MAGIC MIX

indie

WEEK STARTING 23 Mar

Genre pick of the week Cover of Sometimes I Sit And Think, And Sometimes I Just Sit by Courtney Barnett.

Courtney Barnett

Sometimes I Sit And Think, And Sometimes I Just Sit

Following the runaway success of her EP collection, 'The Double EP: A Sea of Split Peas', Courtney Barnett returns with her debut album. Recorded in the Autumn of 2014 in an intense 10 day session at Head Gap studios in Melbourne, the album finally brings Barnett's incisive vision into stark, unflinching focus; her wit sharpened to a knife edge, her melodies more infectious and addictive than ever.

'Sometimes I Just Sit and Think, and Sometimes I just Sit' cements Barnett's standing as one of the most distinctive voices in indie rock. Mixing witty, often hilarious observations with devastating self-assessment over a beguiling collection of songs that reveals her as an ambitious songwriter with an ear for clever turns of phrase and an eye for story-song details that are literate without being pretentious. Depressing rentals and dead foxes, go-nowhere relationships and dead end suburbs, even her own fears, doubts and insecurities - nothing escapes Barnett's caustic sense of humour.

If 'The Double EP' announced the arrival of a major new talent, 'Sometimes…' consolidates that promise and marks Courtney Barnett as one of the best and most unique voices around, period.


FORMAT INFORMATION

CD Info: Gatefold CD includes a booklet as fold out poster.

2xLtd LP Info: Indie stores exclusive - Limited deluxe 2LP is a double gatefold heavyweight orange vinyl and also includes MP3 download card.

Lucky Number are thrilled to announce the release of both TRICK and RULES the latest albums to be released by the Philadelphia-based songwriter Alex Giannascoli, more commonly known as Alex G. Trick and Rules follow on the acclaimed heels of the November 2014 international release of Alex’s fifth album, DSU. Recorded prior to DSU and previously only available via Alex’s Bandcamp account, the albums have now been professionally mastered and are being made commercially available for the very first time.

Rules is soaked in the distinctive personality that is Alex G; the professionally mastered versions of these tracks further highlight that Alex has a serious knack for melodic songwriting.

In addition, Lucky Number are also thrilled to be releasing Trick, Alex’s fourth album. Written and recorded just a few months after Rules, they both harbour a similar charm that makes it feel right for them to be released together.

Both Trick and Rules continue to showcase a prodigious song-writing talent, reaffirming that Alex G is one of the most promising and prolific American musicians today.


FORMAT INFORMATION

Ltd LP Info: Heavyweight Vinyl LP includes free copy of CD and Bonus Tracks.

Lucky Number are thrilled to announce the release of both TRICK and RULES the latest albums to be released by the Philadelphia-based songwriter Alex Giannascoli, more commonly known as Alex G. Trick and Rules follow on the acclaimed heels of the November 2014 international release of Alex’s fifth album, DSU. Recorded prior to DSU and previously only available via Alex’s Bandcamp account, the albums have now been professionally mastered and are being made commercially available for the very first time.

Trick features many of the fan favourites that Alex has been playing at shows recently, including the infectious off-kilter anthem 'Forever', the dreamy and surreal 'Animals' and the charmingly lo-fi 'Change'. Trick is soaked in the distinctive personality that is Alex G; the professionally mastered versions of these tracks affirming that underneath all the unconventional guitar lines and scrawls of fuzz, Alex has a serious knack for melodic songwriting.

Trick continues to showcase a prodigious song-writing talent, reaffirming that Alex G is one of the most promising and prolific American musicians today.


FORMAT INFORMATION

Ltd LP Info: Heavyweight Vinyl LP includes free copy of CD and Bonus Tracks.

Aye Aye

Aye Aye

    The CV on Aye Aye, the long-rumored self-titled debut by Philadelphia’s premier desert blues marsupials, runs deep through the beer-strewn underbelly of Philly rock. The Gibbons Bros’ unmistakable slow-motion, big-chord fuzz will be familiar to anyone who’s taken a plunge into the Bardo Pond soundpool over the last few decades, though a cultivated ear will note more grits and butts and less pedalboard worship here. Ben Leapheart retains his very official title of greatest drummer in Philadelphia—have you shmoes not heard Purling Hiss or Watery Love?—with his innate understanding that the drums lead, not merely keep time. And then there’s the high lonesome harp of Harmonica Dan Balcer, a record hound of profound depth. He’s been the public face of Boogie Witch, blown his harp on records by Jack Rose and Birds of Maya, blasted noise with the Megajam Booze Band, patiently schooled dingdongs from behind the counter at the Philadelphia Record Exchange, and devoted unhealthy decades to an insatiable thirst for true rock spirit. Yeah, yeah, cool, but what does it sound like? OK bub, how about terrestrial crunching rock drifting over a great expanse? Aye Aye is limited to 300 copies on vinyl and includes a complimentary digital download with purchase.

    Richard J. Birkin

    Songs For Spoken Words

      “In its sweet, low-key way, Songs for Spoken Words is magnificent. It's as if you're hosting a cutting edge artistic event in the comfort of your own office, living room or train seat. Within a few lines of “Being That Person” you're hooked. Technically dazzling and emotionally involving.”
      - The Arts Desk.

      “Listen and marvel.” - Collective Zine.

      "The overall mood is reflective and melancholic spanning a spectrum that ranges from the warm slow-indie vibe that bookends the album (‘Being That Person’ and ‘Goodbye’) to modern classical motifs rendered with a dash of cinematic melodrama in such achingly beautiful pieces as ‘That Night’ and ‘One’. Everything is elegantly and minimally arranged, featuring crystal clear acoustic guitar, resonating strings, and just a faint smattering of electronics. Songs for Spoken Words is worth the price of admission for the music alone; each tune is engaging, both easy on the ear and able to summon wistful feelings in the listener." - Stationary Travels.

      The Blood Tub Orchestra, set to be 2015’s most interesting and innovative outfit, are delighting and enthralling listeners with their wholly unique idea. Unearthing Victorian and Edwardian music gems from often long-forgotten artists, The Blood Tub Orchestra evolve the pieces into fully-formed 21st century creations that still possess the characteristics and soul of the original historic works. The ghost is firmly spooking the machinery.

      When we look into our histories, we often do so with a rose-tinted and fantastical idealism of what entailed in those previous years, belying the actual truth whilst embracing the myths. This music most certanly isnt that! With the cosy mothball whiff of fancy dress nostalgia removed, a straight bare knuckle fight between the song and the performers is left to find its place creating the most mouthwatering proposition since The Rolling Stones re-introduced Blues to America. Great Britain, this means you!

      The songs on this EP are selected for their timeless relevance and irreverance, We’re Glad You’ve Got A Gun, of which no known original recordings exist, is a chilling call to arms propaganda song aimed at the popular music markets of it’s day. The Modern Mephistopheles is a damning a bitter whimsical mocking version of a song about poverty and ‘domestic bliss’ that was popular in its day.

      The Blood Tub Orchestra is comprised of a ragtag assortment of musical waistrels. Tim Whelan (Transglobal Underground, Furniture etc), Ashley Davies (Project Dark, London Dirthole Company etc), Kirsten Reynolds (Project Dark, LDC etc), Rob Lewis (Pulkas, LDC etc), Debbie Smith (Echobelly, Ye Nuns etc) plus various guests

      Blues Pills

      Blues Pills Live

        Easily one of the breakthrough classic rock bands of 2014, Blues Pills have been enchanting fans and media alike since they unleashed their self-titled, UK Top 75 debut last year. This young American / Swedish / French quartet create a very unique, intense and extraordinary rock atmosphere while at the same time having a major mainstream appeal that takes you right back to the time of Blues Pills’ ancestors Aretha Franklin, early Fleetwood Mac, Led Zeppelin, Jimi Hendrix, Janis Joplin and Cream.

        Driving basslines, grooving drums and guitar solos from another planet by 17 year old Dorian Sorriaux, harmonized and tied together with such easiness and delight by Elin Larsson‘s incredible voice.

        With the idea to combine soul music with blues and rock ‘n’ roll and turn it into a new force of unimaginable energy, intensity and freshness, blonde archangel and soulsaviour Elin Larsson will guide you gently into a new world; the band´s empire of soulful rock. Elin’s powerful lyrics are full of emotion, her jazzy-soulful voice unfolding in outstanding beauty with a refreshing new take on the timeless and unquestionably noble art of rock ‘n’ roll.

        The band‘s stunning 10-track debut, produced by Don Alsterberg (Graveyard), was dubbed “one of the most exciting releases of the year” by Classic Rock Magazine, while Mojo predicted that “good times lie ahead for Blues Pills.” The album was rapidly backed by serious bout of roadwork. A sold-out November club run was followed a month later with a full UK tour as special guests to Rival Sons. Such is the demand for the band that another April headline run was announced immediately after.

        It couldn’t be more fitting that the band’s first live album was recorded at the renowned German Freak Valley Festival. Festival founder Jens Heide has not only been supporting the young musicians from “day one, before we even played a single show, before ‘Devil Man’ even was written and before the band was fully formed,” as vocalist Elin Larsson points out. In fact, he even gave the band their name.

        This concert was also their first ever headline festival appearance. “We took a walk around the festival and I remember getting a really good vibe from the place,” recalls guitarist Dorian Sorriaux. “It felt like all the puzzle pieces came together up at that moment,” adds Larsson.

        It’s in the live arena where Blues Pills really come into their own, as this 10-track release, recorded in front of a rabid German crowd, surely testifies. Improvising, stretching and twisting arrangements with Sorriaux and Larsson swapping the spotlight, Blues Pills remain anchored by their rock-solid rhythm section. ‘Blues Pills Live’ is the sound of a young band at the top of their game.

        FORMAT INFORMATION

        CD Info: A5 digibook CD

        2xLtd LP Info: Gatefold double vinyl with etched Side 4.

        The Brian Jonestown Massacre

        Spacegirl & Other Favorites (Reissue)

          Taken from the original vinyl release with the original tracks & re cut at Abbey Road. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club.

          Charles Howl

          Sir Vices

            Today we introduce Charles Howl, a London-based brit-psyche group with a thrillingly melodic sound.

            Charles Howl release their debut album ‘Sir Vices’ with a dozen tracks that deliver. Comprised of Charles Howl & Bobby Voltaire (both of The Proper Ornaments) they elected to record at Syke Lane's warehouse studio on the outskirts of Leeds, utilizing the foggy and remote atmosphere. Locked away Howl honed his songwriting, and production skills, slowly bringing in a team of friends, including Chris Hicks (Talons) on bass and Wesley Patrick Gonzalez (Let’s Wrestle), who laid down a lead line on track 5 while round for a cup of tea.

            As some of the last children of the ‘80s and with a britpop upbringing, it’s no wonder Charles Howl has produced an album that sounds like The Modern Lovers channeling The Stone Roses while maintaining its contemporary charm. It makes for an album that is outward looking with tight rhythms tying down whirling guitars and lustrous textures bouncing off melodies. 

            Elizabeth Eaton Converse grew up in Laconia, New Hampshire in 1924. Described as a polymath, she attended Mt. Holyoke College, but by 1944 she decided to leave college and, in 1949, she made her way to New York City. Over the course of the next decade, in addition to acquiring her new moniker, “Connie” wrote and recorded songs that captured the hearts of those close to her. Some were recorded by the artist in her Greenwich Village apartment, others by friends enamored of the music. These included animator Gene Deitch and his colleague Bill Bernal, who helped coordinate an appearance on the CBS Morning Show with Walter Cronkite.
            Despite these efforts, Connie’s music never reached an audience wider than, as she once put it, “dozens of people all over the world.”

            In 1961 Connie tired of New York and left for Ann Arbor. She became increasingly despondent in the 1970’s, and, finally, in 1974, Connie wrote a series of goodbye notes to friends and family, packed up her Volkswagen and disappeared. She has not been seen or heard from since. At first listen, Connie’s music seems to keep close company with the female folk artists who were her contemporaries. The knack for plaintive storytelling shares much with Peggy Seeger and Susan Reed, but Connie’s music stands out from that of the American folk revival of the 1950’s. Her fluid and disarmingly intelligent poetry is often filled with the kind of contradictions that reflects an urban perspective. She is at once a maverick and a romantic, intellectual and spiritual, a staunch independent and a tender, pining lover. How Sad, How Lovely captures the broad spectrum of Connie’s music..

            The Cribs mark a welcome return with their new album For All My Sisters. The band’s sixth studio album, it follows 2013’s career spanning ‘Payola’ collection and 2012’s Top 10 album ‘In The Belly Of The Brazen Bull’. Having reconvened in Wakefield and Portland, the band decamped to New York and Magic Shop studio with legendary producer and The Cars frontman Ric Ocasek (Weezer) to begin recording.

            For All My Sisters marks the start of the next chapter, in a decade long existence that has seen the band continually evolve and thrill, ever advancing whilst stockpiling an enviable arsenal of songs.

            FORMAT INFORMATION

            2xLtd CD/DVD Info: A deluxe package which includes 5 bonus tracks and a 23 track 'live' concert DVD from the infamous Christmas 2013 shows @ Leeds 'Town & Country Club'.

            Cyanide Pills

            Government / Hit It

              To coincide with the general election we have a brand new single from Cyanide Pills. The A-side is a timely, two-fingered salute politicians of all stripes and is a taster for the band's third album due out sometime in the summer.

              Dead Rider

              New End

                With glints mirroring off their gun metal blue fenders, Dead Rider are roaring down the trail again. Hot off ‘Chills On Glass’ (a Best Of The Year qualifier on many lists at the end of 2014) and several feverish tours around America, they have returned with a pair of songs to throw into the public’s yearning maw. This is Dead Rider, though; these songs aren’t benign give-the-people-whatthey- want fare.

                On the A side the band consider the late night thoughts of the insomniac as he contemplates the endless parade of humanity that has passed through the very room in which he’s trying fruitlessly to sleep. How many of them were there? Who laid in this exact spot? Stared up at that exact crack? The room is empty now or is it full of the spirits that keep echoing out from the shadows in the corners? As sheets of black guitar reign all around these are the thoughts you might have when you’re facing ‘New End’.

                The B side features the post-apocalyptic B Boy trying to fight off boredom and a bellyache. The collapse of civilization has left only broken beats, hot magnetic pulses of rhythm and scraps of raps. It can get a bit ‘Uncomfy’.

                ‘Lease Of Life’ is the follow up to Errors’ critically acclaimed 2012 album ‘Have Some Faith In Magic’. Formulated on the Hebridean Isle Of Jura - the location where George Orwell wrote ‘Nineteen Eighty-Four’ and the place where The KLF are rumoured to have burned a million pounds - the new album is a bold work borne by the confidence and ambition of a band with the desire to combine the exploration of fresh soundworlds combined with their most accessible, immediate songwriting yet.

                Incorporating featured vocalists Cecila Stamp and Bek Oliva, ‘Lease Of Life’ is also the band’s most cohesive album statement to date: a start-to-finish experience that’s bound by recurring constituents and accomplished craft.

                FORMAT INFORMATION

                2xLP Info: Heavyweight white vinyl.

                Faith No More

                Superhero

                  Faith No More, who reunited in 2009 for a series of sold out performances and international festivals, are currently recording their first full-length album since 1997’s ‘Album Of The Year’.

                  ‘Superhero’ is the second single to be released from the upcoming full length.

                  The new album is being recorded in an Oakland, California studio with bass player Billy Gould handling production.

                  The release will be the first from Faith No More’s newly formed Reclamation Recordings imprint via Ipecac Recordings.

                  Father Murphy, one of the most mysterious and enigmatic musical entities to emerge from Italy in recent years, presents their fifth full-length via The Flenser. This dark psychedelic / industrial cabaret is a religion-themed concept album titled Croce (“Cross” in Italian), one side representing suffering and sacrifice and the flip reflecting what comes after—the end of suffering, resurrection, or perhaps oblivion. The work was recorded by John Dieterich in Albuquerque, NM, and mixed by Greg Saunier.

                  From the shadowy atmospheres of Croce spring forth unexpected blurts of impossibly catchy noise pop, at times operatic like some twisted musical detailing the trials and tribulation of the crucifixion. Male and female vocals by Freddie Murphy and Chiara Lee intertwine over distorted blasts of guitar crunch, anchored by stuttering, homebuilt percussion. This sound is textural and nuanced yet noisy and chaotic, carefully sculpted into jagged shards of fragmented pop.

                  A-side closer “In Solitude” is an appropriately dour slab of murky miserablism that sounds like a slow sonic death, a haunting dirge that dissolves into that ineffable space between the record’s two sides; the netherworld, the afterlife, Purgatory. But Father Murphy erupts from this stygian blackness with the second half of Croce—the light to the A-side’s dark. “Long May We Continue” retains a doom-like approach at first, stringing a field of metallic shimmer and junkyard percussion together into a spare framework over which dramatic male vocals soar. The female counterpart responds like some demonic Greek chorus, delivering a sense of warmth. Finale “They Won’t Hurt You” is all majestic pipe organ, a stirring and stately court music, lush and lovely and epic, the sound of rebirth: redemptive and restorative, a return from the beyond, arisen from the grave, ascended into the heavens, the sounds drifting upwards, beyond the galaxy, the universe, into the unknowable infinity.

                  “… a fascinating listen… an unapologetic venture into head music and contains some powerful compositions. It’s steeped in a sense of reverence, but one that looks below, rather than expecting anything from above.” —Drowned In Sound.

                  “The oddball psychedelic chamber pop the Italian duo exhales will creep you out with drones, lullabies, and anguished vocals all competing for frontrunner spot in your next nightmare. Perfect.” —Terrorizer.


                  Mike & Cara Gangloff

                  Durang‘s Hornpipe / Rake And Rambling Boy

                    Having released records on The GPS previously as part of the late great Jack Rose’s backing band and The Black Twig Pickers- (as well as cutting their cloth as part of the mighty Pelt), Mike and Cara release a great double ‘A’ side for March here in an edition of 500.

                    “Durang’s Hornpipe” is spectacularly underpinned by the majestic drone of Cara’s Shruti box, with Mike on banjo and fiddle and is backed by the peak and fall and drone pulse of the Shruti once again on an incredible reworking of the standard “Rake and Ramblin’ Boy”.

                    A beautiful 45, worth it alone for those moments where both voices collide on the flip- it won’t hang around long and is dressed in ace printed inside and out sleeve and on dark cherry wax. Pressing of 500 only.

                    Girlpool

                    Chinatown

                      Girlpool are a Philadelphia by way of Los Angeles two piece made up of Cleo Tucker (guitar) and Harmony Tividad (bass).

                      Having met at local DIY venue The Smell, the two quickly grew very close. Their sound is raw, comprised only of a guitar, bass and vocal harmonies. The band use this stripped-down instrumentation to accentuate their vulnerable yet powerful lyrics to create honest pieces, tackling concepts ranging from awareness and respect to the simple of feeling of being alone at a show.

                      For fans of Sleater Kinney, Waxahatchee, Beat Happening, Peggy Sue.

                      Grawl!x

                      Good Grief

                        Good Grief is the wonderful wonderful debut album by Grawl!x, the solo project of ex-My Psychoanalyst singer and guitarist James Machin.

                        The music he makes as Grawl!x (pronounced Graw-lix) is gentle and spacious, but with a deep well of feeling that often rises up out of nowhere to take over. This can be joyous, riveting, sometimes even terrifying.

                        It’s a varied record that starts out with simple piano and a string quartet arrangement, a gentle opening that acts as a sort of ‘reset’ button on your world, readying you for the 9 tracks that follow.

                        Robin Guthrie & Mark Gardener

                        Universal Road

                        'Universal Road' is the new album by Robin Guthrie (Cocteau Twins) and Mark Gardener (Ride). Their former bands work ought to give hints as to where a collaboration between the pair might lead, but this remarkable new album has it's own chemistry and is an unexpected treasure from the two well established artists. The pairing of Guthrie and Gardener might, at first glance, be expected to deliver a very particular brand of guitar-driven euphoria, however, 'Universal Road', defies expectations across ten tracks whose diversity is one of the album's great strengths. This is a most harmonious collaboration, at times affirming - 'Yesterdays News', exuberant - 'Dice', reflective - 'Sometime', striking - 'Old Friend' and quietly epic - 'Blind'. Gardener's vocals have rarely sounded better than they do on Universal Road, his layered harmonies are a particular highlight. Guthrie's lush sound and alluring guitar arrangements and melodies are seamlessly interwoven throughout, deftly accentuating the emotional content of the songs.

                        Haleiwa

                        Wall Of Blue Sky

                          Haleiwa is a band from Stockholm, Sweden that is led by Mikko Singh. The music is experimental pop with influences from different musical traditions, if the Clientele evoke deserted, suburban streets at 5am then Mikko can bring forth the misty morning echoes of the enchanted woodlands of his homeland.

                          The release of the 100 only press Sunstone 7” will see a release party in Stockholm where Mikko has recruited a full band to realise his pure pop vision. Grab it quickly...

                          The Hanging Stars

                          Golden Vanity / Floodbound

                            ‘London’s best cosmic country band’ - TIMEOUT.

                            Features several member of The See See.

                            In April 2014, Paul, Sam, Rich, Phil and Horse started life as The Hanging Stars. Combining lush harmonies with their love for Cosmic American Music, English folk and psychedelia, their songs lie somewhere between the desert's beating sun and the grey skies of East London; both timeless yet new.

                            The band’s debut 7” single will be released on cult vinyl label Great Pop Supplement and was recorded both in Lake Hollywood (US) and Walthamstow (UK) by Rob Campanella (Beachwood Sparks, The Tyde) and Brian O’Shaughnessy (Comet Gain, The Clientele) respectively.

                            A side ‘Golden Vanity’ sees the band take the lyrics from a traditional folk ballad they found in the pages of an old Alan Lomax anthology and reworking them into a whole new original melody. Part inspired by the folk tradition and part pure psychedelic pop song, it exemplifies the band’s unique and distinctive sound.

                            AA side ‘Floodbound’ is an English take on Californian music. Desert chords and swirling pedal steel combine with a soaring melody in a song that ebbs and flows with darkness and light.

                            A full album is scheduled for release late 2015.

                            James

                            Laid

                              According to Tim Booth, Laid and Wah Wah are “the culmination of playing four or five hours a day four or five days a week in Manchester and the new band adapting to that. It is about the transition of becoming more of a band but with Brian at the helm.” Booth remembers jamming “hundreds of songs that never saw the light of day” and guitarist Larry Gott suggests it might have been “as many as 340 tracks.”

                              The simultaneous, coupled reissues are particularly notable, however, due to the fact that producer Brian Eno and the band had originally favoured releasing the records as a double package. Recorded concurrently in 1993 during a frenetic six week period at Peter Gabriel’s Real World Complex, the albums were always intended as companion pieces – Laid being referred to as the “song” album whilst Wah Wah was known as the “experimental” or “jamming” album – but the record company’s decision to release them months apart put paid to this conception: Laid, released in the UK in October 1993, reached the No.3 spot in the UK and became the band’s biggest album to date in the US, selling 600,000 copies and breaking the band in the USA in the process but the subsequent follow-up Wah Wah effectively sunk the band over there and – according to Booth – “put paid to us breaking America at all!”. More pertinently perhaps, by the time Wah Wah came out, U2 (and Eno) had released Zooropa and “everyone thought we were copying off them instead of the other way round!”

                              FORMAT INFORMATION

                              2xCD Info: 2CD Deluxe package with 28 page booklet.

                              James

                              Wah Wah

                                According to Tim Booth, Laid and Wah Wah are “the culmination of playing four or five hours a day four or five days a week in Manchester and the new band adapting to that. It is about the transition of becoming more of a band but with Brian at the helm.” Booth remembers jamming “hundreds of songs that never saw the light of day” and guitarist Larry Gott suggests it might have been “as many as 340 tracks.” 

                                The simultaneous, coupled reissues are particularly notable, however, due to the fact that producer Brian Eno and the band had originally favoured releasing the records as a double package. Recorded concurrently in 1993 during a frenetic six week period at Peter Gabriel’s Real World Complex, the albums were always intended as companion pieces – Laid being referred to as the “song” album whilst Wah Wah was known as the “experimental” or “jamming” album – but the record company’s decision to release them months apart put paid to this conception: Laid, released in the UK in October 1993, reached the No.3 spot in the UK and became the band’s biggest album to date in the US, selling 600,000 copies and breaking the band in the USA in the process but the subsequent follow-up Wah Wah effectively sunk the band over there and – according to Booth – “put paid to us breaking America at all!”. More pertinently perhaps, by the time Wah Wah came out, U2 (and Eno) had released Zooropa and “everyone thought we were copying off them instead of the other way round!”

                                Kill West

                                Kill West EP

                                  The first record by (and debut release for Drone Rock Records) Buenos Aires-based experimental, garage, rock & roll band, Kill West.

                                  Formed in bandleader Franco Beceiro’s garage in late 2012 with friends Joel Menazzi on bass, Martin Valentini on guitar, and brothers Nicolas and Mario Miele on drums and keys.

                                  With the self-release of their first, eponymously titled EP in 2014, a dirty rumbling wall of attitude introduces us to Kill West. Yes there’s a bit of surf-rock going on in there, there’s a fair bit of doom & drone, and there’s a great sense of speed. These Argentinian reverb merchants have taken some quite diverse elements and put them together in a quite refreshing way.


                                  FORMAT INFORMATION

                                  Mini LP Info: Limited to just 250 copies and pressed on red & black split-coloured vinyl.

                                  The La's

                                  There She Goes: The Collection

                                  A fresh 16-track career spanning collection from the well-loved Liverpudlian melodic indie pop band The La’s. Features the UK Chart Top 20 smash hit ‘There She Goes’ amongst other favourites. This is the first La's collection available at this competitive price point, featuring all the band's biggest hits and memorable BBC Sessions. Includes 12-page booklet and extensive liner notes.

                                  The Ossie Layne Show

                                  Barcelona '69

                                    The Ossie Layne Show "Barcelona 69‟ EP is the latest vinyl release to become part of the Acid Jazz Records‟ Rare Mod Series.

                                    This very rare 4-track 33rpm vinyl 7” featuring ‘Ian Dury and the Blockheads’ bass player Norman Watt-Roy and his brother Garth, led by band leader Ossie Layne.

                                    The EP‟s tracks deliver the classic 60‟s Soul and Funk sound that Acid Jazz Records and the Rare Mod Series are famous for.

                                    The EP features a version of Rod Stewarts "Rock My Plimsoll‟ and Sly and The Family Stones classic “Sing A Simple Song”.

                                    A collectors‟ item for those who collect the Rare Mod Series

                                    An interesting item for Ian Dury and the Blockheads fans.

                                    Suited to the 60s Soul and Funk audiences

                                    Very rare recordings.

                                    ‘Hinterland’ (literally “the country behind” in German) conjures impressions of decayed Manchester outskirts and reclusive inner landscapes obsessively throughout the record, as Lonelady's Julie Campbell continues her fascination with the post-industrial ruinscape.

                                    As with her 2010 debut 'Nerve Up', on 'Hinterland' Campbell continues to pay homage to the post-punk era. I can hear many influences in her punk-funk style - A Certain Ratio in occasional basslines, Viv Albertine (the Slits) and Andy Gill's (Gang Of Four) guitar sound (skeletal, harsh, chiming) , dark and brooding drones, cello and synths (Joy Division, Nico etc), but Lonelady transcends all these reference points to come up with her own sounds. Crucial to her elevation above mere pastiche is Campbell's agile, urgant vocals and her ability to come up with pop hooks that weave their way through the tracks, from the edgy, fidgeting 'Bunkerpop', via breakout disco-not-disco single 'Groove It Out' to the low-slung sleaze-funk of title track 'Hinterland'.  

                                    In Campbell’s words: “It’s channelling Parliament / Funkadelic, Stevie Wonder, Rufus, Prince, Arthur Russell… among others. A strange - but nonetheless real - meeting of funk and… me from Audenshaw, Manchester.”

                                    STAFF COMMENTS

                                    Andy says: That rare thing: an album that unites everyone at Piccadilly! Superb stuff.

                                    Carlisle’s mighty LUCID DREAM follow up 2013’s debut full length “Songs of Lies and Deceit” with a killer second LP for The Great Pop Supplement (vinyl version) and Holy are You? (CD).

                                    Last year was the best and most rewarding so far for the band, a slew of sold out 45s, critically acclaimed live shows (including Liverpool’s Festival of Psychedelia) and huge airtime including two sessions on and for 6music.

                                    Harnessing the trance like drone and feedback drenched psychedelia of the first album- the second set here adds a tip of their cap to the kraut groove of Neu! or Can, for a sumptuous head rush of fx pedal, motorik chaos.

                                    Where the second LP succeeds especially is that amongst the beautifully repetitious groove, the bands’ keen ear for melody and hints at west coast inspired sunshine pop displayed on recent 45s still break through like beams of sunlight- and the element of surprise is keenly felt throughout.

                                    A beautiful set of tunes aired first at live shows throughout the past year, before the recording process began in earnest, the songs were then allowed to grow naturally and it makes for a free flowing listen. timed just right. with no filler….


                                    FORMAT INFORMATION

                                    Ltd LP Info: A tasty half aqua marine / half green wax in super gloss sleeve. A pressing of 750 destined to follow band and label’s previous output and sell out super quick.

                                    Make-Up

                                    Save Yourself

                                      Originally released in 1999, this record stands apart as their shimmering and ultra-psychedelic crown jewel. Make Up’s R&B-laced garage-punk gospel saturates salvation and bursts into electric flashes. Lyrically and aurally the songs continue Ian Svenonius’ fascination with spiritual redemption, and they ride a wave of vintage organ, electric guitar, and bouncing bass lines for that perfect 60’s pop sound.

                                      Produced by Brendan Canty, who recorded many of the Make Up's exquisite singles found on I Want Some - the results on Save Yourself are even more clarified. Large and lean. Turn the lights down low and turn up your stereo. Call it an electric lapdance or a gospel firestorm, this music is so for real, it just feels right. Right on.

                                      “Make Up approach the history of rock and soul like a lover, like a scientist and like a preacher [and] Save Yourself punches the perfect buttons with devilish efficiency. This record can make even the most jaded proud to be American.” Pitchfork

                                      “Make Up remain the least square band on the planet. Their genius lies in the tease … Ian Svenonius is punk rock’s token soul man, a rebel with an eternally obscured cause; a ludicrous, charged visionary, working it like a legend on Save Yourself, an album that deserves to transcend the [underground]: urgent, uptight, groovy. An octagon, baby: plenty of points.” NME. 

                                      Save Yourself was the last album crafted by Make Up. Svenonius and bassist Michelle Mae later formed Weird War, and Svenonius currently performs and tours with Chain and The Gang, which released its debut album Down With Liberty ... Up With Chains in April 2009. 

                                      Make-Up

                                      Sound Verite

                                        The Make-Up flood Dub Narcotic studio with their tightened-up sound. Joined sporadically by members of the Dub Narcotic Sound System, they are doing a soul rockin' that has no territorial boundaries. Turn on to the idea of Sound Verite and understand that the struggle of culture vs. Make-Up is the struggle vs. Destiny, the struggle to stop history itself. The album's cover appears to be an homage to the cover of Love's Forever Changes, a band which The Make-Up were often compared to. 

                                        Marika Hackman

                                        We Slept At Last

                                          Debut album from Marika Hackman, composed of 12 previously un-released songs. 'Drown' premiered as Zane Lowe's Hottest Record in the World and playlisted at 6 Music.'

                                          Sunday Times Culture, Telegraph and Independent all have previewed Marika Hackman’s debut as an album to look out for this year. Marika Hackman was included in The Observer's Ones to Watch in 2015, DIY’s ‘Class of 2015’ & Mr Porter’s ‘Acts to look out for in 2015' and named #2 Most Blogged UK artist of 2014, with coverage from Noisey, Fader, Drowned In Sound, DIY, Nylon etc. 

                                          FORMAT INFORMATION

                                          LP Info: Limited edition gatefold vinyl with 24 page art book and download code.

                                          ‘Short Movie’ is Laura’s fifth album in seven years, which is a remarkable achievement for someone who has yet to turn 25 years old. This album marks a new chapter in Laura’s sound and development, this record moving towards a much bigger & electric feel, it’s a much freer and looser sounding album than anything she has done before. ‘Short Movie’ is Laura’s first selfproduced album which was a pleasant but anxious experience for her but one she boldly undertook with a desire to ‘demystify production’.

                                          Pan is the first solo effort from Jonas Munk released in his own name. Jonas Munk is a musician and producer from Odense, Denmark who has been active in a wide range of musical styles for the past decade. In the European psych-rock community he is mostly known as the guitarplayer in the respected stoner/jazz/krautrock-outfit Causa Sui as well as related projects such as Chicago Odense Ensemble, a joint session project featuring members of Causa Sui, Chicago Underground Collective and Tortoise, which resulted in a 2LP released in 2011.

                                          Outside of these circles Munk is best known as a producer of electronic music, most recently with a full-length collaboration with German synthmeister Ulrich Schnauss. Munk also holds a masters degree in philosophy with a thesis on music and consciousness. Pan simultaneously betrays his connections to the European stoner-rock community and the world of electronic ambient music – this album combines ideas from both worlds, while the result really doesn't belong in neither of them. With Pan's motoric analog synthesizer patterns and its warm, fuzzy drones the influence from 1970's German synthesizer- and new age music, such as early Kraftwerk, Ashra and Popol Vuh, is apparent from the first note. But there's also definite traits of American styles running through this album – from the flowing optimism of Alice Coltrane and Terry Riley to the modern-day psychedelia of Comets on Fire and Bardo Pond. While large parts of Pan has been programmed on electronic equipment there's a jam-like quality emanating from album's seven tracks.

                                          The album reflects the idea of giving up rationality and control with the purpose of letting the music flow towards it own ends. The compositional ideas are incredibly simple while still carrying a certain depth. Soundwise Pan is all about analog machines, 30+ year old synthesizers, detuned guitars and heavily cranked vacuum tube amplifiers weaving together in fuzzy, pulsating glory. The title Pan refers to the ancient Greek word meaning all or everything.


                                          FORMAT INFORMATION

                                          LP Info: Repress.

                                          Piccadilly Records

                                          Mono Colour Print - Black Tote Bag

                                            One colour 'mono' print (white) of the Piccadilly Records logo on a black tote bag.


                                            The Pogues

                                            Hell's Ditch

                                              Combining the spirit of Punk with traditional Irish Folk music, The Pogues were one of the most radical bands of the 1980’s. Their instantly recognizable and politically tinged music helped them achieve 5 consecutive top 20 albums in the UK as well as producing the hit single ‘Fairytale of New York’ which is widely regarded as the greatest Christmas song of all time. 

                                              To celebrate over 30 Years of the Pogues, Rhino is reissuing the band’s first 5 classic albums along with the 1986 Elvis Costello produced EP ‘Poguetry In Motion’. 

                                              Features the original audio mastered to vinyl at Abbey Road for the highest quality. Includes original artwork and printed inner bag.

                                              FORMAT INFORMATION

                                              Ltd LP Info: 180g vinyl.

                                              Primal Scream

                                              Give Out But Don't Give Up - 180g Vinyl Edition

                                              'Give Out But Don't Give Up' (1994) is the fourth studio album by Primal Scream. It is the follow-up to their breakthrough album 'Screamadelica'. Whereas 'Screamadelica' was primarily a blissed-out psychedelic album, 'Give Out But Don't Give Up' is influenced by southern rock, blues and southern soul, and 'Sticky Fingers' era Rolling Stones.

                                              Produced by southern soul legend Tom Dowd and Black Crowes co-conspiritor George Drakoulias, with Funkadelic's George Clinton coming along for the ride, the set includes classics such as 'Rocks', '(I'm Gonna) Cry Myself Blind' and the Denise Johnson-sung 'Free'




                                              STAFF COMMENTS

                                              Andy says: Hip shakers 'n' heart breakers!

                                              The first thing the listener will notice about Ricked Wicky is that it is the most musically adept project Guided By Voices' mage Robert Pollard has undertaken in some time, at least since late period-GBV (Half-Smiles of the Decomposed, for instance), or even Boston Spaceships. "[Ricked Wicky] is a sophisticated arena rock band," says Pollard, and I Sell The Circus offers in evidence a series of ball-peen hammers to the brain-pan ("Piss Face" with its James Gang-era slide guitar and the proto-punk stomp of "Intellectual Types," for example) alongside more delicate, prog-tinged frippery ("Cow-Headed Moon" features "Court of the Crimson King"-esque mellotron, while the acoustic guitar mastery displayed on "Even Today and Tomorrow" recalls the mellow-era ELP of "Lucky Man").

                                              Credit the players: bolstering the easy mastery of a dizzying array of song writing forms one naturally expects (and receives) from Pollard are the impressive instrumental prowess of fellow Daytonian Nick Mitchell ("no blood relation to Mitch," Pollard stresses), who can otherwise be found in near-weekly performance at Wings, an important Dayton sports bar, multi-instrumentalist and producer Todd Tobias, and "the worldly Kevin March," (Pollard again) who does double duty these days in Guided By Voices. These guys can play, and on I Sell The Circus, they play the fuck out of the songs. "The band named Ricked Wicky is significant in that it is the very first name I created for a non-existent band in my early teens," explains Pollard. Fourteen of its fifteen tracks were recorded at Cyberteknics in Dayton, a studio Pollard has come to use with increasing frequency due to its profusion of vintage analogue gear.

                                              Used to great effect on ISTC: "Rotten Backboards" is as gorgeous and melancholic a tune as Pollard has ever written, and lyrically sounds a note of wistfulness that long-time fans will not find unfamiliar. "She can run, 'cause that's what I did," sings Pollard over a sublimely-textured background of synth-strings, arpeggiated guitar, piano, and clattery drums, and while it's tempting to read real regret into the content ("rotten backboards" as a metaphor for the debris of the past), it's always dangerous looking for autobiography in Pollard's mostly-fictional constructions. And anyway the misty wistfulness is cleared away immediately by the sharply propulsive prime-Who swagger of the next -- and final -- track "A Real Stab." Which seems to be about needles, or the messengers of Oz, or paper bags. It's one of the best songs on an album of standouts. "Some may wish to refer to us as a 'super group,'" says Pollard, tongue practically poking through his cheek, but as with a lot of the pronouncements made by the oracle of Huffman Prairie, as no one has ever called him or ever will, he's joking, but he's not joking. Ricked Wicky may not be a super group as the term is too-commonly used, but there's no real doubt they're a super group.

                                              Produced and written by Seasick Steve and recorded in his front room at the little farm where he lives, it's his seventh studio record and most ambitious work yet. Along with longtime drummer Dan Magnusson, the album also features Luther Dickinson (Mississippi All Stars) playing slide guitar on two tracks, Georgina Leach on fiddle and Ben Miller playing jaw harp on lead track ‘Summertime Boy’, a song celebrating the life and sunshine of California.

                                              October 2013: While in Spain during his ‘Brain Pulse Music’ European tour, Ghost’s Masaki Batoh ran into his old friend Okano. It was almost pure coincidence - Okano was passing through Saragossa before joining his own tour, booked by the same promoter as Batoh. Okano and Batoh once played together in Ghost, at the time of ‘Lama Rabi Rabi’ and the epic 1996 US tour that followed. Although it had been a long time, they fell into talking. Batoh was considering dissolving Ghost (on hiatus since 2007) and was questioning if he should even stop playing music completely, since he had no idea how to start a new band. They talked for an hour until Okano had to leave but both found it fortuitous that they’d met at this moment and in this moment they were reunited. They promised each other to pursue new music together when they were back in Japan.

                                              Spring 2014: Batoh announced the end of Ghost, a band whose first work reached back to 1984. Quick on the heels of this heady announcement, Batoh declared the beginning of The Silence. Still in need of direction, he turned to another old companion and original Ghost-mate of the many years gone by, Ogino. Tasked with the production and arrangement of The Silence, Ogino selected Jan Stigter on bass, Ryuichiro Yoshida on flute and saxophone and himself on organ and piano. With Okano playing drums and percussion and Batoh supplying guitar and vocals, The Silence was complete.

                                              Summer 2014: Nine songs, including two cover versions, were recorded. Batoh reflected back to when he began, in the early 80s, when analogue was the only option and the recording took place in 24-track studios. The same careful process was observed in making The Silence’s first album without any digital processing at all. Master sound engineer Kondo and his GOK Studio staff were of enormous support in this process. In doing so, they are rejecting the trend towards digitally compressed music, which some might say is a truer path for The Silence. As Batoh tells us, “Silence is heavier than any sound pressure, and the silence which thunders the ears can only be expressed by the silence in the subconscious mind, or created on two channels of open reel tape,” adding, “This was not an act of reminiscence, but one of consciousness and unconsciousness.” In addition to the basic yogic practice of silent meditation, this is where The Silence derives its name.

                                              2015: The debut album from The Silence is at last available. Drawing deep into a collective musical soul that extends many eras into the past, the songs of The Silence fill the air with the richness of powerful rock and roll and the deep mystic resonance of the ancient traditional musics of the world. From the rich melodies of Silence originals ‘Lemon Iro No Cannibis’ and ‘Jewels In Tibet’ to their flute-and-power chordladen version of ‘Black Is The Colour Of My True Love’s Hair’, to the flowing liquid psychedelia of ‘Triptycon’, the guttural cabaret mutterings of Can’s ‘Tango Whiskeyman’ and the frantic, explosive dimensions of ‘Pesach’, The Silence run through instrumental colours like passing thoughts in the mind, making each one of them music and making an incredible rock album for this century.

                                              Snails

                                              Talking To Anthony / Winter Hearts

                                                First up for March’s trio of spankin’ new Great Pop Supplement is the long awaited follow up to Snails’ debut 45 on The GPS a couple of years ago “She’d Like an Hour”. Selling out it’s run in next to no time after several plays on 6music and lauded by the likes of Stephen Pastel.

                                                The new single sees the band reappearing with a stable line up for the first time, and is timed to coincide with a bunch of live shows in support. “Talking to Anthony” recalls the classic uk folk of Pentangle, Clive Palmer / C.O.B and early Fairports and so on. Or, as the band themselves put it: “songs centred on two voices projecting a vision of widescreen heartache as seen through rain streaked semi-detached windows”.

                                                A beautiful 2nd 45 dressed up in gorgeous circular diecut sleeves and on lush clear vinyl. Edition of 500 and expected to sell out quickly….

                                                Standout tracks on the album include the steady bopping and unquestionably cool “Ocean of Tears” and the unapologetically Echo and the Bunnymen- and The Cure-esque guitar sounds of the title track.
                                                Once a soft-spoken singer-songwriter, Soko’s music quickly caught up with her untamable persona. Three years ago, Soko released her debut album “I Thought I Was An Alien,” that featured the track “We Might Be Dead By Tomorrow”, OST to the video “First Kiss” (about 100 million views).

                                                The track skyrocketed to the Top 10 of the Billboard Charts and did about 11,5 million streams (No. 1 Debut On Streaming Songs). Soko has now revamped her once innocent yet morbid folk into an insolent follow-up record, “My Dreams Dictate My Reality,” .

                                                Produced by the legendary Ross Robinson (who also produced her favorite band, The Cure) the album features the hypnotic duet “Lovetrap” with friend and lo-fi wizard Ariel Pink also.

                                                FORMAT INFORMATION

                                                LP Info: Gatefold sleeve LP printed on silver foil with white inner sleeve + CD included.

                                                CD Info: CD digipack 2 panels printed on silver foil, 16 page booklet.

                                                Jon Spencer Blues Explosion

                                                Freedom Tower - No Wave Dance Party 2015

                                                New York City is a big place. A loud place. Some of that noise is music. And some of the music is noise. Sucking it all in and turning it loose with prejudice, The Jon Spencer Blues Explosion takes a ferocious bite out of the Big Apple with their new long-player, Freedom Tower – No Wave Dance Party 2015, the first record of the new era that demands to be stopped and frisked! Like the best sides that percolated up from the Bronx, the Lower East Side, and Greenwich Village across the 1970s and ‘80s – Freedom Tower is more than a high-octane dance party record, it is a document of New York City, a chronicle of grit and terror and love!

                                                It’s all here: The Hustler and The Trust Fund Baby, the Mosh Pit Casualty, the Celebrity Chef, the Crooked Cop, the Struggling Artist, the Sucker MC, the forgotten Sex Workers and Last-Chance Cinderellas. Within these grooves are cold-water tenements, blue-chip galleries, dingy Avenue B studios, and the last real warrior poet whose dark magick brings garage rock ghosts back from the grave! Freedom Tower is a radical portrait of New York City set to the savage funkacide of the Blues Explosion, locked and loaded with the most deadly, predatory guitar riffs that primitive magnetic tape can handle.... From start to finish, Freedom Tower is overmodulated, cooked with dirt, and finished in acid rain! Freedom Tower is packed with the kind of beats and rhymes that will make even the most reserved Walter Mitty jump back and say “damn!”

                                                For nearly a quarter-century the Blues Explosion have been sweating, freezing, eating, drinking, fucking, fighting, winning, and losing in New York City, perpetrating some of the most timeless moments of musical mayhem in the history of Manhattan and beyond. As ever, Jon Spencer tells the tales, Judah Bauer plays the blues, and Russell Simins smashes things to bits... And as always Blues Explosion stomp on the faux underground oasis peddled by bourgeois hipsters and marketing jocks to deliver the real deal —rock’n’roll that is unapologetically nasty. Rehearsed and polished in a string of secret gigs and unannounced opening slots in theaters, hotel bars, and dives (often under assumed names), and then recorded at the legendary Daptone House Of Soul in Bushwick and mixed with hip-hop cult legend Alap Momin at the cutting edge of Harlem, Freedom Tower is the most provocative statement of urban pathos and panache ever recorded. Play this record at all-night rent parties, picnics , discotheques, and protests! There are eight million stories in the Naked City —but there is only one Blues Explosion!

                                                Freedom Tower- dig it now, while you still can!

                                                Produced by Bon Iver's Justin Vernon at April Base - his Eau Claire, Wisconsin studios, 'If I Was' is a record that takes the initial blueprint of 2012's 'Dead & Born & Grown' debut LP, and gives it a real sense of muscle, darkness and depth to those already untouchable harmonies. Having toured the globe extensively with Bon Iver, the bands became firm friends, and an initial visit to Eau Claire soon became the basis for the new album sessions. What they've produced is a genuinely beautiful, soaring and powerful album that firmly positions The Staves as one of Britain's most treasured young bands.

                                                Sula Bassana

                                                Kosmonauts

                                                  A monster of a new album form German psych / kraut orbiters Sula Bassana.

                                                  A departure from the epic (fully sold out) back catalogue of previous releases, this treads an alternate path to the stars, consisting of 4 sides of wax comprising 8 killer cuts of pulsing, trancelike electronics. A kosmische blend of motorik grooves and ambient trance…

                                                  The “band” is pretty much a solo project for Electric Moon / Zone Six’s Dave Schmidt- who wrote, recorded and produced everything himself on synths, sequencers and drum machines; with track titles decided upon as tip of the hat to some of Dave’s Sci-Fi, B-movie heroes.

                                                  The double LP set here extends upon the long sold Sulatron CD, by including 3 additional cuts unique to this vinyl pressing and comes dressed in the most beautiful ‘Lulu Artwork’ sleeve, across 2 colours of vinyl. An absolute must for all fans of Schulze, T.Dream, areas of the Cluster canon and latter day heroes like Panabrite, JD Emmanuel, Expo 70 etc….

                                                  A very limited pressing of 500 with most already pre-sold in mainland Europe so do move quickly. A Zone Six full length also appears later in the year on Deep Distance.

                                                  New Zealand psychgazers Surf City return with an album of sticky summer jams and fuzzy swirls and out and out dream pop blasts. Harnessing the explorations of 2013's We Knew It Was Not Going To Be Like This into more focused packages, the group still delivers reverb-soaked joy at every turn. Adding in a return to their earlier efforts in crafting the perfect jittery motorik pop song, Jekyll Island finds the band at the height of their powers.

                                                  Centered around singer/guitarist Davin Stoddard's wry observations and sing song delivery, the record sees Jamie Kennedy increasingly pick up a guitar as well and add a welcome dimension of sunken melodies and lock step fuzz at all of the right moments. Mike Ellis and Andy Frost hold things together with a constant driving beat and rhythm that proves undeniable.

                                                  Following a wander around the globe landing Stoddard in the U.S., Mexico, India and South Korea, the band finally find themselves reunited back home and ready to blast out their unique blend of Flying Nunesque hooky pop smarts, Yo La Tengo loopy psych travels, Neu! krautrock, and a never-ending infectious layer of sun-drenched fuzz.

                                                  THE THE have announced details of the release of the soundtrack to the film Hyena. Recorded at Studio Cineola, the track listing of the 20-track album, written, performed and produced by Matt Johnson.

                                                  Hyena is the third volume in the Cinéola series of film soundtrack releases - it follows the soundtracks for Tony (2010) CINEOLA1 and Moonbug (2012) CINEOLA2.

                                                  Each release is published as a deluxe edition CD/Book, packaged in hardback form and filled with additional and exclusive material including photographs, interviews, and stills from the films and notes from the directors. Released in UK cinemas on 6th March, Hyena was written and directed by Gerard Johnson and follows his critically acclaimed debut, Tony. The film was recently announced as winner of the Official Fantàstic Òrbita prize in the ‘Best Feature Film’ category at the Sitges 2014 film festival and Peter Ferdinando triumphed in the ‘Best Actor’ category at the Les Arcs film festival.

                                                  FORMAT INFORMATION

                                                  CD Info: CD and book.

                                                  Wilderness Hymnal

                                                  Transmutation

                                                  "Wilderness Hymnal is an experimental project led by Manchester-based multi-instrumentalist G.H.R. Leeming. Drawing on themes of nature, psychology and mythology, his work emerges at the intersection between Ulver and Dead Can Dance, Chelsea Wolfe and Scott Walker. Immersive and evolving, here he carves out a unique sonic landscape of seething psychedelic drone, shape-shifting post-rock and eerie, apocalyptic piano music."

                                                  “An aura-soaked one-man vision…ethereal and expansive.” – The Sleeping Shaman. 

                                                  After releasing Tom Williams and The Boat’s acclaimed 3rd LP ‘Easy Fantastic’ on Moshi Moshi Records, Tom is jumping ship to explore a stripped back venture called ‘New Guitar’, one that focuses entirely on the charming intensity of his lyrical songwriting and the minimal arrangements provided by a close circle of friends.

                                                  The first single ‘New Guitar’ is revealed here in the form of a live performance at Replay Acoustics, the place where Tom found the Guitar that “all kinds of new songs fell out” of. The first song that did, is about moving down to the sea and serves as a perfect introduction to the project. The mini-album features more songs written over the past two years and studio versions (available upon release) were put to tape at 2kHz Studios in Crouch End, London with Ian Grimble (The Fall, Manic Street Preachers, Siouxie And The Banshees). Footage from these sessions was captured to create The Making-of “New Guitar” Mini Album Documentary directed by Jake Cunningham, giving a insight into Tom’s transition from band to solo artist, his relocation from Tunbridge Wells to St Leonards and the pivotal instrument that ties all these songs together.

                                                  This release see’s Tom accompanied by Ant Vicary from The Boat as well as Sarah Maycock, Fiona Keeler and Catherine Black on piano, vocals and cello respectively. It is released on Tom’s own Wire Boat Recordings label.

                                                  Various Artists

                                                  A Monstrous Psychedelic Bubble (Exploding In Your Mind) - The Wizards Of Oz - Compiled & Mixed By The Amorphous Androgynous

                                                  35 track 2 hour mix psychedelicized by the Amorphous Androgynous - including tracks Russell Morris, Tame Impala, The Missing Links, Cybotron, Doug Jerebine, Sunset Strip, Leong Lau, Melissa, Ash Grunwald, Rob Thomsett, Kongress, Sons Of The Vegetal Mother, Pond, Krozier & The Generator, SJC Powell, Rob Thomsett, Air, Flake, Rainbow Generator, Doug Jerebine, Iain McIntyre's A Warning, Doug Ashdown, Rob Thomsett, Pip Proud, Hiroshi and Claudia, Tyrnaround, Steve Maxwell Von Braund, Madder Lake, Railroad Gin, Mandu and Kanguru.

                                                  ‘The Wizards Of Oz’ is devoted exclusively to the rich heritage of cosmic space music of our Antipodean brothers and sisters and in common with previous volumes traces the lineage from the sixties to the present day with sonic delights from every decade in between.

                                                  Once again the Amorphous Androgynous show themselves dab hands at unearthing the absurd, the obscure and the downright wonder filled from over four decades. The tracks are expertly woven and mashed together to form a trip as enjoyable as it is both enlightening and educational. As has always been their want they reappraise what the 'psychedelic' might mean in the present day adopting the role of the DJ in the process rather than as band or producers / remixers as has been known, showing that a new 'psychedelia' exists as much in the surprising juxtaposition of style and variety of song as it does in the individual songs themselves.

                                                  Unlike previous volumes 'The Wizards Of Oz' majorly features music and bands that the Amorphous Androgynous had never previously heard (though some like Tame Impala rose meteorically within the album's two year inception) and as the collection evolved the question that arose with increasing regularity was 'How and why have we not heard this before?!" and then 'if this band had been from the UK or the USA would they have been unheard and unknown?" The answer to this was a resounding no so an almost political fervor was born to bring the treasure of ‘The Wizards Of Oz' forth so that ‘A Monstrous Psychedelic Bubble’ could continue its ongoing legacy to reinvigorate the psychedelic potential of both now and future generations by bringing and tracing the timeless psychedelic music through the years together in order to activate future revolutions of cosmic space music.


                                                  Various Artists

                                                  Rough Trade Shops - Recorded At The Automat: The Best Of Rough Trade Records

                                                  Rough Trade Shops are set to release ‘The Best Of Rough Trade Records’, a wide ranging and authoritative collection from the last forty years of one of the most important and influential indie labels of all time.

                                                  The album will cover the early years, when Geoff Travis first started the label in West London in 1978 (later to be joined by Jeannette Lee) and includes the likes of Swell Maps, The Fall, The Raincoats and, of course, The Smiths, via the rebirth of the label in early 2001 with tracks from The Strokes, The Libertines, Arcade Fire and Sufjan Stevens, along with selections from the current roster including Warpaint and Micachu.

                                                  This is the first time Rough Trade Records have released such an extensive selection from their catalogue, with tracks selected by the label’s Geoff Travis and Jeannette Lee and Rough Trade Shops’ Nigel House, Pete Donne, Sean Forbes and Simon Russell.


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                                                  RT @OfficialHotBurr: chastity belt's new album is just the feminist garage punk i needed in my day.
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                                                  RT @thebaddsignal: I hope they deliver. One of my favorites from back in the day are releasing a new album Leftfield http://t.co/lcDBcokpfX
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                                                  RT @mjtaylor76: Wow, this is an awesome retro compilation. Jon Savage’s Perfect Motion on @CarolineTrueRec http://t.co/ZKUyZQJulG @Piccadi
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                                                  RT @kernowking123: @banquetrecords @SOTUSOHO @PiccadillyRecs @JumboRecords please RT & share this petition to help save #LangleyRecords htt…
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