MAGIC MIX

indie

WEEK STARTING 21 Apr

Genre pick of the week Cover of The Cautionary Tales Of Mark Oliver Everett - Deluxe Edition by Eels.

Eels

The Cautionary Tales Of Mark Oliver Everett - Deluxe Edition

Eels’ new album, ‘The Cautionary Tales Of Mark Oliver Everett’, is an extraordinarily vivid and intimate document of a personal struggle.

“It's inspired by something I went though,” Everett (Eels’ lead singer, songwriter, guitarist, keyboardist and sometime drummer) says. “Someone I lost, by choice, and later came to regret losing. It wasn’t until I started to look at my role in it that it began to feel like I was getting somewhere worthwhile. The experience transformed me. This is the musical version of that experience. I’m hoping it could maybe serve as some sort of example for others. To learn from my mistakes.”

FORMAT INFORMATION

2xLtd LP Info: Limited edition clear vinyl includes download code.

"An album simmering with background chaos worthy of prime-era Buttholes or Royal Trux. The real surprise is how Derry Legend clears room for pop chops, making it possible to see the Axemen's relation to bands like the Clean and the Gordons. A wonderful testament to the power and limits of form-bloat. Ahoy! -- Byron Coley.

Long overdue re-issue of this cracked pop classic and Flying Nun rarity, Derry Legend was one of Kurt Cobain's top NZ platters and a staple of his mix-tapes.

Once I saw this band play live and thought "Ugh! What is this crap?!" I tried to listen to their truly awful "Three Virgins" album, but just couldn't see (hear?) the point. So the other day when a flatmate bought this "new" album (it appears to have been recorded in 1987, actually), I just shook my head and thought "so some people still buy records just because they like the cover art."

Then a strange thing happened: by accident I heard the last song first and thought "Hey that's quite good." I played the first side next - better still! - then the whole second side - FAR OUT! Since then I've been playing this over and over and it just cracks me up how good it is.

The music is like childhood memories of the first time you ever heard rock 'n roll; the first time you ever heard slushy-pop; the first time you ever heard rap (!). Listen to "He's Leaving Home" and wonder what George Benson LP the band sat around and assimilated; hear "The Wharf With No Name" and wonder why the Beatles never thought of it first; hop on one leg to "That's Finland, Dear" and understand why Acid House was just a nine-day wonder while Chuck Berry's rhythms still cascade like thunder. - Bevandra's Ears.

FORMAT INFORMATION

LP Info: * 100% analog remaster from the original tapes.
* Licensed and produced in full co-operation with the band.
* LP includes digital download of entire album.
* Two newsprint poster inserts w/ bonzo photos and verbiage.

Despite his busy schedule recording and touring as the bass player for Dirty Projectors, Nat Baldwin found time to write and record his most soulful and ambitious collection of songs to date. After recording the initial tracks at Machines With Magnets in Pawtucket, RI, Nat recruited Otto Hauser (Vetiver, Lia Ices, Espers) for drums and percussion, and Rob Moose (The National, Antony and the Johnsons, Bon Iver) to write string arrangements.

Much of the album was written while Nat was training for a marathon at his home in Maine. Blending autobiographical details with fiction, the songs cover a wide range of topics including boxing, drowning, bodybuilding, target practice, will power, Steve Prefontaine, competition, separation, isolation, devastation, manipulation, conflagration, intoxication, and suicide. Immersive, athletic, and often profound, In the Hollows represents his clearest and most consistent album-length statement, melodically, structurally, and lyrically.

Albums by Nick Drake, Judee Sill, Joanna Newsom, Antony & the Johnsons, and Bill Callahan, to name a few, provided inspiration in balancing that intimacy with minimal, but powerful, adornments." Nat explains that "I hope it is as unsettling as it is beautiful. I want it to make people feel things they can't describe."

Beaty Heart

Kanute's Comin' Round / Yassie - Pink Vinyl Edition

Beaty Heart was formed in 2010 as a four-piece video-art and music collective based in Peckham, South East London. After a year of bedroom recordings and strange and wonderful live sets, the collective has now developed into a band. With their organic percussive sound clash, its use of lush samples and vocal loops they have been described as a mixture of Battles, Panda Bear, Gang Gang Dance, Flying Lotus and Konono No1.

New single 'Kanute's Comin' Round' is the second to be taken from their album 'Mixed Blessings' due May 2014. The track combines an effervescent vocal interweave with plentiful percussion and highlife guitar licks making for an energetic sound. A lovely youthful early summer fizz!


FORMAT INFORMATION

7" Info: Pink heavyweight vinyl pressing.

The second of April‘s pair of ace new 12“ singles features the third release for Tim Gane‘s killer post Stereolab project “Cavern of Anti-Matter“. Following an exclusive 12 for Rough Trade and last year’s amazing full length “Blood Drums” for Grautag Records in Germany.

Tim Gane, Joe Dilworth and Holger Zapf formed the band in Berlin in 2012. Essentially a power trio of sorts, the bands’ incredible full length was recorded in mono and electronically processed for stereo. Pulsing, geometric electronics with an industrial kraut edge….

The tracks here; “Interlude Music” (parts one and two) were recorded live to two track half inch tape in Berlin in January this year. The idea for which was to record something to run as a backdrop live -faded in and out via Tim’s guitar amp- to run between tracks yet able to offer interaction onstage. Clocking in at around an hour- Tim has edited the piece down to two parts here, so what you have here are two sides of around 22 minutes each…

A fabulous record which sits superbly well with “Blood Drums”- released on vinyl only in a beautiful Ivan Liechti sleeve, pressing of 500 only expected to move quick. A tasty companion piece to the likes of Umberto, JD Emmanuel, Expo 70 and Colin Potter in the sold out Deep Distance cannon. Get on it!

Kim Deal

The Root / Range On Castle

Both tracks written by Kim Deal & Morgan Nagler.

FORMAT INFORMATION

Ltd 7" Info: Very limited - black vinyl white label/white sleeve.

Five years after the second life of Death was started with the release of their revelatory 1976 album, ‘For The Whole World To See’, Death’s ‘III’ slams the door on the vault with a powerful set of songs that bring equal amounts of rock and ethereal soul-searching, in high-fidelity, rich bottomed, studio-grade sound.

Alongside songs from 1975, 1976 and 1980, ‘III’ contains two songs from 1992, as the Hackney brothers reconvened nearly a decade after they’d stopped playing together. ‘III’ serves as a companion piece of sorts to the ‘A Band Called Death’ documentary, tracking the band’s movement from spiritual young rockers to older and wiser, bruised-but-undefeated brothers, in pure musical terms.

David Hackney’s visual representation of Death was a triangle, where ‘spiritual’, ‘mental’ and ‘physical’ formed the three angles. With this in mind, ‘For The Whole World To See’ is clearly the physical corner, with its undeniable proto-punk power. ‘Spiritual-Mental-Physical’ explores the mental axis, with Death working through some of their influences - including The Beatles, Jimi Hendrix, The Who and even ELO - in their practice space. ‘III’ is the spiritual end of the portrait, bookended by the dreamlike rock visions of David Hackney that created and propelled the band called Death.

‘III’ starts with David inside a deep 1975 guitar improvisation, rising up through atmospheres and prehistoric guitar murk to coalesce in jagged monster-riff-dom. The whole exercise recalls Funkadelic’s great Eddie Hazel while reflecting the pure essence of David Hackney’s guitar style. This jump-cuts perfectly five years into the future, with the funky staccato of ‘North Street’, which finds the band’s punkish approach at its most aggressive. From there, the album moves back and forth from 1975 and 1976 (including two songs recorded at Groovesville in Detroit with the other ‘For The Whole World To See’ songs) to 1980, showing the band streamlining their frenetic core and maximizing the power.

The lyrical focus of the songs ‘Open Road’, ‘We Are Only People’ and ‘Free’ is more in the spirit / soul side of Death as heard on ‘Let The World Turn’ and ‘Where Do We Go From Here???’ - sensitive, searching, reflective.

‘We Are Only People’ is an epic journey that begins with another Funkadelic-styled spoken-word moment, progressing through a spacious solo-guitar-with-harmonies section and into the inevitable rock conclusion. Dark hues are generated by the relentless and speedy ‘Restlessness’, while remaining at a philosophical remove, and ‘Free’ is a heavy duo piece with Bobby and David exploring the meaning of the word.

The album’s climax is provided by a trio (once again, the triangle) of David songs, two of which hail from 1992. All three pieces together form a release of the soul of Death from its dark origins, building optimism upon the harsh realities they’d experienced in their lives, more relaxed without losing the spark and bite of those former times. The unaccompanied guitar instrumental ‘First Snowfall In Detroit’ is David Hackney at his most soulful, which gives way to ‘We’re Gonna Make It’, first featured as an emotional climax to the documentary and no less powerful here. With these songs, ‘III’ pays final tribute to David Hackney’s thoroughly original voice and vision, now stilled, but captured forever as a part of the remarkable story of Death.

The album’s cover was created in 1976 by Don Schwenck, working from David’s design and intended to be the cover of the album they were recording. Once that album failed to materialize, the brothers forgot about the commission, and when ‘For The Whole World To See’ was eventually released, Bobby Hackney Jr.’s distinctive image fronted the design. However, when Death returned to Detroit to play in 2010, Don Schwenck was there, with the artwork he had created 35 years earlier. Bobby Jr. added the logo to the image and it was ready to go. With the release of ‘III’, the final record from the vault, all things come full circle for Death.

Farewell JR

And Still

    To be openly honest, delicate and overwhelming in one swell swoop is not something that is an easy task, let alone simple to create, but in just little over eighteen captivating minutes this is exactly what Cambridge’s Farewell J.R illustrates in the form of new EP, and still..; the first material since the release of debut EP ‘Health’ in March 2013. ‘and still..’ Farewell J.R perfectly cultivates the haunting darkness that can resound behind a moment of serenity. Recalling Daughter or the luscious, ambient textures of Julianna Barwick or Jónsi & Alex, the EP's four tracks pristinely evoke the internal struggle so often hidden behind a public front. Opener 'Slow Breath' more than lives up to its title in form and function, conjuring that moment at the height of a deep inhalation in which all seems to fall silent, eventually building to a tumultuous, orchestrated climax that cuts through its carefully constructed still.

    Meanwhile lead single ‘Skin Pieces' sees wilting strings and glittering pianos interlocking to stunning effect, but it's on EP closer 'Held by a Shiver' that Farewell J.R. hit closest to home. Announced by somnambulist piano chords and mournful cellos, it sees Nick at his most earnest and forthright. Eventually overtaken by swathes of celestial choirs, it's a poignant, elegiac culmination to And Still…; one that's entirely fitting to the EP's process of relieving our deepest tensions and anxieties!

    Brighton, based Fear of Men is pleased to present their much anticipated debut album “Loom” for release in April 21 Kanine Records.

    The title of the album both alludes to the interweaving textures that run throughout the record and references the darkness that hovers above much of Fear of Men’s output. Rather than simply marrying a handful of influences, Fear of Men designs their music from an almost uncomfortably personal place. Weiss broadcasts crippling disconnection, boredom and sexual dread with all the dour verve of a young Morrissey.

    The band flit between dire philosophical observations and listless melancholia, riding melodies so carefree that anguished sentiments come off more like lazy sighs. The songs owe as much to the writing of Anais Nin or Fassbinder's films as they do to the cold sonic atmospheres of the Chills or Broadcast. Classical instrumentation appears throughout “Loom”, warped and distorted alongside musical saws and backwards guitars, giving a sense of the imperfect to the album’s pristine pop melodies.

    God Damn

    Shoe Prints In The Dust

      Hailing from the heart of the Black Country, God Damn fuse ‘Bleach’ era Nirvana, Jesus Lizard, ‘Surfer Rosa’ era Pixies and At The Drive In influences whilst swearing allegiance to the ‘Seven Js’ of their Holy Bible: Hendrix, Homme, Cash, White, Page, Bonham and Jesse ‘The Devil’ Hughes (Eagles Of Death Metal).

      Formed in the summer of 2010, 2013 was a year of both extreme highs and lows for God Damn - it saw their most intensive touring yet and the release of the ‘Heavy Money’ EP brought them kudos at NME, Guardian, Artrocker and Radio 1, but their guitarist Dave also suffered injuries in an accident that left him fighting for his life.

      Following earlier single releases via Distorted Tapes and Gravy, the band’s first One Little Indian release is the devastating new single ‘Shoe Prints In The Dust’ / ‘It’s A Pity’, two new songs recorded at the legendary Toe Rag studios that are testimony to the band’s explosive alchemy.

      Onstage, God Damn - Thom Edward (guitars / vocals) and Ash Weaver (drums) - are pure attack: molten pop hooks galvanized in a blaze of bludgeoning riffs and furiously propulsive percussion. Previously supporting the likes of Superfood, Wet Nuns, Icarus Line and Gay For Johnny Depp, the band have been out playing packed headline shows all year and are fresh from a UK tour which included dates with The Wytches.

      FORMAT INFORMATION

      Ltd 7" Info: Limited edition coloured vinyl.

      Following a spur-of-the-moment cross-country trip with a pair of fiery European girls, Vikesh Kapoor left school for a brief yet inspiring stint as a mason’s apprentice. The America he had previously known resided narrowly between his childhood home in rural Pennsylvania and the New England university he left home for. Alongside his parents’ own immigrant struggles, these experiences quickly witnessed Kapoor to the scope of the American dream.

      A few years later, Kapoor performed at Howard Zinn’s memorial service in Boston, in front of Zinn’s family and colleagues (including Noam Chomsky). Roused by Zinn’s lifelong battle against class/race injustice, Kapoor spent the next two years in Portland, Oregon working on his full-length debut record. The Ballad Of Willy Robbins, a concept album loosely based on a newspaper article, chronicles the brutal but hopeful story of a working class man who slowly loses everything: ambitions, health, family and shelter. It’s a worker’s tale, less specific to the blue-collar life as it is about anyone struggling to make something of themselves.

      Co-produced by Adam Selzer (M. Ward) and features Nate Query (Decemberists, Black Prairie), Jeff Ratner (Langhorne Slim) and Birger Olsen (Denver).

      THE NEW YORKER: “a series of sharply etched portraits of struggling Americans that points back along a road of socially conscious songs. Woody Guthrie is standing at the head of that road”

      Kelis

      Food - Deluxe 2xCD Edition

      Kelis describes her sixth album as “a kind of unspoken lovefest”, involving two unlikely partners.

      On the one hand, there is Kelis Rogers, who first came to prominence singing the hook of Ol’ Dirty Bastard’s 1999 hit "Got Your Money". This was the visually and sonically compelling 20 year-old whose debut album Kaleidoscope helped usher in the wave of sharp, thrillingly futuristic R&B that dominated the charts in the early Noughties, as exemplified by her global hit, "Milkshake".

      On the other there is Dave Sitek, guitarist in acclaimed Brooklyn experimentalists TV On The Radio and producer to a certain kind of smart, indie band (the Yeah Yeah Yeahs, Foals and Liars to name a few).

      Food is a startling combination of Kelis’ most frank and vulnerable vocals to date, and Sitek's inimitable sonic imprint. Littered with transcendent, Spector-esque lift, warm bottom ends and vast depth, the music is the perfect backdrop for Kelis’ unique voice. The latter has only improved with time and experience, and the album candidly explores pain, happiness and everything in between.

      Recorded at Sitek’s house in LA (and entirely produced by him), Kelis’ new album, Food, mints a sound that’s rootsy without ever being self-consciously retro, that pitches live horns and gospel organ against electronics, that for all its classic soul and funk influences, couldn’t have been made any time but now.


      FORMAT INFORMATION

      2xCD Info: Deluxe double CD featuring alternate artwork, a bonus CD of remixes by Mount Kimbie, Breach, Ben Pearce, Actress, Machinedrum, Will Saul and more, and a 20
      page booklet.

      Kelis describes her sixth album as “a kind of unspoken lovefest”, involving two unlikely partners.

      On the one hand, there is Kelis Rogers, who first came to prominence singing the hook of Ol’ Dirty Bastard’s 1999 hit "Got Your Money". This was the visually and sonically compelling 20 year-old whose debut album Kaleidoscope helped usher in the wave of sharp, thrillingly futuristic R&B that dominated the charts in the early Noughties, as exemplified by her global hit, "Milkshake".

      On the other there is Dave Sitek, guitarist in acclaimed Brooklyn experimentalists TV On The Radio and producer to a certain kind of smart, indie band (the Yeah Yeah Yeahs, Foals and Liars to name a few).

      Food is a startling combination of Kelis’ most frank and vulnerable vocals to date, and Sitek's inimitable sonic imprint. Littered with transcendent, Spector-esque lift, warm bottom ends and vast depth, the music is the perfect backdrop for Kelis’ unique voice. The latter has only improved with time and experience, and the album candidly explores pain, happiness and everything in between.

      Recorded at Sitek’s house in LA (and entirely produced by him), Kelis’ new album, Food, mints a sound that’s rootsy without ever being self-consciously retro, that pitches live horns and gospel organ against electronics, that for all its classic soul and funk influences, couldn’t have been made any time but now.


      'Debut album from Little Matador. Founding member and frontman is Nathan Connolly (Snow Patrol) but don't let that fool you! This music channels the scuzz and potency of Queens Of The Stone Age, has the knowing way with a melody of Arctic Monkeys and even the twisted darkness of Girls Against Boys - Little Matador join the likes of Band Of Skulls and Royal Blood in championing a new breed of raw rock music full of swagger and integrity.

      The Moles

      Flashbacks And Dream Sequences : The Story Of The Moles

      The complete collection from Australian band The Moles. The work of songwriter Richard Davies, who moved to the States and went on to join Eric Matthews in Cardinal, the story of the Moles is told through the release of ‘Untune the Sky’ and ‘Instinct’, which is now reissued on vinyl and CD along with a comprehensive CD containing bonus material from various EPs and singles including, the ‘Tendrils And Paracetamol’ EP, ‘The Moles EP’ and the ‘Propeller’ 7inch single, which brings the track “Propeller” to digital format for the first time, and finally ‘Odds and Ends’.

      Formed in Sydney in the late '80s, The Moles debuted in 1990 with the EP ‘Untune the Sky’, followed a year later by another EP, ‘Tendrils and Paracetamol’. After the 1992 release of their first full-length release -- also titled ‘Untune the Sky’ -- the group relocated to New York, where they released a pair of seven-inch singles (packaged together as the Double Single EP). A move to London followed, and although they garnered great acclaim from the British press, the band nonetheless broke up around the beginning of 1993. In 1994, however, Davies resurrected The Moles again for the album Instinct; a band effort in name only, it essentially marked the beginning of Davies' solo career, although he did not make his formal bow until 1996's ‘There's Never Been a Crowd Like This’.

      Alt-rock superstars Hüsker Dü called it a day on January 28, 1988, but the band’s Bob Mould would reappear in May 1989 with his fi rst solo album—the incredibly impassioned and personal Workbook.

      In addition to writing and producing the entire album, Mould sang all the vocals and played many of the instruments, sharing duties with The Golden Palominos’ Anton Fier on drums, Pere Ubu’s Tony Maimone (bass) and cellist Jane Scarpantoni from Tiny Lights. While always recognized as an astonishing guitarist, Mould’s fretwork on Workbook traveled to levels yet unheard or imagined.

      The album has since taken on iconic status, and Omnivore is proud to present the 25th Anniversary eddition; Workbook 25. In addition to the original album’s 11 tracks, this collection adds “All Those People Know,” originally issued as the B-side of the single “See A Little Light.” 

      As innovative as Hüsker Dü was, fans had to wonder if Bob Mould could take them on another journey as rewarding. Workbook not only proved he could, but did.

      FORMAT INFORMATION

      2xLtd CD Info: The second disc of this 2CD set is Bob’s complete 1989 performance at Chicago’s Cabaret Metro. 13 of the 17 tracks are previously unissued and the show contains music from the then, two-week old, Workbook, Hüsker Dü favorites and a cover of Richard & Linda Thompson’s classic “Shoot Out The Lights.”

      2xLtd LP Info: The album is available on vinyl for the first time since its original release and is pressed on 2 LPs for sonic superiority.

      500 copies on, pure vinyl first pressing (clear). Amid the current industry of cool, Mount Carmel’s lack of gimmick is a welcome anachronism. The trio’s third album “Get Pure” is full of swagger, packed with great songs and inspired performances. This is true rock music like you haven’t heard in years. Crank it up!

      “Like the blues, traditional rock ‘n’ roll remains a great musical building block and form. It’ll never be out of date. Mount Carmel shows their devotion to the crunchy riff on “Back on It”, a smokin’ tune from their upcoming album, Get Pure” Pop Matters.

      “Plenty of bands drink from the well of tribute, allowing their vision to plateau in service of authenticity or Good Time Charlie-ism, because it’s fun and familiar, and for some quite easy to achieve. Mount Carmel is that rare band that takes an existing concept – here, British-influenced blues-based rock circa 1966-69, the times that bore Hendrix, Led Zeppelin, Fleetwood Mac, Cream, the Steve Miller Band, and above all, Free – and steers it so that they become a continuation of that earlier dialogue” Roadburn.

      FORMAT INFORMATION

      LP Info: Limited clear vinyl pressing.

      Nine Black Alps

      Candy For The Clown

        With core members Sam Forrest (vocals, guitar), David Jones (guitar), James Galley (drums, vocals) and bass player Karl Astbury, the band had retained their distinctive and energetic sludge, grunge-rock sound albeit with a tighter and more dynamic style.

        The band were formed in 2003 in Manchester, UK and were quickly signed by Island Records after just a handful of local shows and an almighty scramble amongst the music industry. The rest, as they say is history…. Recent single ‘Novokaine’ released at the end of last year to coincide with their 10 year anniversary, and championed by Edith Bowan, (6 Music), John Kennedy (XFM) and Frank Skinner (Absolute Radio) was the first taster of the new record. It’s a far more distorted and rockier affair that harks back to their earlier albums Everything Is and Love/Hate.

        Other tracks such as their upcoming single ‘Supermarket Clothes’ capture a more British sound for the band but overall ‘Candy for the Clowns’ is an addictive balance of summer college rock and surf-pop. It will be the first album to be released on new Leeds label Hatch Records.

        Nine Black Alps

        Candy For The Clown - Deluxe Edition

        With core members Sam Forrest (vocals, guitar), David Jones (guitar), James Galley (drums, vocals) and bass player Karl Astbury, the band had retained their distinctive and energetic sludge, grunge-rock sound albeit with a tighter and more dynamic style. 

        The band were formed in 2003 in Manchester, UK and were quickly signed by Island Records after just a handful of local shows and an almighty scramble amongst the music industry. The rest, as they say is history…. Recent single ‘Novokaine’ released at the end of last year to coincide with their 10 year anniversary, and championed by Edith Bowan, (6 Music), John Kennedy (XFM) and Frank Skinner (Absolute Radio) was the first taster of the new record. It’s a far more distorted and rockier affair that harks back to their earlier albums Everything Is and Love/Hate. 

        Other tracks such as their upcoming single ‘Supermarket Clothes’ capture a more British sound for the band but overall ‘Candy for the Clowns’ is an addictive balance of summer college rock and surf-pop. It will be the first album to be released on new Leeds label Hatch Records.

        Great majestic Americana record a la Red House Painters, Lambchop, Lanegan from pedal steel journeyman.

        Seattle-based singer/songwriter Bill Patton finally steps out of the shadows with his full-length debut. Bill has played guitar and pedal steel for the Fleet Foxes, Jesse Sykes, J. Tillman (Father John Misty), and many others over his storied career as an in-demand session player and sideman.

        Never one to play it safe, the new album from the essential Seattle chanteur contains head-turning radical re-workings of both "Jenny From the Block" and "I Want To Hold Your Hand," adding layers of intrigue to this already-rich tapestry.

        Far from a side-note, A New Kind Of Man proves that Patton can more than hold his own and hang with the big dogs as a songwriter and studio-smith. It's the quiet ones, again and again.

        FORMAT INFORMATION

        LP Info: Limited edition opaque red vinyl with die-cut jacket and glossy inner-sleeve.

        Purling Hiss

        Dizzy Polizzy

          The Purling Hiss sound is revered by discerning listeners for its devastational waves of guitar rock crashing atop sweet melodies and pile-driving rhythm tunes alike. The effect of these contrasts - in the hands of Mike Polizze - touches buzzing pleasure centres for these listeners with every lick; people who like rock songs and like to sing along and don’t mind a little dirt for their trouble. No matter what the resolution is for Purling Hiss, the devastational waves come on with the same warm, cracked obsession they’ve had from the start.

          Mike Polizze bought his tape machine in 1999 (rumoured to be a Sam Ash floor model) and immediately ran himself around the bases. Skipping towards home he wound up in the outfield, crafting sounds, songs, and fragments to cassette for the next several years, never to be the same. It was when he moved to Philly around 2004 and joined up with Birds Of Maya that he was crowned Dizzy, and things began to focus. He had access to all the instruments needed, Birds’ Ben Leaphart drummed on a couple of songs and in 2006 a CDR called ‘Dizzy Polizzy’ came together. Mike made around 50 copies, just for friends, lovers, and the occasional hater, with a cover he silkscreened himself. A few beers and two years later, Purling Hiss became official and took off with three berserk albums released in quick succession. Capitalizing on the newfound demand, Mike made a tour-only cassette of ‘Dizzy Polizzy’ in 2011, combining those original six CD-R songs with some well-fitting additions circa 2007–2009.

          Discerning ears will link ‘Dizzy Polizzy’ to ‘Public Service Announcement’ (recorded in 2007) since they were made more or less back-to-back - sweet songs and mini-ragers, a baby version of the squalor that would soon grow too much hair in all the right places. ‘Dizzy Polizzy’ serves up the beginnings, going all the way back to 2004, building off solid, breakfast-of-champion prototypesounds from the likes of Van Halen and Neil Young and head-butting them in a more Purling Hiss direction.

          This album reissues the cassette compilation on LP for the first time ever, to tide Hiss-heads over while Purling Hiss work on their next album.

          Sepiatone is the collaboration between Hugo Race (Nick Cave & The Bad Seeds) and Marta Collica (John Parish Band) - a languid, retrovisionary European trip into cinematic atmospheres, vintage pop and electronica exotica. Echoes On fuses musical genres and global timezones, bittersweet emotions and hallucinatory moodswings. These songs subtly evoke Marta and Hugo's joint experience of deep, abrupt life changes. Four years in the making, Sepiatone juxtaposes nostalgia with modernity through classic songwriting and inventive production.

          Space Age Recordings are pleased to announce the long awaited re-issue of ‘Spectrum’ the debut album from Sonic Boom.Spectrum was the most high-profile and straightforward of the projects undertaken by Pete "Sonic Boom" Kember after the demise of the trance-rock avatars Spacemen 3. As his work as a member of the Experimental Audio Research coterie allowed Kember the opportunity to explore ambient textures and tonal constructs, Spectrum satisfied the singer/guitarist's more conventional pop leanings, while never losing sight of the hypnotic otherworldliness which became his music's trademark and legacy. The name Spectrum initially appeared as the title of this first Sonic Boom solo album, released in 1990 before the break-up of Spacemen 3; a collection of ethereal, nearly formless songs, Spectrum openly acknowledged Kember's debt to Suicide with its cover of the duo's "Rock 'n' Roll Is Killing My Life."

          This is the first in a series of Spectrum re-issues: the albums ‘Soul Kiss (Glide Divine)’ and ‘Highs, Lows and Heavenly Blows’ are due to follow shortly.

          Toy

          It's Been So Long

            The second 7” to be released from the album ‘Join The Dots’.

            Screen printed 7” of 500 copies. Also available as a digital download.

            As with their debut album, ‘Join The Dots’ was recorded mostly live with Dan Carey at the helm, although increased studio time has enabled the band to experiment more with Carey’s laboratory of effects and pre-amps, and embellish their swirling, psychedelia, Krautrock indebted tracks with overdubs.

            The Wire

            Issue 363 - May 2014

              The Compiler
              A 22 page survey of paradigm-busting compilations, anthologies, mail order lists, mixtapes and other collections

              Marshall Allen
              Val Wilmer reveals the true story of the Sun Ra Arkestra leader’s formative years in the Paris interzone

              Invisible Jukebox - Okkyung Lee
              The nomadic cello virtuoso gets strung up with The Wire’s mystery record selection. Tested by Kurt Gottschalk

              Inga Copeland
              Former Hype Williams vocalist doing it for herself. By Joseph Stannard

              Officer!
              The war’s not over for ex-Rock In Opposition campaigner Mick Hobbs. By Mike Barnes

              Nat Birchall
              The UK saxophonist is evangelizing for spiritual jazz. By Francis Gooding

              Jack Ruby
              70s New Yorkers who forged a path between punk and synth madness. By Edwin Pouncey

              Collateral Damage
              Neil Young’s Pono player simplifies the debate over digital sound. By Philip Brophy

              Global Ear - Delhi
              Josh Feola enters the Indian city’s electronica underground

              Cross Platform - Eric Chenaux
              The Canadian musician amps up his AV project with Eric Cazdyn. By Clive Bell

              The Inner Sleeve
              Peanut Butter Wolf on Prince’s Controversy poster

              Epiphanies
              Arto Lindsay lists his significantly other musical moments

              Print Run
              New music books: Serge Gainsbourg’s masterpiece, boring formless nonsense, knowledge for mutants, plus: Is It My Body? Kim Gordon’s critical writing. By Britt Brown

              On Screen
              New films and DVDs: Ernst Schmidt Jr’s Viennese action films

              On Site
              Recent exhibitions: Carole Schneemann plus Sexing Sound: Aural Archives And Feminist Scores

              On Location
              Recent festivals, gigs and clubs: AV Festival, North East England, UK; Evolving Music, New York, US; Nathaniel Mann + Dead Rat Orchestra, Oxford, UK; Monomania, Cambridge, UK; The Necks, London, UK

              Various Artists

              Dallas Buyers Club OST - Gold / Blue Vinyl Edition

                Dallas Buyers Club follows the Oscar winning performance by Matthew McConaughey portraying the ‘80s real life character Ron Woodroof, who's suddenly being diagnosed as H.I.V.- positive and given 30 days to live. Yet he will not, and does not, accept a death sentence. A crash course of research reveals a lack of approved treatments and medications in the US, so Ron crosses the border into Mexico. There, he learns about alternative treatments and begins smuggling them into the US

                An outsider to the gay community, Ron finds an unlikely ally in fellow AIDS patient and transsexual Rayon (another Oscar Winning performance by Jared Leto). They establish a “buyers club,” where HIV-positive people pay monthly dues for access to the newly acquired supplies. With a growing community of friends and clients, Ron fights for dignity, education, and acceptance. In the years following his diagnosis, the embattled Lone Star loner lives life to the fullest like never before.

                The soundtrack to triple Academy Award winning feature film Dallas Buyers Club contains songs by Shuggie Otis, My Morning Jacket, T. Rex and actor/singer Jared Leto's Thirty Seconds To Mars.

                The first 1000 copies of this double LP are uniquely pressed on gold and blue vinyl (each record a different colour!).


                FORMAT INFORMATION

                2xLP Info: 180g audiophile vinyl pressing in gatefold sleeve with insert. First pressing of 1000 numbered copies on gold & blue vinyl.

                On March 16, 2013, Jason Molina passed away of natural causes after a longstanding battle with alcohol. Jason’s death shook the world of many music-lovin’ souls and the music world as a whole. At 39 years old, he left behind a remarkable song catalog and lasting impression on anyone who heard his music with Songs: Ohia and Magnolia Electric Co. Starting as a heavy metal bass player from Loraine, Ohio, he became of the most influential and iconic singer-songwriters in indie music.

                Farewell Transmission the Music of Jason Molina is a collection of Molina favourites performed by My Morning Jacket, Memorial Electro Company (featuring former bandmates of Molina), Catherine Iriwn, Wooden Wand, Communist Daughter, Enemy Planes & many more. Includes an original from Memorial Electro Company ‘Arm in Arm’ a tribute to their fallen bandmate and the beloved live favourite ‘Trouble In Mind (Fade To Blue)’, never recorded before.

                Rock The Cause Records a music based nonprofit is donating all net proceeds to MusicCares. To learn more about the charitable impacts of this release visit irockthecause.org

                Another album sampler of heavy aural riffing assault, from some of the newest and heaviest labels around, representing the harder, heavier, more abrasive end of the indie (ROCK) scene. Not metal bands but bands with gutsy guitar riffs to appeal to the Metal, Doom, and Hardcore fraternities who find themselves looking for something new. Likewise, bands accessible enough for the indie kid looking for a step towards a more solid, hard-rocking scene.

                LEFSE records commissions artists to create songs from space recordings made by VOYAGER probes. 

                ‘The Space Project’ features Youth Lagoon, Spiritualized, Beach House, The Antlers, Mutual Benefit, Blues Control and others. 

                Last Thanksgiving, Matt Halverson, who runs the Portland-based label Lefse Records, was talking with his brother in law, Exogenesis President and Chief Scientist Sean Anklam, who described a trove of recordings the NASA-launched Voyager space probes had made in the outer solar system. Halverson was overtaken by an idea to commission imaginative artists to create songs and soundscapes out of the Voyager recordings. The interest among musicians was overwhelming. 

                ‘The Space Project’ album consists of 14 tracks, seven pairs of songs, each based on a distinct celestial body: the planets Jupiter (Porcelain Raft, The Antlers), Neptune (Spiritualized “Mississippi Space Program”, The Holydrug Couple), Uranus (Youth Lagoon, Blues Control), Saturn (Beach House, Zomes) and Earth (Absolutely Free, Jesu), and the moons Miranda (Mutual Benefit, Anna Meredith) and Io (Benoit & Sergio, Larry Gus). 


                RT @Martinthemoddj: @PiccadillyRecs every day is record store day for me but my Mrs queued up yesterday and was happy with her buys.Thanks …
                Sun 20th - 7:14
                ..we'll be back fresh tomorrow (Monday) 11am-5pm. In the meantime here's the new release mailout to mull over > http://t.co/4XUwiT8aoK
                Sun 20th - 10:22
                Morning folks - just a reminder we're CLOSED today - which is handy 'cause I think they'll be a few staff hangovers this morning....
                Sun 20th - 10:20
                RT @common_bar: @aHolyMountain @PiccadillyRecs no worries dudes. Hope you had a safe trip back home, see you all soon x
                Sat 19th - 8:55
                Remember, we're CLOSED this Sunday. Open on Bank Holiday Monday 11am - 5pm.
                Sat 19th - 7:16
                E-newsletter —
                Sign up
                Back to top