print debut album by The Bevis Frond from 1987, the first re-issue featuring seven additional tracks.

      Acclaimed in Rolling Stone by David Fricke as “a Hendrix devotee every bit as tough and contemporary as the serrated guitar chorales of Sonic Youth and Pixies.”

      Covered by Teenage Fanclub and Dinosaur Jr among many others, this is a psychedelic pop masterpiece with gorgeous pop overtones.

      • The first of a lengthy re-issue campaign also available as limited edition double vinyl with different bonus tracks.
      • Issued in its original sleeve.
      • Remastered from the original sound sources with sleevenotes by MOJO magazine’s Dave Henderson

      Before signing to London Records and scoring hits such as ‘Young At Heart’ and ‘I’m Falling’, the band recorded an album’s worth of independent recordings and demos, most of which remained unreleased.

      Compiled by Robert Hodgens (Bobby Bluebell) with the involvement of the rest of the band, EXILE ON TWEE STREET finally reveals the band’s roots in the indie scene of early 80s Glasgow.

      The Bluebells actually demo’d songs for Alan Horne’s Postcard label, recently the subject of a critically acclaimed book by Simon Goddard entitled Simply Thrilled.

      Only the track ‘Happy Birthday’ has been issued before – on a rare flexidisc!

      Haley Bonar releases her debut UK album, a nine track collection as relentlessly catchy on the surface as it is alluringly complex underneath.

      Haley Bonar was first discovered by Low’s Alan Sparhawk who spotted her at a local open mic club in Duluth, Minnesota and was so impressed he immediately invited her to join them on tour. Which is how, a week later, nineteen year old Haley Bonar, was transformed from college student to ambitious dropout, crammed into a Honda Civic with a guitar and a drummer for company, touring the US opening for Low.

      But there is more to this story. In the decade since Haley has released a succession of recordings, each of which have garnered more praise the last, and has seen her collaborate with the likes of Andrew Bird (with whom Haley occasionally plays live) and Justin Vernon (who features on the new album). That’s not to mention the company she keeps in a rotating cast of premium band members including Jeremy Hanson (Tapes ‘n Tapes), Luke Anderson (Rogue Valley), Jeremy Ylvisaker (Andrew Bird, Alpha Consumer) and Mike Lewis (Bon Iver, Alpha Consumer). Now, with her new album ‘Last War’ Haley looks set to find a wider audience.

      Much of the joy of Bonar’s songwriting is in the tension between her sparkling melodic sensibility and her deeply ambivalent lyrics. Album opener ‘Kill the Fun’ positively crackles with traces of the Bangles and the Cure at their most pop, as Bonar chronicles her travels with a lover, taking some moments to reveal the nature of the relationship: "You'll be here till morning / You will get back on the plane / Go back to work / where you never knew my name." On ‘No Sensitive Man’ (which features the most Clem Burke drums outside of a Blondie record), she claims "I don't want no sensitive man / I don't want to talk." While on the captivating ‘Heaven’s Made For Two’ Bonar’s daydreaming vocal drifts ethereally as the instrumentation builds from stripped-back beginnings into a country-meets-shoegaze wall of sound crescendo.

      On ‘Last War’, the complexities hit as hard as the hooks, a smart, careful balance achieved through equal doses of mystery and charm.

      FORMAT INFORMATION

      Ltd LP Info: Limited edition white vinyl.

      Bonnie Prince Billy

      Singer's Grave A Sea Of Tongues / Barely Regal - Deluxe Edition

        This very limited deluxe edition packages together the "Singer's Grave A Sea Of Tongues" album with an exclusive 8 track compilation of songs from his itunes only "Barely Regal" series.

        We've only got a handful of these, and when they're gone, they're gone, so jump in quick if you want a copy.


        Bonnie ‘Prince’ Billy’s new album ‘Singer’s Grave A Sea Of Tongues’ is released on Domino. 


        At the locus of five corners, mythos is in the wind; a sea of tongues boils forth, mountains spurting forth from the magma. Bonnie sings for who he was and will be and for all of us, in time. 

        Bonnie Billy has been quoted as saying that one of the songs on the album is a conceptual track that’s about “one day in 1973 when only two people died in the whole world.”

        "The Breaks is an album of staggering neo-classic rock ambitions" - Uncut - 7/10 October 2014.

        Martin Carr was the main songwriter of The Boo Radleys. He was the force behind their position as stars of Alan McGee's Creation Records, their chart hits and NME front covers, and also retains an indelible pop sense and great song craftsmanship.

        Pewt'r sessions 1-2 collects two limited vinyl-only Causa Sui albums originally released in 2011. The two albums, released in April and August respectively, both features American musician Ron Schneiderman and both sold out immediately after release. This is the first time this material is released on CD.

        Ron Schneiderman from American impro-rock collective Sunburned Hand of the Man first got together with Danish stoner/kraut/jazz ensemble Causa Sui in December 2006 for a loose, improvised gig at the old cinema at Christiania – Copenhagens autonomous, and notorious, free commune. A live recording of this gig was released the following year, under the curious bandname Pewt'r jjjjj, and became widely admired among fans of free-form psychedelic rock for its updated version of late 1960s/early 1970s freak-out bands such as Blue Cheer, Guru Guru and Ash Ra Tempel.

        In the early summer of 2009 Ron Schneiderman was back in Denmark, this time for a three-week stay as co-curator of the art-and-music event Festival of Endless Gratitude. During this period the group was united again for a few shows and a couple of recording sessions in Causa Sui's studio in Odense, which resulted in the Pewt'r Sessions albums. These records consists of loosely structured sun- and beerfueled jams that were later edited and mixed by Causa Sui guitar player and producer Jonas Munk. While all the psychedelic fury from the Christiania live recording is still very prevalent on these studio sessions, they also see the group channeling into new territories, such as pieces heavy on analog electronics and motoric grooves.

        Pewt'r Sessions 1 and 2 are albums that could only be recorded in an impulsive mode. Yet there is an alternative kind of structure taking place in almost every piece – some intuitive, almost psychic connection, which moves the sounds from one place to another. The centerpiece from these sessions, 'Garden of Forking Paths', gloriously sees the band fully exploring the potential of free rock, all participants working at the height of their ability, slowly jamming a gentle bass-groove into a psychedelic beast that sounds like the missing link between Electric Ladyland and Can's Tago Mago.

        Tracks such as Streams of Gratitude and May Sun are more delicate pieces where the group explores the hazy, sensual side of cosmic rock, while the 12 minute pulsedriven Gelassenheit sees the group paying hommage to the sound of Düsseldorf. -Ron Schneiderman has been a prime mover in the so-called new weird America movement for decades, especially as member of Sunburned Hand of the Man and as head of Spirit of Orr Records. He lives in Brattleboro, Vermont. -Causa Sui consists of Jakob Skøtt, Jonas Munk, Rasmus Rasmussen and Jess Kahr, and have released five albums since 2005 – most notably the trilogy set Summer Sessions that saw the band move away from the heavy-psych of their two first albums to more abstract, instrumental sounds that owes as much to electric Miles Davis or Can as to american stoner-rock.


        Cowbell

        Skeleton Soul

          Jack Sandham and Wednesday Lyle have been playing together as Cowbell since late 2009 when they got together for a late night jam session and things took off from there. Three 7” singles followed over the next 18 months and they signed to Damaged Goods in 2012. Two years on from their debut album Beat Stampede, the rockin’ duo branch out into a more spooky atmospheric sound across the 11 tracks on the new album. There's a definite dark, New Orleans R&B vibe to Skeleton Soul. Kicking off with the spaghetti western intro of the album's opening track, ‘Cry Wolf’ the duo cover plenty of new ground while retaining the urgency and excitement of their earlier work. Though what makes this new album so special is the evocative mood the band created with Ed Deegan at Gizzard Studio.

          Imagine Dr. John meets the BBC Radiophonic Workshop. The sound is still a stripped down affair, though this time round the drum 'n' guitar bones are fleshed out with a few enhancing overdubs such as the Doors-esque spiky psychedelic organ on 'She's All Over You', and some soulful saxophone on the funky, strutting 'Dirt'. The band show they're equally adept at intimate ballads with 'Darkness In Your Heart', perhaps the best song Richard Hawley never wrote. Wednesday takes the lead vocal on 'Heart On The Line' a track which recalls the cream of '60s girl singers such as Sandie, Dusty et al. Fans of the group's earlier sound will not be disappointed either, there's still the bone-shaking garage blues numbers such as 'Oh Yolande' and 'Baby It's Your Love' along with the swampy mambo-blues groove of 'The Fear'. Imagine a band with the guitar twang of The Cramps over jungle-tribal drums, covering The Zombies and you're somewhere close.

          The Drums

          I Can't Pretend

            Second 7" taken from The Drums new album 'Encyclopedia'.

            The Dwarves

            The Dwarves Invented Rock & Roll

            The new album from The Dwarves out on Burger Records. This playlist contains 17 tracks, total time: 29:20. Invented Rock was written and recorded extremely quickly with little thought as to the effect the songs would have. Instead of pondering a song's result, the band just felt the tunes while they were recording them. The result is an album that shows that when the Dwarves surrender completely to their id, their collective ids love violence, love, and rock in its purest sense. Instinctually, (and in contrast to the exhibition of styles that was Born Again, the last album) the band seems to gravitate towards their opposite poles. Fitting that both poles reference the genesis of rock'n' roll itself. On one hemisphere is classic hard charging, berserk Dwarves hardcore.

            Dahlia himself seems to come from the same place as he did on the classic drug addled Blood, Guts, & Pussy. On tracks like "Get up and get high," where he breaks into a room and pulls someone out of her bed for the sole purpose of gaining a drug pal, it seems he's still dealing with paranoia and poverty that is born from being an addict. "Gentlemen Blag" continues in the great tradition of self-promotion via James Brown, Chuck Berry, and Little Richard. Blag spends the 73 second song talking about how great he is while whipping out his wiener. It's the frantic, wild rock song in its purest form. But, on the other hemisphere, the band salutes the other great rock n' roll tradition- the love song. The Salt Peter penned "Trailer Trash" follows in the tradition of post-doo wop: Sweet melodies driven by a bouncing backbeat. That's something Frankie Valli made millions off of. Even "Sluts of the USA," despite its ode to cheap thrills, sounds like a soda fountain sock hop 45. Though, while these songs seem to be born from instinct, the band is smart enough to go back over them and add a secondary level. Referencing the album title, the band hides references to the classic rock n rollers throughout, shifting the album into an Easter Egg hunt of history. There are Screamin' Jay Hawkins references, Van Halen references, and I think even a nod towards the Beatles. Blag Dahlia also mentions that his lyrics are the result of meticulous work and, in fact, that's what elevates these songs from just rock n' roll (which is certainly a fine thing to be) or just nasty punk, to something more rewarding. The aforementioned "Get up and get high" is as much a character study as it is a party chant. Rex Everything's (aka Nick Oliveri) "Love is Fiction" is a little more than just "I hate everything." It seems to not be the argument that title suggests, but rather, a plea from the speaker to the listener, begging the listener to prove that the title is wrong.

            In a click-bait driven music scene, it's rare to find an album that stands the test of time, but Toronto-based synth duo Electric Youth may have managed that rare feat with their spectral, stunning debut album Innerworld. "We wanted to make something that had the sense of being timeless," says Austin Garrick, the band's instrumentalist alongside vocalist Bronwyn Griffin. "Our ultimate goal is to make a record that will be the favourite album of people that aren't born yet."

            With their swooning collaboration with College, "A Real Hero", featured in Nicolas Winding Refn's universally acclaimed neo-noir Drive, a place in the history books is arguably already theirs. The song was used twice in the Ryan Gosling-starring film, with its touching refrain "A real human being / And a real hero" soundtracking the scene where Driver (Gosling) and Irene (Carey Mulligan) take an idyllic daytime car journey down the LA river, and then appearing again during the final scene and end credits. "We didn't get to see the film until its premiere at Toronto international film festival," explains Bronwyn. "We sat down on the balcony to watch it, and honestly it almost felt like I was floating, it just washed over me. It was very surreal and dreamlike."

            After cracking the Top 10 of the iTunes dance charts in 15 countries, the band stepped back from the limelight to take their time to work on a full-length. "We get asked a lot 'how have guys not already put out an album – that would have been a good time to do it'", admits Austin. "But at the end of the day, more important for us than capitalising on timing is really making sure that we would have the record that we wanna have."

            Recording took place between the duo's Toronto studio and their home studio in LA. Each space served its different purpose – in Toronto Austin was able to make use of his extensive vintage synth collection, making up what he estimates is 80% of analogue sounds on the album. In LA meanwhile, the pair recorded Bronwyn's vocals, of which they share writing duties for -- in their space -- which includes a film projection room. Fritz Lang's boundary-breaking twenties classic Metropolis was a favourite. It's easy to see how the vast scope of Lang's movie inspired the wide-eyed vistas of Innerworld, where soundscapes bleed into vocals and songs take you on journeys into roads unexplored. Other tracks wear their cinematic influences rather more on their sleeve. "Our song 'Runaway' was inspired by the Peter Jackson film Heavenly Creatures," says Austin. "It's a true story from the 50s about these 2 girls in New Zealand who are in their early teens, who have this sort of fantasy world together, and their parents and everyone try to keep them apart. Eventually in an extreme effort to stay together, the girls plot and carry out the murder of one of their mothers." On the track, Bronwyn chants "Maybe we could just run away for good / 'Cause we're both misunderstood."

            "A Real Hero" germinated back in 2009. The band uploaded a number of tracks, including a shimmering cover of Clio's 1985 Italo Disco track "Faces", where Bronwyn delivered the gently melancholic lyrics with her signature heartfelt intonation. "It was just an experiment," recalls Austin. "We made 4 demos and put them up, and from there it just snowballed. Most of the reaction was coming from France and England. We were introduced to David Grellier – College – and came to find that we really had a lot of shared interests with film and music and that was how that all came together." At the time, College was heavily involved in Valerie Collective, a blog and artistic network that he had founded in 2007. Bronwyn and Austin had found a supportive ecosystem – always invaluable for artists.

            The lyrics of the song were in part inspired by Captain Sullenberger, the pilot of Flight 1549 which was infamously downed in New York's Hudson River in 2009. Sullenberger guided the plane down with no fatalities, leading to the event being termed the "Miracle on the Hudson". "My grandfather is a retired philosophy professor who writes poetry," explains Austin, "He had written this poem where he was inspired by the captain and his heroism, which he brought it to me and asked me if I could make it into a song. And then when David sent me his instrumental called A Real Hero - it was like 'wow, let me see if I can connect these things'. It was meant to be."

            The pair met in sixth grade, when Austin's family moved from Toronto to Bronwyn's nearby hometown of Hamilton. "We became friends around that age, and I asked her out in 8th grade," says Austin. "She was my girlfriend from that time on." Austin came from a household where his parents listened to anything from his Mom's beloved 80s synthpop to his Dad's Level 42 and reggae, while Bronwyn's religious family favoured church songs and classic songwriting from the likes of James Taylor and The Beatles. The band officially formed in 2009. Bronwyn says: "It's the only band I imagine I'll ever be involved in."

            The artwork for Innerworld is similarly starry-eyed, with British artist Paul Roberts painting Austin and Bronwyn as intrepid children for the cover. "He was in a group called Sniff 'n' the Tears who had a big hit in the 70s with their song "Drivers Seat", which we came to know through its use in Boogie Nights. We loved his album covers which he would paint and from there we discovered he went on to incredible work as an artist" says Austin. "The initial intention was for it to be more about the landscape, but we liked it and it did make sense to us, going back to the concept of Innerworld... Bronwyn and I have known each other since we were 10 years old and a lot of the time we're still the same kids in our mind, in our inner world. And so for us you could say, in our inner world that's what we look like - those two kids." With their music's unquenchable sense of wonder, perhaps they're not too far from those kids today. "David Lynch never wants to define the meanings of his films," says Austin. "Similarly, we don't like to get too specific about the meaning of our music." When it sounds this good, who needs to put their music into a box? Let their inner world wash over you.

            FORMAT INFORMATION

            LP Info: Limited edition coloured vinyl pressing.

            Elk Blood

            Crawl

              Elk Blood's debut album is indebted to experimental groups like Wire, This Heat, PiL, Throbbing Gristle, Swans and Xiu Xiu. Incorporating screamed vocals, analogue synths, sound collage, drum machines and vocal processing with the guitars and drums of hardcore punk and emo. With lyrical themes exploring death, loss, sexuality and Catholicism, the Manchester-based band attempt to come terms with the suicide of a friend. The album was recorded in the house where the band lived and their friend died.

              Estrogen Highs

              Hear Me On The Number Station

                VINYL ONLY RELEASE LIMITED TO 300 ON RANDOMLY MIXED VINYL.

                2 years removed from "Irrelevant Future", Estrogen Highs return with "Hear Me On The Number Station", an 18 cut LP. The New Haven, CT band have always had one foot in the musical waters of New Zealand & the influence of kiwi-pop forefathers, but the band incorporates more of the avant textures of the Xpressway discography this time around. Comes complete with inner sleeve with lyrics and download.

                The Fall

                Yarbles

                  Single vinyl LP of highlights from a Fall gig recorded live at King Georges Hall Blackburn on 22nd September 2002.

                  Fruit Tones / Pink Teens

                  Hamlovers Split Tape

                    Press the gas pedal, open the window to let the summer breeze in and turn up the volume on these awesome garage-pop tunes from the UK.

                    Perhaps still most widely recognised for ‘Dreaming With Alice’, his 1972 psych-folk debut for RCA Italy as a 19-year-old art student-troubadour, Mark Fry has been turning his creative gaze on the world, and alchemising its elements into shimmering, quietly visionary works of art, ever since.

                    A series of concerts in Japan and Scandinavia, and a widely reported 'supergroup' London showcase, featuring members of Mercury Rev, Super Furry Animals, Tunng and Lemon Jelly, further evinced the subtle but inexorable diffusion of the Mark Fry legend, something abetted by BBC Radio 4's Today programme airing an interview with Mark.

                    All of which brings us to Mark Fry's latest, most exquisitely realised musical offering to date, South Wind, Clear Sky. Sung with that now familiar alloy of cool restraint and wondering innocence, and passingly reminiscent of the kind of English pastoralism associated with the likes of Kevin Ayers or Bill Fay, the album's leanly arranged yet immersive songs are propelled by Mark's glinting, plangent guitars and deliciously embroidered by John Parker's double bass, Angèle David-Guillou's piano and backing vocals and Katie Lang's French horn, all bound together by producer Guy Fixsen (My Bloody Valentine, Stereolab) into a delightfully iridescent whole.

                    For all its finely honed arrangements, and the translucence of its recording, South Wind, Clear Sky is still very much the work of the man who made Dreaming With Alice; the mature Mark Fry's feeling for wonderment and magic, for the dreamlike and the innocently surreal, is just as pervasive, and persuasive here, only more focused, and etched against a more luminous, even heavenly canvas.

                    GRMLN

                    Soon Away

                      With Soon Away, GRMLN veers from the pop-punk-rooted road the band traversed with last year’s Empire; it’s an aggressive album, darker and heavier than what’s come before. While it carries these characteristics, there is also a certain peace to Soon Away, thanks to songwriter Yoodoo Park’s personal growth.

                      The teachings of Krishna were an inspiration to Park while writing the record and it’s a force that helped define his perspective in these songs. The singer-guitarist sees the constant changes of life allowing people to embrace the true nature of living. Still, there’s intensity to these guitar-driven tracks. On the opener of the album “Jaded” Park sings, “Go, but you're breaking without me / When days can crawl around / To waste myself away,” which is built around one of GRMLN’s catchiest riffs to date.

                      The album grapples with letting go and getting used to good-byes. “Find a way to be wanted and here for someone else / Break away from the notion, the poison in my head,” Park sings on the cathartic “Faux.”

                      After writing the songs in Japan and whilst on tour in the U.S., Park went back to Different Fur Studios in San Francisco with engineers Patrick Brown and Sean Paulson, who worked on GRMLN’s previous album Empire. On Soon Away, Park is joined by his brother, Tae San, who assisted with bass parts and arrangements; with the addition of long-time drummer Keith Frerichs providing a rhythmic backbone.

                      GRMLN is the musical project of 21 year old, Yoodoo Park. He was born in Kyoto, Japan and moved to southern California at a young age (though he still goes back to Japan every summer). Yoodoo started playing music at the age of 13 when he was given a bass guitar and released his debut album Empire in 2013, preceded by the debut EP Explore.

                      The Growlers have announced details of the release of their new album. Chinese Fountain will be released through Fat Cat Records. Having demoed the tracks at guitarist Matt Taylor’s Topanga home, the 11-track album was recorded quickly in a week-and-a-half at Sea Horse Sands Studio in downtown Los Angeles. Produced by JP Plunier.

                      Self-describing their music as “Beach Goth”, sunburned and salty, the term perfectly describes their distinctive melding of reverb heavy surf guitar and Bakersfield-style honky tonk with ‘80s post-punk. Chinese Fountain, their fourth long-player having formed in Dana Point, California in 2006, is their most confident album to date.

                      “The band played better than they’ve ever played,” says Brooks Nielsen. “We’ve got the process down now. There’s less screwing around to get the songs laid out and we weren’t waiting around for take after take. We knew it and we played without much time to spare.”

                      FORMAT INFORMATION

                      Ltd LP Info: Ltd edition Magenta coloured vinyl.

                      The Heads

                      Everybody Knows We Got Nowhere - Remastered BOX SET Edition

                        The Hardcover / full colour boxset is limited and numbered to 1000 copies only: it features the remastered original double album in its gatefold sleeve, the double album of extra material from the time - also in a deluxe gatefold sleeve. A single live album "bootleg" (pressed on neon yellow vinyl) from the 2000 USA tour called "California Jams", and a 70+ minute CD of material that is previously unreleased, culled from the dozens of rehearsal / demo archival CDrs that Simon Price has from this time. Various items of ephemera are also included in the box. a full size 8 page booklet will be inserted in album one with sleeve notes, pictures, track information, in the live album will be a full size 8 page photo /tour diary attempting to detail some of the USA 2000 tour. a huge 4 foot by 2 foot folded poster with the classic blue/red girl tshirt image, a vinyl sticker of same image, and a Download code postcard with a link to Download the two LPs as MP3. The box itself with then be wrapped in a specially printed Heads tote bag.

                        The 2nd album in The Head’s impressive canon, was originally released on Sweet Nothing Records in July 2000; now, 14 years later “Everybody Knows We Got Nowhere” has been repackaged with a full compliment of bonus material from that period (7” tracks, B-sides, Mans Ruin 10” / CD tracks, Radio 1 session tracks, and compilation tracks). All the tracks have been fully re-mastered by Simon Price and Shawn Joseph.

                        Broken hands, lost Rickenbackers, and sliced tendons aside, The Heads – Simon Price (guitar, vocals), Hugo Morgan (bass), Wayne Maskell (drums) and Paul Allen (guitar) - hit many highs during this time. The first British band to release records on Frank Kozik’s famed Man’s Ruin label, (the ‘Delwyn's Conkers’ and ‘Mao Tinitus’ 10”s) recorded two Radio 1 sessions (Mark Radcliffe and their second John Peel session), featured on various “scene-defining” compilations and toured Europe and US West Coast.
                        Everybody Knows We Got Nowhere is the bands favourite album. It represents the full force of the Heads’ psychedelic pummel, their trippiest most psyche collection, brutal yet beautiful.

                        Strap in. Let go.

                        This long awaited and meticulously put together reissue of Everybody Knows We Got Nowhere will be available as a lavish 5 LP boxset, a double CD package, a double LP as well as the obligatory MP3 download.

                        FORMAT INFORMATION

                        LP Box Set Info: 5 LP+1CD box set, limited to 1000 numbered copies. Numbers 1–500 will have LP1 on red vinyl. ORDER NOW TO SECURE YOUR RED VINYL EDITION.

                        The Heads

                        Everybody Knows We Got Nowhere - Remastered Edition

                        The 2nd album in The Head’s impressive canon, was originally released on Sweet Nothing Records in July 2000; now, 14 years later “Everybody Knows We Got Nowhere” has been repackaged with a full compliment of bonus material from that period (7” tracks, B-sides, Mans Ruin 10” / CD tracks, Radio 1 session tracks, and compilation tracks). All the tracks have been fully re-mastered by Simon Price and Shawn Joseph.

                        Broken hands, lost Rickenbackers, and sliced tendons aside, The Heads – Simon Price (guitar, vocals), Hugo Morgan (bass), Wayne Maskell (drums) and Paul Allen (guitar) - hit many highs during this time. The first British band to release records on Frank Kozik’s famed Man’s Ruin label, (the ‘Delwyn's Conkers’ and ‘Mao Tinitus’ 10”s) recorded two Radio 1 sessions (Mark Radcliffe and their second John Peel session), featured on various “scene-defining” compilations and toured Europe and US West Coast.
                        Everybody Knows We Got Nowhere is the bands favourite album. It represents the full force of the Heads’ psychedelic pummel, their trippiest most psyche collection, brutal yet beautiful.

                        Strap in. Let go.

                        This long awaited and meticulously put together reissue of Everybody Knows We Got Nowhere will be available as a lavish 5 LP boxset, a double CD package, a double LP as well as the obligatory MP3 download.

                        FORMAT INFORMATION

                        2xLP Info: Black vinyl, gatefold sleeve: the album (remastered) in the format it was originally released, with full download postcard.

                        2xCD Info: Double CD, with 12 page booklet (same as the first LP booklet), CD has the album, CD 2 has all the bonus tracks from LP two in the boxset.
                        Wrapped in a full colour O-Card.

                        The History Of Apple Pie

                        Feel Something

                        'Feel Something' is the follow up to last year's 'Out Of View' debut, which saw the London five-piece propelled into the spotlight - hitting No. 8 in the UK Indie Breakers Chart, No. 2 in the UK Record Store Chart and winning fans the world over with their infectious fuzzed-out candied pop sound.

                        The new album features ten brand new tracks including the piano-laden lead single 'Tame' and last year's surf-rock referencing 'Don't You Wanna Be Mine?' – originally released on limited edition clear 7" vinyl. The LP edition also includes bonus track 'Shake' featuring guest vocals from Gary Jarman of The Cribs.

                        Recorded over the last few months at Sublime Studios in London, like it's predecessor, it was again produced and engineered by the band's Jerome Watson with additional engineering by Joshua Third of The Horrors and Charles Reeves.

                        Formed three years ago, The History Of Apple Pie line up is centered around the songwriting partnership of Stephanie Min (Vocals) and Jerome Watson (Guitar) together with James Thomas (Drums), Aslam Ghauri (Guitar) and new recruit to the band Joanna Curwood (bass).

                        FORMAT INFORMATION

                        LP Info: The LP edition also includes bonus track 'Shake' featuring guest vocals from Gary Jarman of The Cribs.

                        Stujammer James

                        Allotments (Vol.1 And 2)

                          Both volumes of Allotments by stujammerjames dubbed straight, one to one, onto cassette. A cornucopia of aural delights recorded between the years of
                          1989 to 1993.

                          This extremely limited edition cassette of 20 (inc. 10 promo/friends and family) is recorded on Ferric type 1 tape housed in a very rare bi-colour yellow / blue cassette box with individual hand made sleeve and insert artwork from Mundo Secreto.

                          Jamie T releases his third and much-anticipated new album “Carry On The Grudge”, his first album since 2009’s “Kings & Queens” and reintroduces one of the most distinctive voices in British music over the past decade.

                          The album announcement follows the incredible reaction to “Don’t You Find”, the first piece of music Jamie has released in over four years. It received it’s world exclusive first play on Zane Lowe’s Radio 1 show as Hottest Record In The World. A bold, brave return, it sets the scene perfectly for “Carry On the Grudge”.

                          “Carry On The Grudge” is a big step forward. Musically and lyrically, it’s a boiled down, intense listen, with not a word or note wasted. The likes of “Zombie” recall the urgency of Jamie’s past records but it’s balanced with the likes of “They Told Me It Rained” and “Mary Lee”. The old influences of punk, folk and reggae are all still here, but reshaped into something new whilst still defiantly the work of Jamie T.

                          FORMAT INFORMATION

                          Ltd LP Info: 180g vinyl.

                          King Tuff’s new record is called ‘Black Moon Spell’. It was produced and recorded by Bobby Harlow at Studio B in Los Angeles, California, in the hot winter of 2014.

                          There were many strange occurrences during the recording session - Dracula landlords, flashes of mysterious light, haunted microphones, songs that mixed themselves, demonic vortexes swirling in coffee cups, etc. Under the ‘Black Moon Spell’ you may experience euphoria, demented visions, wet dreams, bouts of backwards laughter, and dazed confusion resulting in primordial dancing.

                          Los Angeles, full of its screaming coyotes and creeping helicopters, surely slathered its sexy, twisted, hairy, polluted spirit all over ‘Black Moon Spell’.

                          Listen to ‘Black Moon Spell’ and give your ears what they’ve been begging for all year; a heavily weird, heavenly dark, hysterically magical rock & roll sexperience.

                          “On Le Butcherettes' sophomore effort Cry is for the Flies, Teresa Suárez's high-pitched yowl omits debauchery. But it's not the same kind of blood-soaked garage rock from 2011's Sin Sin Sin. This time, the L.A.-based trio have settled for a beautiful narrative that's grounded in sadness and guilt, channeled through Suárez's venomous punk poetry. Add in guest appearances by Garbage's Shirley Manson and Henry Rollins, and Cry is for the Flies is flat out bitchin” LA Weekly – Best Indie Album of the Year (So Far)

                          “This is an amazing band, Gender Bender is rapidly heading to Karen O territory with her vocals and stage presence, and you should listen.” NPR

                          Le Butcherettes have joined Ipecac Recording's roster and will release their sophomore release, Cry Is For The Flies, on Sept. 15 via the Bay Area label in conjunction with Nadie Sound.

                          Cry Is For The Flies was recorded at Infrasonic and Kingsize Studios in Los Angeles. The album features guests Henry Rollins ("Moment of Guilt") and Shirley Manson ("Shame, You're All I've Got").

                          "Since I created Le Butcherettes in Guadalajara, I've always yearned for the band to be part of a label/community that helps and supports artists to act fearlessly and help serve the music." explained fiery Le Butcherettes' frontwoman Teri Gender Bender. "So happy beyond words that we've found a family in Ipecac. Dream come true."

                          The eleven-song release had previously been available exclusively as a digital download via producer Omar Rodriguez-Lopez's label Nadie Sound's website but, as of Sept. 16, will be made available on physical formats (CD/vinyl) as well as through various digital service providers including iTunes.

                          In a recent interview with the Los Angeles Times, Teri said of the subject matter on Cry Is For The Flies: "There are so many demons I have inside - they're little gods. There's a god of evil, the god of good, the god of sex, the god of lust. With music, I tape into those god demons. It's therapy."

                          Le Butcherettes is Teri Gender Bender (vocals, guitar, keys) and Lia Braswell (drums).

                          Formed last year in Brighton, Lutine (Heather Minor and Emma Morton) are already establishing themselves are a mesmerising live act through a handful of shows (for the likes of Joseph Stannard’s The Outer Church and recent supports for Kristen McClement and unlikely bedfellows Stephen O’Malley) and have now translated their minimal, fragile and evocative sound onto record for the first time. And we are very excited about it.The album reflects a shared love of traditional folk and modern classical, distorted through a lens of medieval and baroque music, traditional Indian and Chinese music, dream/synth pop, minimalism, experimental music and 60s/70s folk. Both familiar and uncanny (inspired equally by Thomas Hardy and The Twilight Zone), Heather and Emma have produced a startling set of songs exploring classic themes in a unique and bewitching way.

                          “Flawless harmonies, layered across both traditional and original songs that frequently seethe with a honeyed menace.” Joseph Stannard, The Wire.



                          FORMAT INFORMATION

                          CD Info: CD first edition limited to 300 copies.

                          MASS

                          MASS

                            Originally from Birmingham, now based in Reykjavik, MASS are drummer Jonathan Baker and Guitarist Clyde Bradford. This debut EP establishes a unique, dark and noisy take on hardcore, with almost indecipherable vocals, powerful crash cymbals, intricate rhythmic riffs and bassy digital processing. The influence of Noise and Black Metal is apparent in their intelligent approach to abrasive volume. The band’s self-described aims are to 'explore the inner extremes of music, aggression and anxiety.' For each of the four loud, aggressive songs, there is an equal measure of space left for noise, drones, loops, ambience and feedback.

                            Matchess

                            Seraphastra

                              VINYL ONLY RELEASE LIMITED TO 300.

                              Originally released on an extremely limited cassette by the Digitalis label, the album makes a welcome debut to the vinyl format. Matchess is the solo project of Whitney Johnson, singer & keyboardist for Chicago band VERMA. Johnson's minimalist sensibility owes as much to the Berlin school as it does to early industrial & minimal synth pioneers like Throbbing Gristle & Cabaret Voltaire. Matchess places Johnson in league with counterparts like Zola Jesus & Liz Harris (Grouper), carrying the torch of female experimental & electronic musicians in the 21st century.

                              Musk

                              Musk

                                MUSK is the new flesh, or at least what’s secreted from the glands located under the skin. Frontman Rob Fletcher is the last guy in the world you’d think had pheromones; they might work on him, but his voice is definitely in the “let’s get the fuck away from this guy” category, with his undeniable ability to growl, spit, shriek and wretch while the band attacks. Drummer Brendan Leonard is a total canbasher, and bass-player John Laux is sublime. He’s not even there at times, but he is, like the whispers of forced air you heard when you were listening to Tical on wet that one time. Like, is that really there? It feels like it’s been there forever.

                                The weird thing about MUSK is that on top of all this malign beauty—what sounds like the six movies John Saxon made in Italy that nobody except the biggest creeps in the world know about, or Beefheartian blues lurch juxtaposed against that lost ’80s pigfuck clangor—guitarist Chris Owen bleeds reverb everywhere, as if his amp had a heart to be stabbed, but it’s just a cone about to rupture. His leads give off a sick, dusty twang, pained as if in their death throes (which is saying something, because the guy looks like the dad from The Family Circus). Each dying twitch and every belligerent throb was captured by engineer Chris Woodhouse (Oh Sees, Fuzz, Ty Segall, Intelligence).

                                Whether working the muggy Southern Gothic angle or treading knee-deep in NYC’s pungent sewers, all routes on Musk lead to a cold, shuddering finality. Long live the new flesh!

                                “… a Scientists-infused dip into the swamp… the only band even close to the scree they unleash is Sicko Inside Me-era Necessary Evils mixed with a bit of the first Horrors LP and dare I even say some of the nastier Hunches efforts. Absolutely ferocious guitar sound that’s going to have some people jealous. With Woodhouse on the deck, it’s of course a real stunner… giving ’em the perfect ratio of reverb-to-spit, trash-canning the drums perfectly and a bass tough enough to stand up to the nastiest guitar sound since… shit, I dunno. It’s pretty bad ass. Watch out for these maniacs.” — Rich Kroneiss, Terminal Boredom “Primitive sludge with an ample amount of weirdness, MUSK’s music is deft combination of Flipper, later Scientists, various AmRep swamp dwellers and DEVO if the Akronites were forced to play in a tar pit.” —Scott Soriano, S-S Records

                                The Myrrors

                                Solar Collector

                                  Cardinal Fuzz are proud to present The Myrrors - Solar Collector. A limited 350 pressing presented in a hand screen printed sleeve.

                                  The Myrrors debut album - Burning Circles In The Sky, although recorded in 2008, only saw the light of day (other than a ltd self released cd) late in 2013 as psych aficionados hailed it as being an undiscovered gem - needless to say it sold out before most knew anything about it.

                                  Solar Collector (another release Cardinal Fuzz has plundered from the great Sky Lantern Records) is their first release since their self imposed exile which shows how the bands taste evolved over that five year period with a release that not only better reflects the bands true live sound but also acts as an unpolished Kodachrome of this new stage in their evolution as a band.

                                  This is something akin to 60s losers The Index with its heavy basement like vibe that permeates these recordings only they have drafted in members of Parson Sound and Terry Riley in that basement (on Organ) . On these four garage raga jams (clocking in at just under 40 minutes) circular mantric movements build and build with guitarist Nik Rayne adding some of the snarliest fuzz heard this side of a Heads recording as each track acts as a guide to achieving the meditative states normally only accomplished by Zen practitioners.

                                  FORMAT INFORMATION

                                  Ltd LP Info: 350 Press.

                                  ‘Legendary’ is the kind of description that gets slapped on artists far too often these days but in the case of Nick Nicely it, for once, feels justified. Bursting onto the UK’s music scene at the start of the ‘80s nick’s debut single ‘DCT Dreams’ was a remarkable slice of ‘synth-pop on acid’ (FACT Magazine) perfectly fusing the electronic sounds of Neu and Kraftwerk with the psychedelic lyricism of Sgt Pepper-era Beatles and Syd Barrett’s Pink Floyd. Soon signed to EMI, nick’s second single, 1982’s ‘Hilly Fields’, took us even further down the rabbit hole with a heady mix of synthesizers, cello and the first recorded use of ‘scratching’ in a non-Hip-Hop record. Hailed by the NME as "the best psychedelic record made since the '60s” it set nick up to be a star and to this day remains one of the most collectable records from the period.

                                  Sadly though, as is all too often the case, it wasn’t to be and despite the critical plaudits heaped upon nicely’s head and the interest of various labels, and even legendary producer Trevor Horn, nick’s debut album wouldn’t make it to the shops until 2004 when Tenth Planet Records finally released ‘Psychotropia’, a collection of recordings from 1978 to 2004. Since then though nick’s reputation has continued to grow with critically acclaimed releases on US labels Burger Records and Captured Tracks, contemporary psychedelic acts like Bevis Frond and Amorphous Androgynous citing him as a key influence and following his live debut in 2008 appearances on bills alongside artists such as Ariel Pink and John Maus.

                                  As a fresh wave of psychedelic sounds spreads across the globe nick’s music is more relevant today than ever before and now we have ‘Space of a Second’, 14 songs that range from the “prime shoegaze bliss” (Pitchfork) of ‘Wrottersley Road’ and ‘HeadwindAheadwind’ through to a brand new imagining of ‘Hilly Road’ that reveals nicely to be once again at his bewilderingly creative best.

                                  Bringing to the fore nick’s unique take on lo-fi baroque psychedelia, Space Of A Second bends influences from across time and space into an exhilarating construction that evades easy definition, indeed perhaps in the end the best description comes from The Guardian’s Alexis Petridis who simply hailed nick as “Unique, almost inexplicable”.


                                  Oasis

                                  (What's The Story) Morning Glory? - Remastered Deluxe CD Edition

                                  ‘(What’s The Story) Morning Glory?’ is Oasis’s biggest-selling album, with 22 million copies sold worldwide. On release in October 1995 it spent 10 weeks at No.1 and is the 5th biggest-selling album in UK Chart history. In their 14-year recording career (1994 - 2008) Oasis sold over 70 million albums worldwide, had 22 consecutive UK Top 10 singles, 7 No.1 studio albums but, more than that, they helped define a generation.

                                  It was during the ‘Morning Glory?’ era when Oasis played their some of their most iconic gigs, including two nights at Maine Road Stadium, the then home of Manchester City Football Club, in April 1996 and Knebworth House, where the band played to 250,000 fans over two nights in August 1996. Over 2.6 million people applied for tickets for the shows, making it the largest ever demand for concert tickets in British history.

                                  Each edition of this album includes a remastered version of the original. The 3CD and deluxe digital formats include two CDs’ worth of bonus material including of all the B-sides plus rare and unreleased Oasis tracks from the ‘Morning Glory’ era.

                                  Oasis

                                  (What's The Story) Morning Glory? - Remastered Edition

                                  ‘(What’s The Story) Morning Glory?’ is Oasis’s biggest-selling album, with 22 million copies sold worldwide. On release in October 1995 it spent 10 weeks at No.1 and is the 5th biggest-selling album in UK Chart history. In their 14-year recording career (1994 - 2008) Oasis sold over 70 million albums worldwide, had 22 consecutive UK Top 10 singles, 7 No.1 studio albums but, more than that, they helped define a generation.

                                  It was during the ‘Morning Glory?’ era when Oasis played their some of their most iconic gigs, including two nights at Maine Road Stadium, the then home of Manchester City Football Club, in April 1996 and Knebworth House, where the band played to 250,000 fans over two nights in August 1996. Over 2.6 million people applied for tickets for the shows, making it the largest ever demand for concert tickets in British history.

                                  Oasis

                                  (What's The Story) Morning Glory? - Remastered Super Deluxe Box Set

                                    Big Brother Recordings release ‘(What’s The Story) Morning Glory?’, the second in the new ‘Chasing The Sun’, following May’s hugely successful re-release of ‘Definitely Maybe’, which charted at No.5.

                                    ‘(What’s The Story) Morning Glory?’ is Oasis’s biggest-selling album, with 22 million copies sold worldwide. On release in October 1995 it spent 10 weeks at No.1 and is the 5th biggest-selling album in UK Chart history. In their 14-year recording career (1994 - 2008) Oasis sold over 70 million albums worldwide, had 22 consecutive UK Top 10 singles, 7 No.1 studio albums but, more than that, they helped define a generation.

                                    It was during the ‘Morning Glory?’ era when Oasis played their some of their most iconic gigs, including two nights at Maine Road Stadium, the then home of Manchester City Football Club, in April 1996 and Knebworth House, where the band played to 250,000 fans over two nights in August 1996. Over 2.6 million people applied for tickets for the shows, making it the largest ever demand for concert tickets in British history.

                                    The deluxe box set includes:

                                    3CD - ‘(What’s The Story) Morning Glory?’ deluxe CD, meticulously remastered with B sides, plus unreleased and rare tracks including demos and live recordings.

                                    180 gram double LP in gatefold sleeve - Heavyweight vinyl of ‘(What’s The Story) Morning Glory?’, meticulously remastered from the original 1995 half inch tapes. Includes download code for B sides, plus unreleased and rare tracks including demos and live recordings.

                                    12” single - This 12” is a replica of the original promotional 12” sent to industry contacts as a promotional item in 1995. Tracklisting features A side ‘Cum On Feel The Noize’ and B side ‘Champagne Supernova (Lynch Mob Beats Remix)’, which has never been commercially available.

                                    7” single - This 7” includes demos of ‘Hello’ and ‘She’s Electric’, both of which were recorded in ‘Definitely Maybe’ producer Mark Coyle's studio. The ‘Hello (Demo)’ track is exclusive to the box set.

                                    Cassette - Exact replica of the original promotional copy of ‘(What’s The Story) Morning Glory?’. This rare cassette, only sent out to industry contacts, has never been commercially available. It includes ‘Step Out’ which was removed from the album prior to its release

                                    Collector’s coffee table book - This beautiful 56 page hardback book contains rare and unseen photographs documenting the ‘(What's The Story) Morning Glory?’ period by Stefan Batselier, Brian Cannon, Kevin Cummings, Grant Fleming, Jill Furmanovsky, Owen Morris and Tom Sheehan, plus private photos taken by the inner circle. Original artwork designer Brian Cannon explains the story behind each single’s cover art and sleevenotes are written by Neil McCormick.

                                    ‘Roll With It’ cigarette papers - These rolling papers were an original 1996 promotional item. They have been replicated solely for the box set and feature the lyrics for ‘Roll With It’ printed on the back.

                                    Postcards & art card set - 3 photograph postcards and a 12 x 12 inch art card.

                                    Christopher Owens releases his second solo album ‘A New Testament, a follow up to his debut, the critically acclaimed ‘Lysandre’.

                                    ‘A New Testament’ is full of sheer raw emotion and tears of heartbreak and joy.
                                    Already premiered tracks ‘Stephen’ and ‘It Comes Back To You’ stand as examples of Christopher’s poignant songwriting which has developed to create his definitive album. His incredible vocal performances lead a path through his own incredible, yet universal, life experiences whilst forming perfect pop hooks supported by lilting guitars as heard on ‘Never Wanna See That Look Again’.

                                    Papir is a young three-piece from Copenhagen, Denmark who has played together for years under various names while slowly, but surely, perfecting their unique brand of semi-improvisational psychedelic rock. Based around Christoffer Brøchmanns complex and powerful drumming Papir creates instrumental journeys – organic structures of sound that move forward with the hypnotic groove of Can or electric Miles Davis through euphoric peaks, thunderous riffs and beautiful cosmic dronescapes.

                                    Nicklas Sørensens guitar playing displays his love for fuzzed-out psychedelic rock from the 1960s and 1970s but also has a highly melodic aspect that reveals his admiration for German heroes Michael Rother and Manuel Göttsching. Similarly Christian Becher Clausen's bass playing covers a wide palette of ideas and sounds – sometimes using the instrument as a solid groove-maker and other times as a tool for creating spacy soundscapes and drones. As a unit the three members achieve what the great power trios of the 1960s did at their most fertile: the ability to combine each aspect of the band into a whole that surpasses the sum of its parts.

                                    Following their self-titled debut LP that came out on Copenhagen label Red Tape last year, Stundum is obviously an entirely different beast that sees the band channeling into a much more free and vital sound. Monday, which takes up the entire B-side on the vinyl version is the centerpiece of Stundum. Here the band demonstrates their ability to combine individual musical skills with a wide ranging pool of inspirational sources. The music builds, swells and evolves almost like an organic natural process – building something which is almost beyond categorization, not really belonging to any specific musical era or scene.

                                    Had this album been released ten years ago one might have been tempted to describe it as psychedelic post-rock – but no genre tags, however inventive, does full justice to Papir's music. Neither does more traditional tags such as krautrock, prog, space-rock or stoner-rock, although none of them are completely off the mark. Whatever one feels like calling it there's undeniably something refreshing about Papir's rip-roaring psychedelia, with seething 10-minute guitar solos and their insistence on melodic beauty. The album was recorded with producer Jonas Munk (Causa Sui) during an intensive week-long stretch in a small secluded house on northern Zealand (Denmark's biggest island), with Munk giving the album a full-bodied and natural production, using the warm sound of the wooden house rather than artificial reverb and other after-treatments. Only few overdubs were added after capturing these stellar jams – aside from a few extra layers of guitars and percussion....and a phaser-treated coffee maker. This is music to lose oneself in - music to swim in.


                                    Peace

                                    Lost On Me

                                      Ltd 7" vinyl release, backed with exclusive track "Fur".

                                      The brand new single from this Birmingham indie / pop band and the follow up to the hit single "Money".

                                      People Get Ready

                                      Physiques

                                      The new record by People Get Ready is called ‘Physiques’. It ramps up the band’s fierce, joyful, heedless interplay; their love of big pop songs and trancelike slow jams and songs that fall somewhere in-between and, above all, their devotion to pleasure.

                                      ‘Physiques’ was made during three months of tracking with Deerhoof’s Greg Saunier at the Clocktower Gallery in downtown Manhattan. Founded by Alanna Heiss, who also created what would become MoMA PS1, the Clocktower Gallery was one of the first entrants in New York's ‘alternative art space’ movement in the 1970s. Invited to the space by curator Joe Ahearn (Showpaper, Silent Barn), People Get Ready were among the very last artists to work at this pioneering art space, which is now being renovated into condos. It would not be wrong to take ‘Physiques’ as a kind of tribute to and last gasp from a more lovely time in New York, when art ran free in downtown Manhattan.

                                      People Get Ready consist of two Arizonans (Steven Reker, Jen Goma) and a Californian (James Rickman). Produced by Greg Saunier, the album began as a collection of deliberately incomplete sketches that they developed over three months of improvisation, revision and accidental magic. Steve Marion (Delicate Steve), Brian Betancourt (Hospitality, Here We Go Magic) and Ryan Seaton (Callers) guested on a few songs and former band member Ian Chang (Matthew Dear, Body Language) played drums. Booker Stardrum, the drummer for experimental outfit Cloud Becomes Your Hand, joined the band that autumn.

                                      People Get Ready came together in New York in 2009 while frontman Steven Reker was looking for new ways to combine his devotion to avant-garde movement and pop art after working with Miranda July and touring as a dancer and guitarist on David Byrne’s year-long Everything That Happens tour. The band took shape around a run of shows at The Kitchen, described in the New York Times as “an experience beyond hearing music in a club or viewing a dance... a moving meditation that suggests dreams.”

                                      Nurtured by and connected to several generations of America’s hypercreative bleeding edge of multi-hyphenate musicians / artists / makers, People Get Ready challenge what it means to be a band. NPR’s Bob Boilen, placing their performances among his Top 5 concerts two years running, put it best: “No single show took my breath away the way this one did - part rock concert, part performance art, part dance, all perfectly melded together. Having seen so many dudes with guitars... it was incredibly refreshing to find a group challenging and changing the norm.”

                                      Petite Meller

                                      NYC Time

                                        Following the sold out run of first single 'Backpack', Night Beach Records is pleased to announce the release of a limited run of 300 coloured transparent vinyl of Petite Meller’s new single 'NYC Time' along with a new remix of the track by US duo Betablock3rs.

                                        Backed with a haunting vocal from Brooklyn-born singer Merlin Bronques and built around a hypnotic wind up toy-like melody, NYC Time is a typically unique and catchy pop song from meller. "The music I used to listen to as a child carries me back to where it all really came from. I wanted to show this voyage from an empty suburbia a la Antonioni's "L'Eclipse" to the influential rhythm of magical NY."

                                        Picastro

                                        You

                                          "Limited edition" version of the full length album, You. Dusted Magazine said: The dread, the discord and ever-shifting parts can make this music as disorienting as a metal record, and Picastro achieves the effect without speed or volume.

                                          Sixteen years gives you time to hone your craft. Master it, maybe not, but there is a clarity of purpose and a confidence that can only be bought with time. Liz Hysen - along with her rotating crew of collaborators - has been making music under the name Picastro for 16 years and You is a brilliant distillation of the project’s aesthetic. With a voice that shifts shape from track to track, moment to moment, Hysen is alternately enchanting and harrowing. Fables, rituals and even the living dead provide fodder for her incantations and yet there is a dark warmth to it all. Playing lullabies and whispering in your ear like some spirits found deep in the wilderness, they want to guide you home.

                                          The Pine Hill Haints

                                          The Magik Sounds Of The Pine Hill Haints

                                          The Magik Sounds of the Pine Hill Haints [KLP254] ventures softly into the cool, dark whisper of the haunted south. Short, tight spun rhymes about silver quarters and vampires come from a late evening session in a small pink house in south Alabama, located next to an old Native American mound of shells and bones, recorded at low volume with red eyes and open windows. This is the 4th Halloween dance party long player the Haints have cut for K. "Mrs Pac-Man" sets the theme...although this record is quicker and faster, Buddy Holly pop driven than most other Haint efforts, the opening track places your mind in the smokey state needed to feel the Magik Sound vibe. The sad Queen of all truck stops and late night greasy spoons, the lovely Angel Mrs Pac-man hold her charm over the listener and keeps every loner in tune with midnight feeling. I used to work a lot of third shift jobs, serving crummy food to sweethearts, the day finished, done, another one in the books, and the great burden of living in a modern nightmare almost, almost felt like it had been lifted...the sweet early a.m. twilight hours, where all humans are brothers again, all hatreds and vices and ill wills are temporarily forgiven, folks smile and tell a little joke or two, and the haunted Mrs Pacman winks eternal in the background....

                                          Ruby Fray

                                          Grackle

                                            After her debut album Pith [KLP239], released on K, Emily Beanblossom of Ruby Fray spent the next two years touring the U.S., selling her handmade soaps and working on the bare bones of her next album to be released this fall: Grackle [KLP251]. Coming a long way from her debut album, Pith [KLP239], Ruby Fray's upcoming release Grackle [KLP251] blends Americana sweetness with sludgy dissonance. Emily and long time collaborator Nick Botka, teamedup with Pith producder, Ben Hargett, to record the album at Dub Narcotic Studio in Olympia, WA. Their newest recording preserves the playful jangly genre-bouncing enervation found in their previous workwhile insisting on a more disciplined approach to songwriting.

                                            The album opens with a slow synthesizer prelude "You Should Go", setting the tone for listless anthems characterized by Beanblossom's harmonies and hollers. "Vespers", a morning prayer, introduces a coy letter to a wayward sailor in "Photograph". Then, with a sharp twist of a post-modern dance beat paired with the tremolo of a Finnish lap harp, "Barbara" takes the stage to insert bitter anecdotes, and "Anthony" invokes a dark spaghetti western composition supporting Gregorian vocal harmonies. "It's Mine", with its trip-hop drum and bass vehemence, finishes into a chaotic degradation of off-kilter cello chords.


                                            The Rural Alberta Advantage

                                            Mended With Gold

                                            In 2006 singer-songwriter Nils Edenloff, percussionist Paul Banwatt, and multi-instrumentalist Amy Cole came together to release their debut self-titled EP as The Rural Alberta Advantage. The ensuing years have brought two full-length albums (2008’s Hometowns and 2011’s Departing), widespread critical praise (SPIN, The New York Times, Rolling Stone, Pitchfork, NPR, among others), two Juno Award nominations (Best New Group, Video of the Year), the Polaris Music Prize Long List, and a hard earned reputation as one of the most impressive live bands you’ll ever see. It was through all of this that The RAA’s latest album, Mended With Gold, took shape.

                                            Nils recalls, "Last spring, I rented a remote cottage up in the Bruce Peninsula on the recommendation of some friends to try to do some writing for the new album. It turned out to be a pretty terrifying place to be alone with your thoughts - locals told me to watch out for black bears, the heat wasn’t working and at night it sounded like the cottage was surrounded by wolves. I slept with a pocket knife at arms-reach. It’s funny the lines that will run through your head when you’re alone like that and trying to get yourself to sleep- they inspired "To Be Scared", which is probably one of my favorite songs on the record."

                                            The ideas and moods created in these songs tie back to the album title Mended With Gold, embracing the idea that the breakage and repair of an object becomes part of its unique history and ultimately makes it more valuable instead of a blemish to disguise. The Rural Alberta Advantage have taken all of their successes, losses, adventures, and heartbreaks over the past few years, and forged them together into an unforgettably powerful work of beauty.

                                            Charlotte Oleena began writing simple soundscapes as Sea Oleena in early 2010, shaped by melancholy and never wanting to leave her bedroom. With an initial focus on recording, she began playing shows by herself regularly a year after the release of her first EP. Since then she’s played shows with a handful of musicians but has recently been playing alone again, moving pointedly in the direction of wide and open ambient worlds.

                                            At the end of 2012, following two self-released EPs, Oleena began writing what would become her first label-released album, ‘Shallow’. The album was finished in the fall of 2013, having been recorded and mixed in various bedrooms and studios, with unrelenting and indispensable help from her brother, Luke Loseth.

                                            ‘Shallow’ finds Oleena at her most focused, compelling state yet. Her tactful use of textures and instrumentation make for a blissful, cinematic listen that’s centred on what matters most: her captivating voice.

                                            Lyrically, she’s unafraid to dive into heartbreaking experiences, which are riddled throughout the album but feelings of hope and optimism blossom in their wake. ‘Shallow’ is music to drive to, music to daydream to, music to become immersed in. Because once you let go, these are the songs you can’t help but cling to.

                                            ‘Electric Ursa’ is the second solo album by Joan Shelley. Recorded in her hometown of Lousiville, KY with producer Kevin Ratterman (My Morning Jacket, Andrew Bird, Houndmouth), the album is comprised of eight songs, startling in their quietness and closeness.

                                            The Chicago Reader wrote that “she sings with striking intimacy, as though addressing someone sitting just a few feet away.”

                                            Shelley has toured the US and Europe both solo and with her band (The June Brides).

                                            Her latest release, ‘Farthest Field’, (2012) was a duo album with Daniel Martin Moore, of which Jim James said was “destined to become a classic. It already is for those who know.”

                                            Straight Arrows

                                            Petrified / Information Man

                                              A-side is from the recent Rising LP, and absolute fuzz classic, you can dance if you want! See video link. B-side “Information Man” is exclusive to this release – another KILLER fuzzed out tune from these Sydney bangers!… pressed as a white label, individually numbered / stamped and put in a KBD style sleeve (ref: the victims) this is the new wave of KBD style punk rock from Australia, punk rock, in attitude, sheer-glorius Australian scuzz-pop garage rock on vinyl. Will not be repressed..

                                              •We are proud to present a newly found unreleased album recorded across two winter time sessions at Nikkis favourite recording studio Woodbine Studios in Leamington Spa.

                                              •The profile of the late Nikki Sudden has never been higher with the release of the highly acclaimed Box Set The Boy from Nowhere & the release by U.S label Numero Uno / Secretly Canadian of all the early albums on limited Vinyl.

                                              •Apart from a couple of cover versions Johnny Be Goode & Ronnie Lane’s, Faces classic Debris and a re- working of one of Nikki’s old songs from his first album Forest Fire , The Fred Beethoven Projectile sessions sees the band teaming up with French Guitar hero Freddie Lynxx to record brand new compositions unavailable on any other recording.

                                              •The tapes were discovered whilst compiling a career spanning box set issued to critical acclaim last year.

                                              Nikki Sudden was born Adrian Nicholas Godfrey in London, England. The main influences on Sudden's music were artists such as T. Rex, the Rolling Stones, the Faces, Bob Dylan and Johnny Thunders. Founder member of one of the U.Ks very foirst DIY bands the now legendary SWELL MAPS. Following the break-up of Swell Maps in 1980, he started a solo career and also released records with Dave Kusworth as the Jacobites. Sudden collaborated with, among others, Mike Scott and Anthony Thistlethwaite of the Waterboys, Jeff Tweedy of Wilco, The Golden Horde as 'The Last Bandits', Mick Taylor of the Rolling Stones, Rowland S. Howard, Jeremy Gluck of the Barracudas, Metrophase, Joey Skidmore, Ian McLagan of Small Faces and the Faces, Phil Shoenfelt, Baron Anastis van Hustler, Big Sleep, Al DeLoner of Midnight Choir, Tom Ashton of the March Violets, members of R.E.M. and Sonic Youth. The Jacobites' tune "Pin Your Heart" was covered on the Lemonheads' 1997 single "The Outdoor Type". Sudden also wrote for a number of music magazines, such as Spex, INTRO, Mojo, the local Birmingham based fanzine Waxstreet Dive, and Bucketfull of Brains. At the time of his unexpected death, he was writing his autobiography, as well as a history of the Wick (an estate in Richmond once owned by Ronnie Wood, currently owned by Pete Townshend), and was due to perform in London on the 29 March 2006.

                                              FORMAT INFORMATION

                                              CD Info: CD is presented in a card gatefold sleeve.

                                              Ltd LP Info: Limited blue vinyl, 400 copies only!

                                              Swim Mountain

                                              Swim Mountain

                                                Swim Mountain are London 4-piece Tom Skyrme, Joff Macey, Andrew Misuraca and Teej Marshall. The band release their debut EP ‘Swim Mountain’ on South-London label Hey Moon.

                                                The 6-track was self-recorded and produced by multi-instrumentalist Skyrme half in Los Angeles, half in London and features the widely-blogged ‘Dream It Real’.

                                                The EP is a psych-pop collage of sounds fusing 60s studio ethics and modern production techniques, drawing influences from the harmony-heavy songwriters of the 60s and 70s (Argent & Blunsonte, Rundgren, Nillson and the Wilson brothers) and the Bossa Nova chord progressions of Brazilians Tom Jobim and Joao Gilberto.

                                                Having been composed and recorded between the juxtaposing environments of rainy London streets and the sunny beaches of LA, this accomplished debut has a genuinely unique sound that is truly striking.

                                                Lead track ‘Yesterday’ is a perfectly-crafted slice of pop that offers one of this year’s most catchy guitar riffs along with pitch-perfect three-part harmonies and production to match.

                                                Robert Pollard, head lunatic of the Guided By Voices' asylum, has a surfeit of original thoughts. (Most people are lucky to have even one, ever). That this even needs to be expressed is evidence enough for its "truth," as only obvious or obviously untrue things can ever hope to be true. Or to approach the truth. Something Pollard does with uncanny regularity, and which is further on display on every track on the gloriously unkempt, roiling-with-ideas More Lies From The Gooseberry Bush, the second record Pollard has released under the nom-de-rock Teenage Guitar.

                                                Here's a song title: "Matthew's Ticker and Shaft a. come to breakfast b. the girl's c. division of swans d. when death has a nice ring." It starts with distorted guitar over a primitive snare-and-bass-drum beat (all instruments on all songs played by Pollard), shifts into an out-of-tune piano clumping along a simple seven-chord progression, lurches into a wall of distorted guitar as two tracks of Pollard wail wide-panned in each speaker, before finally resolving in a pretty harpsichord (or some synthesized version thereof) figure inelegantly trips over itself before trailing off into the next track: "The Instant American," which presents a multi-tracked Pollard vocals chanting over a background of what sounds like a bunch of people at a party drinking. These are not the two strangest tracks on the fifteen-song album, which clocks in at just over thirty minutes.

                                                If there are times when Pollard's musical ambition seems to overwhelm his ability to present his ideas coherently, that's a feature, not a bug. The spazzy machine-generated beat of "A Guaranteed Ratio," the ham-handed church organ of "Good Mary's House," the off-key crooning, the awkwardly plucked possible-banjo on "All You Fought For" the general (but not always) sloppiness, the rumbling toms and slashing power chording of "New Light": it's all of a piece, and that piece adds up to a sense of urgency and what sounds an awful lot like unconstrained joy suffusing every single track on More Lies From The Gooseberry Bush. For those who like their Pollard stately, tuneful, and elegiac – sure, he can do that without effort, but that's not what Teenage Guitar is about. Teenage Guitar is about trying hard without seeming to try hard.

                                                The result is that rare thing: a completely original album. Which is also a true delight, a sky-blue gem, a timeless and untimely cabinet of wonder. And by some few miles the greatest musical artifact your ears will have the pleasure of encountering this year.

                                                The Terminals

                                                Singles And Sundries

                                                  The Terminals are smack in the center of all that is great about New Zealand music. Members of the group have connections to The Renderers, Scorched Earth Policy, The Axemen, The Pin Group and Dadamah, and the list goes on from there. They bridge the gap between the free-form sprawl of their improvising peers and the melodic beauty of Flying Nun’s poppiest groups.

                                                  The result is a ripcord of rock which sounds vital, intense and fomenting with menace. Collected here for the first time are the singles. Released throughout the 1990s, these songs are the band’s finest moments. “Deadly Tango” blares at a syncopated pace, while “Witchdoctors” seems to crawl out fully formed from a miasma of feedback, with Stephen Cogle’s vocals sounding like incantations.

                                                  The greatness of The Terminals comes from their mastery and their ability to achieve such a powerful effect with the music they’ve created. Their music throws an intelligence into the dark and structure onto the dangerous. For anybody looking at a roadmap to New Zealand music, the songs on Singles & Sundries are essential vantage points.

                                                  The debut EP from Manchester based electronic duo UV (Zandra Klievens and Jonjo Feather). Two singles this year have garnered the duo a Record Store Day Recommendation from God Is In The TV and spins from the likes of Tom Ravenscroft BBC6 and Shell Zenner Amazing Radio.

                                                  The 5 track E.P. consolidates the duo’s brooding aesthetic “Effortlessly uniting a fairytale of dark underground disco, minimal techno and ethereal pop” The 405.

                                                  Various Artists

                                                  807N

                                                    Cassette Store Day 2014 release. '80N7' features 20 previously unreleased tracks by some of Rough Trade New York's favourite emerging acts from across the US and UK, including Manchester's Spring King, Denver's Sunboy, and London's Happyness. Operating under the premise that things sound 'better homemade,' the aim is to showcase bands that the shop feels capture the magic of DIY - they want you to hear the fingers sliding, the tiny imperfections, and most importantly, the passion that went into making them. Digital download card included. Limited to 150 copies.

                                                    White Manna

                                                    Live Frequencies

                                                      Cardinal Fuzz are proud to present White Manna - Live Frequencies.

                                                      After two long players of fuzzed scorch and flange frenzy White Manna eventually made it over to Europe in the Autumn of 2013 to play a series of live shows including one of the highlight sets of an incredible Liverpool Psych Fest weekend. The Cardinal Fuzz staff were completely in awe. What helped set White Manna apart from a lot of the psych crowd is the sheer intensity and raw punk nous they posses as riffs are accelerated into speed-freak intensity and the music ascends to a miasmic swirl leaving the crowd in a boot shaking frenzy - try imagining Hawkwind and The Stooges meshed together and that will give you some idea of the sheer head fuckery of White Manna.

                                                      Luckily two soundboard recordings emerged from the wrekage and the results are presented here in a acid tab KORNEY bootleg style LP timed to coincide with White Manna's second visit to Europe and that is something you don't want to miss.

                                                      FORMAT INFORMATION

                                                      Ltd LP Info: 500 Pressing.

                                                      THE YOUTH want to be suited and booted, to spit out contagious rock’n’roll music and sweat their asses off. With their heads held high, bodies fully loaded with energy, carrying a craving for simple, unpolished elegance, they want to play songs that anyone can understand, a beat that everyone can fall in love with, riffs that all can sing along to, and a groove that everyone can feel. The Youth want to bring sixties sounds back into teenage bedrooms – where it belongs. The Youth formed a couple of years ago in Copenhagen when four friends decided to combine their shared passion for blues, garage-rock, rhythm’n’blues and beat music. They have already made a name for themselves in their native Denmark, attracting a Beatles-style mob of screaming girls whenever they appear live. A limited edition seven inch single was released earlier this year, which quickly sold out, causing considerable anticipation for this, their debut album.

                                                      Recorded at the esteemed Estudios Circo Perrotti in Gijón, Spain, while taking a “break” from a European tour in which they took newcomers in the audience by surprise with their pure energy and the spontaneity of their live shows. How they came to record at Circo Perrotti is a story in itself. Drummer boy Sune, inspired by the magic art of brewing at a festival in Italy, rationally chose to go sight¬seeing around the site, stacked and packed with beverages in both hands. While on this adventure, he acquainted himself with a good many beautiful people. However, tired from so much walking and in desperate need of a nap, he happened upon a gorgeous old Moto Guzzi Ambassador V7 motorcycle. And, as all drummers would naturally do, he figured this was an ideal place to sleep. Upon being woken by a Spanish speaking gentleman he discovered he was in the presence of no other than the former king of Asturias, Jorge Muñoz-Cobo Gonzales, nowadays owner of the famed Circo Perotti studios. It was as though it were a sign sent from heaven: this saviour in royal form had been sent on a mission to assist The Youth. The two of them began conversing and, with growing mutual admiration and understanding, they came to the conclusion that they should seek refreshments and discuss Sune’s burning desire to make a record. And so they did!

                                                      Various Artists

                                                      Frank - Music And Songs From The Film

                                                      Quirky soundtrack performed by the stars of Frank, the film loosely inspired on the legend of Frank Sidebottom Frank premiered at the Sundance Film Festival in January and has gone on to critical success at subsequent festivals and on general release. Based on the memoir by filmmaker, author, broadcaster and journalist Jon Ronson, the fictional story is loosely inspired by Frank Sidebottom, the persona of cult musician Chris Sievey as well as other outsider musicians like Captain Beefheart and Daniel Johnston. To preserve the film's integrity, the actors, including Michael Fassbender, Domhnall Gleeson and Maggie Gyllenhaal who perform as screen creation The Soronprfbs were recorded live. This process allowed room for improvisation with the music, composed by Stephen Rennicks, delivering songs that are both joyous and melodic but also offbeat and strange. Mark Kermode's Film Of The Month in July review focused on the music, "Songs which range from the hilarious, "Frank's Most Likeable Song...Ever to the heartbreaking, "I Love You All", already a haunting indie-classic, providing the perfect soundtrack for this unique and bewildering gem".


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