Genre pick of the week Cover of Modern Nature - Deluxe Edition With Bonus Disc & Wristband Bundle by The Charlatans.

The Charlatans

Modern Nature - Deluxe Edition With Bonus Disc & Wristband Bundle

This edition includes a wristband for the signing session on Thursday 29th January. Click here for more information.
If you DO NOT wish to attend the signing session, then please order the non-wristband version here.

THE CHARLATANS – Tim Burgess, Mark Collins, Martin Blunt and Tony Rogers - release their twelfth album, MODERN NATURE on BMG Chrysalis on 26th January 2015.

Following the release in, the band will play a ten date UK tour kicking off on March 3rd in Bristol, playing two sold out nights at Manchester’s Albert Hall and finishing at a sold out Roundhouse show in London on March 16th.

MODERN NATURE features eleven new tracks, including the limited edition 7” singles and 6 Music A List records ‘Talking In Tones’ and ‘So Oh’, as well as the forthcoming single ‘Come Home Baby’ , also A listed at 6 and recently added to the Radio 2 playlist. The album was produced by The Charlatans and Jim Spencer and mixed by Craig Silvey (Arcade Fire, Portishead). The album features a cacophony of contributors from their three temporary drummers - Pete Salisbury of The Verve, Stephen Morris of New Order and Gabriel Gurnsey of DFA's avant-disco group Factory Floor, to Kate Bushs’ backing singers Melanie Marshall and Sandra Marvin, strings by Sean O’ Hagan and brass courtesy of Dexys’ Big Jim Paterson.

Q have already described the album as “ one the finest of their career”, whilst the Guardian have called it “a triumph”

The album comes after a difficult year for the band following the death from brain cancer of their old friend and drummer Jon Brookes last year. Rogers says that they were determined to carry on to honour Brookes' memory.


Ltd CD Info: Includes indie stores only remix CD EP featuring 4 remixes, while stocks last.

2xLtd LP Info: Deluxe coloured (gold) vinyl includes 12" featuring the 4 bonus tracks. Also includes indie stores only remix CD EP featuring 4 remixes, while stocks last.

James Blackshaw


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

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

    Nick Cave & The Bad Seeds

    Murder Ballads (2011 Digital Remaster)

    ‘Murder Ballads’ is the ninth studio album by Nick Cave And The Bad Seeds, released in 1996. As the title suggests, the album consists of new and traditional murder ballads, a genre of songs that relays the details of crimes of passion.

    ‘Where The Wild Roses Grow’ was a hit single and received two ARIA Awards and guest musicians on the album include Kylie Minogue, PJ Harvey and Shane MacGowan.

    It was the band’s biggest commercial success to date, most likely helped by the unexpected repeated airplay of the ‘Where The Wild Roses Grow’ video on MTV, who even nominated Cave for their Best Male Artist award of that year, though this nomination was later withdrawn at Cave’s request.

    ‘Murder Ballads’ received almost unanimous critical praise with Rolling Stone awarding it 4 Stars and Entertainment Weekly rating the album very highly as well. Q magazine had this to say: “...Musically, The Bad Seeds touch on tinkling cabaret jazz, country-paced morbidity and every morose station between” while it ranked Number 7 in the NME's 1996 Critics’ Poll.


    2xLtd LP Info: Heavyweight 180g double vinyl. (Side D is blank.)· Vinyl transfer approval overseen by Mick Harvey in Summer 2014 and cut at Abbey Road Studios.

    2xLtd CD/DVD Info: This CD and DVD version includes the original album in 5.1 surround sound, four bonus tracks and four videos, including ‘Where The Wild Roses Grow’.

    Nick Cave & The Bad Seeds

    Tender Prey (2010 Digital Remaster)

      ‘Tender Prey’ is the fifth studio album from Nick Cave And The Bad Seeds and was released in September 1988. The album was recorded during several sessions over the course of four months in West Berlin and London and was produced by Flood.

      The album opens with ‘The Mercy Seat’, which has been subsequently played at almost all of the band’s live performances since 1988 and was later covered by one of Cave’s biggest influences, Johnny Cash. ‘The Mercy Seat’ was released as a single in May 1988 as a precursor to the album and ‘Deanna’ was released shortly after the album hit the streets.

      Cave later admitted that the album “was made at a difficult time in my life when things were spiralling out of control in a lot of areas.”

      This CD and DVD version includes the original album in 5.1 surround sound, five bonus tracks and three videos.

      Nick Cave & The Bad Seeds

      The Firstborn Is Dead (2009 Digital Remaster)

        ‘The Firstborn Is Dead’, co-produced by Nick Cave, The Bad Seeds and Flood, is the second studio album released by Nick Cave And The Bad Seeds and was originally released on June 3rd 1985.

        Cave explores his fascination with the American South, with references ranging from Elvis Presley to ‘Blind’ Lemon Jefferson.

        Recorded in Berlin, Cave later said of this album: “Berlin gave us the freedom and encouragement to do whatever we wanted. We’d lived in London for three years and it seemed that if you stuck your head out of the box, people were pretty quick to knock it back in, particularly if you were Australian. When we came to Berlin it was the opposite. People saw us as some kind of force rather than a kind of wacky novelty act.”

        The album’s title is a reference to Jesse Garon Presley, the stillborn identical twin of Elvis Presley, and ‘Wanted Man’ was Cave’s own take on a song Bob Dylan wrote for Johnny Cash. Dylan gave his permission for the lyrics to be changed, with Cave’s interpretation referencing his friends.

        Also features the apocalyptic classic ‘Tupelo’.

        This CD and DVD version includes the original album in 5.1 surround sound, one bonus track and three bonus videos.

        Nick Cave & The Bad Seeds

        The Good Son (2010 Digital Remaster)

        ‘The Good Son’ is the sixth album by Nick Cave And The Bad Seeds, released in 1990.

        It was preceded by the release of ‘The Ship Song’.

        After the dark and intense ‘Tender Prey’, ‘The Good Son’ was initially seen as possibly too mellow and relaxed but is now seen as a classic within the catalogue.

        This CD and DVD version includes the original album in 5.1 surround sound, three bonus tracks and three videos.

        Nick Cave & The Bad Seeds

        Your Funeral... My Trial (2009 Digital Remaster)

          With ‘Your Funeral… My Trial’ The Bad Seeds expanded their personnel by adding Thomas Wydler on drums, enabling Mick Harvey to display his considerable multi-instrumental talents. This was the band’s fourth studio album and was released on November 3rd 1986 and was originally released as a double EP, with production duties handled by Flood and Tony Cohen.

          Cave later remarked: “That particular record, which is my favourite of the records we’ve done, is very special to me and a lot of amazing things happened, musically, in the studio. There are some songs on that record that as far as I’m concerned are just about perfect as we can get really - songs like ‘The Carny’, ‘Your Funeral My Trial’, and ‘Stranger Than Kindness’, I think are really quite brilliant.”

          Nick Cave & The Bad Seeds appeared in Wim Wenders’ 1987 movie ‘Wings Of Desire’ performing ‘The Carny’ and ‘From Her To Eternity’.

          This CD and DVD version includes the original album in 5.1 surround sound, a bonus track and a bonus video.

          The Charlatans

          Modern Nature - Deluxe Edition With Bonus Disc

          Ordering this version DOES NOT give you access to the signing session. If you want to attend the signing, please order the wristband bundle version here, and select the pick up instore option at checkout.

          THE CHARLATANS – Tim Burgess, Mark Collins, Martin Blunt and Tony Rogers - release their twelfth album, MODERN NATURE on BMG Chrysalis on 26th January 2015.

          MODERN NATURE features eleven new tracks, including the limited edition 7” singles and 6 Music A List records ‘Talking In Tones’ and ‘So Oh’, as well as the forthcoming single ‘Come Home Baby’ , also A listed at 6 and recently added to the Radio 2 playlist. The album was produced by The Charlatans and Jim Spencer and mixed by Craig Silvey (Arcade Fire, Portishead). The album features a cacophony of contributors from their three temporary drummers - Pete Salisbury of The Verve, Stephen Morris of New Order and Gabriel Gurnsey of DFA's avant-disco group Factory Floor, to Kate Bushs’ backing singers Melanie Marshall and Sandra Marvin, strings by Sean O’ Hagan and brass courtesy of Dexys’ Big Jim Paterson.

          Q have already described the album as “ one the finest of their career”, whilst the Guardian have called it “a triumph”

          The album comes after a difficult year for the band following the death from brain cancer of their old friend and drummer Jon Brookes last year. Rogers says that they were determined to carry on to honour Brookes' memory.


          Ltd CD Info: Includes indie stores only remix CD EP featuring 4 remixes, while stocks last.

          2xLtd LP Info: Deluxe coloured (gold) vinyl includes 12" featuring the 4 bonus tracks. Also includes indie stores only remix CD EP featuring 4 remixes, while stocks last.

          The Chemistry Experiment

          Gongs Played By Voice

          Prog-influenced Nottingham quintet The Chemistry Experiment are set to release their second album, the intriguingly titled “Gongs Played By Voice”, through Fortuna POP! in January, some ten years after the release of their debut album “The Melancholy Death Of…”.

          Housed in beautiful artwork by the Bulgarian artist Gyukov, a set designer in communist Bulgaria, the new album sees the band conclude the transition from their indie roots with nine beautifully arranged and recorded songs that encompass such influences as Will Oldham/Bonnie Prince Billy, Tindersticks, King Crimson and Soft Machine. Formed by songwriter Steven J. Kirk (vocals, guitar) and Paul Stone (bass) and completed by Emily Kawasaki (keyboards), Lee Tombs (flute, vocals) and Martin Craig (drums), two of the band have long since departed from their Nottingham origins with Kirk now resident in Bologna, Italy and Kawasaki living in Brighton where she plays in krautrock grrrlgruppe Slum Of Legs.

          The release of “The Melancholy Death Of…” in 2005 saw critical if not financial success with the NME awarding the record 8/10 and describing it as “Strange, gargantuan rhythms, weird instrumentation and a singer who sounds like Kurt Wagner under ten feet of snow”. If the geographic dispersion of the band wasn’t challenging enough, in 2009 drummer Craig was diagnosed with MS. “It has made drumming somewhat tricky”, he says. “I still gnash my teeth to the rhythm of the music though, and I feel honoured to join the company of Ronnie Lane, Clive Burr, and Don van Vliet.” All of which may go some way to explaining the My Bloody Valentine-like gestation of their second album, although Tombs posits a more positive explanation, saying, “ ‘Difficult second albums’ are difficult because people spend 5-10 years gathering up what they need for the first, and then have to knock out the next one in a matter of months. We overcame that problem by taking ten years.”

          Loosely based around the theme of seasons, elements and the sea, the album opens with the wondrous “Hung Lam”, followed by the track “Rainy Day”, on which Stone employed the little known technique of water percussion. “Martin and I started swirling water in saucepans and tapping the edge of the pan to make the woooo noise. I’d heard something similar on an Edith Piaf record”. The fantastically catchy “Leo & Magician” has an even more fantastical plot. “It’s about a scarecrow who runs away from his farm, leaving the farmer (Leo) without a way to protect his crops from the birds,” says Kirk. “Luckily Leo’s friend Magician comes along, and although he can’t help him with the scarecrow due to union rules, he turns Leo into a cat to scare away the birds, and that is why birds to this day are scared of cats. The scarecrow also abducts Leo’s wife but I didn’t want to go into that in the song.” Other songs include the beautiful “We Have Seasons”, “Jandek Bakery”, “The Event and the Experiment” (“It’s kinda the same story as Valis by Phillip K Dick”) and a cover of Leonard Cohen’s “Story of Isaac”, but perhaps the standout track on the album is “Channel Light Vessel” which Kirk describes as the best song he ever wrote and says, “This is about the sea, and sailors, and a boy I read about on BBC news who impaled himself on a fence trying to pick conkers.”

          The album concludes with the nine minute long “A Good Wind”, describing a windy day on the coast of Australia and the classic battle between good and evil, nature and synthetic, human and vocoder. Like many things about The Chemistry Experiment it’s unique, slightly odd, and shouldn’t really work but somehow does. In the ten years since their last record a thousand faceless indie bands have made a thousand dreary records, while The Chemistry Experiment have ploughed their idiosyncratic furrow to produce “Gongs Played By Voices”, the perfect distillation of their strange and distinct vision.

          It’s been an extraordinary journey for Gaz Coombes, from flashily whiskered pop tearaway to Ivor Novello and BRIT award winning rock star. The mega-watt melodic genius responsible for ten Top 20 hits and six Top 20 albums - 'I Should Coco' was Parlophone’s fastest selling debut since the Beatles 'Please Please Me' - returns with his remarkable new album, entitled 'Matador'.

          “There’s this disposable vibe around music at the moment which is odd, because it’s so obviously central to most people’s lives,” says Gaz. “Life is full of moments of fear, loss and longing, but it’s how you get through those things and triumph over them which define you. But there’s as much light as there is dark on this record; there’s beauty in both of those states and that has always intrigued me."



            Irreal, the fifth long player from Chicago's Disappears, is another trip down the rabbit hole. The album plays out as a dream sequence - hazed dub landscapes give way to the groupʼs most experimental and open music yet.

            If their last album Era confirmed the fact that Disappears are on their own trip, then Irreal is where it kicks in. Eternalism, roboethics, identity - it's a Ballardian mix of imperfect melodies, half thoughts and good ol' dystopian modernity. Itʼs a master class in texture, pace and control.

            Produced by John Congleton at famed Chicago recording institution Electrical Audio, Irreal sits in the negative space where art rock and post punk collapse onto each other. It's the sound of Disappears reporting back from The Void.

            Dr. Dog

            Live At A Flamingo Hotel

              Dr. Dog releases the first ever bottling of the band’s effervescent live shows via Anti-. Culled from the band’s 2014 North American tour, the songs here cover all of Dr. Dog’s seven studio albums, ranging over a decade of material. Says bassist/vocalist Toby Leaman, “We’re one thing on a record and a different thing live. We’ve always built our fans through the live show. Somebody goes to a Dr. Dog show and hopefully comes again and brings somebody with them. We see it build in a town by coming back several times. Our live show is vital to how we view ourselves as a band.”

              The collection serves essentially as a Dr. Dog greatest hits, with a running time nearly equal to a live set - and longer than what will fit on a traditional CD, so the album will see only a digital and four-sided vinyl release. From hits like “Shadow People” and “Lonesome” to live staples like “County Line,” “The Rabbit, the Bat and the Reindeer,” and “Ain’t It Strange,” this is Dr. Dog as God intended.

              For the past 14 years, Elephant Micah's Joseph O'Connell has quietly self-released his music, sometimes collaborating with the psych-folk imprint Time-Lag Records or other very small labels. Despite the project's almost secretive status, Elephant Micah has repeatedly caught the attention of NPR, and has been championed by an impressive cohort of like-minded artists including Jason Molina, Hiss Golden Messenger, Dark Dark Dark, and Hurray for the Riff Raff.

              Where in Our Woods, the 12th Elephant Micah album and the first for Western Vinyl, is defined by its limited palette. The arrangements foreground nylon-string guitar and an antique portable pump organ. A stripped-down drum set, a baritone ukulele, a toy recorder, and harmony vocals (sung by Will Oldham, a friend of and key influence on O’Connell) round out the sound. This sparse ensemble leaves O’Connell’s voice room to breathe, while elevating and magnifying the poetry of his songs.

              The album follows an ensemble cast of human and animal characters as they negotiate the supernatural and the mundane: “Light Side” catalogues a friend’s search for sublime experience through a self-described “redneck mysticism” involving in drugs, sex, and travel. “Rare Beliefs” and “Demise of the Bible Birds” explore the world of a "Bible Bird Man" from Noblesville, Indiana, who trained exotic birds to perform stunning Christian-themed stunts. “Albino Animals” is a modern day journalistic ballad, summarizing three stories found in one edition of O'Connell's hometown newspaper: readers responding to the recent slaying of an albino deer, husband-and-wife meth cooks escape federal prosecution based on an error in legal process, and a rower with local roots attempts a transatlantic passage that ends in disaster. The album closes with “Slow Time Vultures,” which was inspired by the descent of hundreds of migrating vultures on O'Connell's parents’ farm in southern Indiana. At the time of this avian congress, state government was instituting the observance of daylight savings time for the first time in Indiana. As O’Connell explains, "Maybe it goes without saying that the unexplained appearance of a sky full of vultures might seem like a harbinger of doom. I wondered if it related to the time change. At its core, this song is in the tradition of American country songs that express indignation toward the idea of progress." Throughout the album, O'Connell deftly transforms the stuff of everyday American life into a series of entrancing meditations on culture, nature, religion, and modernity.

              “A beautiful slice of narcoleptic folk...” WIRE.
              “A stealthy album, which rewards your patience.” UNCUT.
              “Haunted Americana at its lo-fi best. Unendingly elegant.” DUSTED.

              Emmy The Great


                Emmy’s latest creation. Recording was split between LA with Ludwig Goransson (Haim, Childish Gambino) and London with Dave McCracken (Oh Land, Beyonce). Mixed by MIA’s MD Neil Comber.

                Wild Beasts’ Tom Fleming joins Emmy for lead track ‘Swimming Pool’, a haunting siren-song that submerges us in an affluent montage, replete with rippling keys and dream-laden bass.

                12” is pressed on green vinyl (limited to 1000 copies for the world).

                Great Pagans

                Cupid In Error

                  “Moonlit melancholy.” – The Line Of Best Fit
                  “Shimmery sadness will soothe your soul.” – SPIN
                  “Compelling.” – Q Magazine
                  “8/10. A journey to the dark heart of indie.”- Uncut
                  “Miserabalist masterpiece.” – BEAT
                  “An inspired band. A great album, from start to finish.” – Glasswerk.

                  Guided By Voices

                  Bee Thousand - Vinyl Edition

                    Little introduction should be required here. Let it suffice to say that Bee Thousand is arguably the best, or at least among the top Guided By Voices albums in a copious discography. Accordingly, the album has stacked up accolades over the years, including being voted #1 on’s “100 Greatest Indie Rock Albums of All Time.” It’s a staple such lists, and has also placed highly on those curated by Spin, Pitchfork, Mojo and Rolling Stone.

                    This new LP pressing, the first since the late ’90s, honors the album’s 20th anniversary. It features new (and definitely improved) mastering from John Golden, a substantial gatefold jacket with a previously unpublished Robert Pollard collage, and high-quality virgin vinyl from RTI. Also includes a free download card.

                    Guided By Voices

                    King Shit & The Golden Boys - Vinyl Edition

                      As a companion piece to the vinyl reissue of Bee Thousand, Scat Records presents a new edition of this finest compilation of Guided By Voices outtakes. Originally included with the multi-disc set Box, this issue marks the album’s first release as a standalone piece. The first side features highlights from two otherwise unreleased albums from the band’s early days (Learning to Hunt and Back to Saturn X), while the second side mops up the best cuts left off of Bee Thousand. All tracks are exclusive to this release.

                      Packaged in a high-quality, heavy-duty tip-on jacket and pressed on virgin RTI vinyl, this LP is a must for even the casual GBV fan.

                      The Fire Records Half Japanese reissue series continues with the second volume, covering the three releases of ‘Music to Strip By’, ‘Charmed Life’ and ‘The Band That Would Be King’ released one a year from 1987 to 1989. Following the Record Store Day 2014 release, ‘Volume 1: 1981-1985’, the next three Half Japanese records come in their original release form, with the additional tracks that were later added to the CD releases over the years available via download code (see below for track lists). The LPs are wrapped together in a heavy wide spine outer sleeve with a specially designed paper cut image by Jad Fair, who also provides more illustrations throughout the booklet, with words by David Fair.

                      As per ‘Volume 1’, all three records are combined together in a 3CD package. Be careful. You can’t unlearn information. I think that the best that you can hope for is a bad memory, but our brains are very remarkable and it is very difficult to actually unlearn something. I came upon this realization too late to help me with visual arts. I had already been taught about proportions and perspective. It’s very hard to draw someone in the background larger than their friend in the foreground. Anyone farther away would look smaller. That is how our eyes see them and my brain knows this. I cannot turn off this knowledge and draw it the other way around. I can choose to ignore it, but that is not the same. That is a strategy for dealing with the situation, but not as freeing as simple ignorance would be. It is a nagging strategy that whispers the rules and acknowledges your participation in their breaking. Luckily, with music, I do not carry the burden of knowledge. I was not educated in its terms and rules. I am not bound by its limits. I know that I have guitar skills. I have played around with one enough to know what feels right to me. If I were to turn it upside down and attempt to play it in a left handed manner, my ability would feel awkward and diminished. I am not unskilled, I am merely untrained. For me, this is the ideal situation. Others may prefer acquiring rules and limits. I prefer that my art be directed by my heart rather than my brain. I have played in bands for nearly 40 years. In all of that time I have only learned three chords. I have resisted acquiring more. If I continue at this rate I am at risk of knowing six chords forty years from now. Instead, I am consciously slowing down. Hopefully in four decades I will remember even less about music convention than I know today. Forty years is a long time to wait. In the meantime, here’s Half Japanese Vol 2. It might get better in the future, but Vol 2 is here already. David Fair.

                      Hippies Vs Ghosts


                        Hippies Vs Ghosts are primarily Owain Ginsberg from Masters In France / We Are Animal and ‘Wazo’ will be the band’s debut 7”.

                        Since blasting on to the scene some 18 months ago, under this particular guise, Ginsberg has regularly blown listeners away with his kaleidoscopic, instrumental Morricone meets Krautrock sound, during which time he’s served up a number of quality EPs, one off tracks and a stunning debut album, ‘Mother Tongue’ (one of 2014’s finest).

                        In a parting gesture to a rather productive 2014, Hippies Vs Ghosts sign off with brand new 7″ single ‘Wazo’. ‘Wazo’ captures the very essence of Hippies Vs Ghosts; Krautrock indebted psychedelia of epic proportions. Propelled onward by a chugging bass and persistent percussives, it hurtles along at breakneck speed with menacing intent, bending and contorting through a sea of swirling noise and scorching riffs. Urgent, catchy, and oh so irresistible!

                        B-side companion ‘Hibou Calling’ is a much more tempered affair. A gentle acoustic strum, soft percussion and hushed repeated vocals fuse with some floaty sonic sounding atmospherics to soothe the soul and whisk one’s mind away to a lofty transcendental plain.

                        ‘Wazo’ is released as part of the Too Pure Singles Club.

                        Inspiral Carpets & John Cooper Clarke

                        Let You Down

                          This exclusive single version is joined by a unique, previously unissued B-side, ‘It’s A Good Job Baby’.

                          Invisible Familiars

                          Disturbing Wildlife

                          Invisible Familiars’ ‘Disturbing Wildlife’ is the work of Jared Samuel, alongside producer Michael Leonhart.

                          Guests include Yuka Honda and Miho Hatori of Cibo Matto, Nels Cline, Jolie Holland, Stuart Bogie of Antibalas and Superhuman Happiness, Scott Metzger, Ryan Sawyer, Alex Holden and Andrew Borger.

                          The band behind the album are also the backing band for Sean Lennon.

                          “Jared kinda sounds like Mark Bolan. I’ll just say it, cause you might think it. It’s science. When I asked him what record felt to him like how he wanted ‘Disturbing Wildlife’ to feel to me, he said ‘‘Cuckooland’ by Robert Wyatt’, promptly adding ‘and the first time I listened to ‘What’s Going On’ through headphones, stoned.’ He’s got a Small Faces song link for just about everything I say and he knew the Lifetones song I sent him yesterday, which may be my secret litmus test. When I listen to ‘Invisible Familiars’, I don’t hear just anything - I hear everything. It’s the cumulative result of being alive with the radio on. And I’m not talking about subliminal influences, because even the color of the sky can turn into a song. It’s that other transaction, where music accompanies your body - and your brain inside of it - and enables your understanding and definition of life. And then you go and make something: some food, a picture, your bed, a friend, a baby, a joke, a new song.” - Sara Padgett Heathcott, Hometapes

                          First album for Weird World / Domino by NYC based multi-media artist Jib Kidder.

                          Self described as ‘Acid Country Pop’, the record was inspired by an eclectic mix of Lindsey Buckingham, Meat Puppets, Gary Numan and Arthur Russell primarily, as well as Vietnamese slide guitar playing.

                          ‘Teaspoon To The Ocean’ features appearances from Zach Phillips on electric piano Julia Holter on vocals.

                          Will appeal to fans of Julia Holter, Deerhunter, Panda Bear, Real Estate.

                          FORMAT INFORMATION

                          LP Info: LP includes 10"x10" 24 page full colour lyric / art booklet.

                          Kitty, Daisy & Lewis return with their new album, three years on from their hugely acclaimed ‘Smoking In Heaven’.

                          Described as “a gift to those of us who still believe in magic” (The Observer), the band have used those three years wisely, building a new 16 track analogue studio in a derelict Indian restaurant in Camden Town, resulting in an album and a sound all of their own making. With new space and equipment, the band knew they could take their third album to another level, with the songwriting, instrumentation, styles, production and sound.

                          An early fan, Mick Jones of The Clash was keen to get involved as producer. He spent four months rehearsing in their home. “With Mick on board, it was the first time we have worked with a producer,” says Lewis. “Just having someone else in the room meant we could start bouncing ideas off other people and that was great.”

                          “Our song writing has definitely changed over the three years,” adds sister Kitty. “Through life experience and expanding our musical influences, we have now incorporated more of our musical loves into our music.”

                          Kitty, Daisy & Lewis’ ‘The Third’ was recorded and finished in the summer of 2014, setting them apart by embracing a spread of influences from blues to disco but always sounding unmistakably Kitty Daisy & Lewis.

                          The stories in this album resonate with moods and melodies that touch you in ways that are both uplifting and unnerving. With three different writers and multi-instrumentalists in the band, each track is a sparkling gem that reflects a different facet of experience.

                          Joining Kitty, Daisy & Lewis live on stage during their forthcoming tour will be their mum, former Raincoats drummer Ingrid Weiss on bass, the original Bombay Bad Boy Daddy Grazz on rhythm guitar and Jamaican trumpet legend Eddie ‘Tan Tan’ Thornton. At their packed shows they each take turns on vocals and jump from one instrument to another.

                          FORMAT INFORMATION

                          Ltd LP Info: White vinyl LP format exclusively available to independent retailers. Include bonus track ‘I Should Have Known’.

                          Minny Pops

                          Sparks In A Dark Room

                            Sparks In A Dark Room was the second studio album by Dutch electronic group Minny Pops, originally released by Factory Benelux in May 1982.

                            Formed in Amsterdam in 1978 by vocalist Wally Van Middendorp, Minny Pops took their name from the primitive Korg drum machine which propelled their austere, post-punk rhythms and provocative live performances. An early association with Factory Records in Manchester saw the band work with producer Martin Hannett, share stages with Joy Division and New Order, and become the first Dutch band to record a BBC radio session for John Peel.

                            Self-produced by the group, Sparks In A Dark Room was recorded without a guitarist and therefore sounded unusually polished and layered, its smooth sequencers and motorik rhythms often redolent of Moroder, Kraftwerk and Cabaret Voltaire. 

                            FBN has collaborated with Blowpipe Records (Wim Dekker) on a handsome double vinyl edition. Disc one contains the original Sparks... album (tracks 1 to 12 on CD disc 1), newly remastered for vinyl, while the second disc is the complete Melkweg live set from 2012. Available in a choice of black or blue/red vinyl. 500 copies only will be pressed.

                            The New Basement Tapes

                            Lost On The River

                            'Lost On The River: The New Basement Tapes' is a music event 47 years in the making. It's an historic album project from five of music's finest artists - Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes), Jim James (My Morning Jacket) and Marcus Mumford (Mumford & Sons) - in unique collaboration with a 26-year-old Bob Dylan. Produced by project creator T Bone Burnett, the album was recorded in March, 2014 at Capitol Studios in Hollywood, where the artists and Burnett convened for two weeks to write and create music for a treasure trove of long-lost lyrics handwritten by Bob Dylan in 1967 during the period that generated the recording of the legendary 'Basement Tapes' sessions. The collective completed and recorded dozens of songs, the first 20 of which appear on this album.

                            Vinyl version comes on gatefold, 180g double vinyl with download card.

                            The Notwist

                            The Messier Objects

                              When The Notwist returned with their acclaimed7th studio album 'Close To The Glass' (their debut for Sub Pop Records) in early 2014, many were enchanted by the epic instrumental 'Lineri'. It was the only instrumental track featured on the LP,but according to Notwist-singer Markus Acher, instrumental works have had an especially big impact on the album and its arrangements. Between 2008's 'The Devil, You & Me' and this year's 'Close To The Glass', The Notwist not only concentrated on various solo projects, but also worked for several theatre productions and radioplays. 'The Messier Objects' is a compilation of some of these works. The collection obviously brings to mind the ghosts of Library Music and 70s soundtracks, but can also be heard as a summary of the band's ever evolving musical cosmos: The seventeen featured pieces range from sample-based, electronic collages to the buoyant post-rock of 'Das Spiel ist aus'.

                              Whether the band is experimenting with modular synthesizers, analogue percussion, or even horn sections ('Object 11'), you will always find musicin a constant flow of gentle grooves that make this light-footed and open-minded collection more than just a counterpiece to 'Close To The Glass'.

                              FORMAT INFORMATION

                              2xLtd LP Info: Vinyl is double vinyl with etching in a screenprinted cover.

                              Fantastic Planet is the soaring, evocative new album from Noveller, the solo instrumental venture of Austin-based composer and filmmaker Sarah Lipstate. The LP is a journey through eclectic sonic terrain, blending rich waves of synth with soaring cinematic guitar lines, guiding the listener through Noveller's most diverse and compelling release to date. Originally self-defined as an electric guitar project, Lipstate began recording under the name Noveller (pronounced “know-veller”) in 2005 whilst living and studying in Texas. She uprooted to Brooklyn and subsequently made waves on New York’s live scene and internationally, sharing the stage with the likes of Six Organs of Admittance, St. Vincent, Xiu Xiu, the Jesus Lizard, U.S. Girls, Aidan Baker and Emeralds, whilst capturing the attention of NPR, The Village Voice, Time Out New York and The Wall Street Journal. Noveller’s prolific output has seen her release albums via No Fun Productions and her own imprint, Saffron Recordings, including the Desert Fires LP and the critically acclaimed Glacial Glow. She also released a split LP with unFact (David Wm. Sims of the Jesus Lizard) and has collaborated with several renowned musicians, including live improvised duo performances with Carla Bozulich (Evangelista, The Geraldine Fibbers), Lee Ranaldo (Sonic Youth), and JG Thirlwell (Foetus, Manorexia). She has previously performed as a member of Cold Cave, Parts & Labor, and One Umbrella. Upon returning to Texas, Lipstate developed her signature cinematic soundscapes further, and it was here she completed her spectacular new release Fantastic Planet. It is an album largely steeped in place, both real and fantastical, and influenced by Lipstate’s various interchanges and relocations, physical and emotional. Noveller takes the elements of rhythm and synth textures introduced in her previous album No Dreams and expands them to a new level of prominence through her guitar work on Fantastic Planet. From the dark beat propelling "Pulse Point" to the distorted synth on post-punk track "Rubicon", Lipstate pushes her sound in new directions that complement and elevate her intoxicating filmic soundscapes.

                              “Some artists traverse boundaries. Sarah Lipstate’s work seems to come from a world where they never existed. Her color-rich visual art has a mournful literary quality to it; her short films trigger collisions of emotional crosscurrents; and her instrumental music, which she makes under the name Noveller (emphasis on the middle syllable), seems to call to attention all senses at once, to the point where even the word music seems somehow limiting.” – Time Out NY.

                              “…simultaneously soothing and mind-wrecking noise, along with a compositional depth that most loud-for-the-hell-of-it guitar droners never reach.” – NY Press.

                              “…hypnotic, rich-textured electric guitar works.” – New York Times.

                              Doug Paisley Feat. Bonnie Prince Billy

                              Until I Find You

                                Only a handful of these and once they're gone, that's it.

                                Two new songs from Doug Paisley. The A-side is a gorgeous duet with Bonnie “Prince” Billy recorded in Louisville and also featuring Emmett Kelly (of The Cairo Gang) on guitar. The B-side was recorded in Toronto and has the feel of an old spiritual.

                                Limited to 700 copies worldwide. The artwork features watercolor paintings by Heather Goodchild.

                                Perfect Pussy

                                I Have Lost All Desire For Feeling

                                Very limited quantitites of this!

                                Just over a year after playing their first show as a band, Perfect Pussy have quickly made a name for themselves as one of the most intense bands in the indie rock and hardcore punk communities, both live and on record. Their fast rise to success all stemmed from this 4 track demo EP, originally released as a cassette only. Simply title tracks such as “I” and “IV” garnered praise from everyone to Rolling Stone and Pitchfork, to NPR and the New York Times, landing them on countless year end lists.

                                If you’ve followed The Phantom Band throughout their career to-date then you’ll know two things of the Glaswegian six-piece: feast often follows famine, and you should never accept them merely at face value. Just as two wildly singular, diverse albums in Checkmate Savage and The Wants sprung up one after another between 2009 and 2010, before a period of quiet (solo projects notwithstanding), so the group’s more direct third record released in June 2014 - Strange Friend – more art-rock than rock-art – comes followed by seven tracks cut largely from the same recording sessions at Chem 19 in Blantyre, in the form of Fears Trending.

                                Lauded last spring pretty much across the board, Strange Friend’s instant hit to the senses was the sound of a band pulling a thread tight through their naturally wandering creative tendencies and affecting a sense of positivity, even amidst quiet doubts over living in a world simultaneously hyper-connected and disconnected through the internet. For those who saw through the likes of ‘Clapshot’s’ irrepressible anti-anthem swell, though, Fears Trending is a resounding confirmation that the band’s recent recording sessions also bore out something of a darker hue.

                                “Maybe it's the evil twin of Strange Friend,” comments guitarist Duncan Marquiss. “They're stranger friends, oddball vestiges and hybrids.” Chief vocalist Rick Anthony agrees, pointing out that although Fears Trending merely came about as an anagram of their third record’s title, its connotations ring true, with a greater focus on themes of online isolation that they pawed at previously. “The reference is obviously there,” Marquiss explains. “Maybe it reflects our wariness of communications technology just now – which paradoxically seem to alienate people from themselves. We're all swamped with information so I question whether the band would necessarily want to add to the clickstream.”

                                Certainly the tone of the record matches this apprehension; the opening ‘Tender Castle’ – one of just two tracks, alongside ‘Spectrelegs’, that date back before the Strange Friend sessions – runs on in, imbued with the band’s recently heard gusto, yet quickly swivels on a tumbling floor of murmuring electronics and cautious intonations, setting the scene for some of the band’s weightiest music yet. There are familiar tropes here; the aforementioned ‘Spectrelegs’ introduces itself by way of a wavering electronic organ, Iain Stewart’s drumming is never less than forthright and punchy, stomping through ‘Local Zero’ with accustomed vigour. But then there are songs like the ominous slow-build tumult of ‘Black Tape’, and the poignant final track ‘Golden Olden’, which sees the band in some-part return to the Scottish folk routes that partly informed their first record (cult Scottish folk favourite Alasdair Roberts also appears on opening track ‘Tender Castles’.) “If Thomas Pynchon was asked to write the screenplay for Young Guns 3 I hope this song would be the soundtrack,” Marquiss reflects.

                                ‘Denise Hopper’ differs again, taking on a melodic structure whipped up as though on an Estesian gust across Turkey, Anthony’s vocal rising and falling in its oscillating breeze. Delivered with steeliness beyond the usual dry wit that’s occasionally hinted at within the group’s usual off-kilter meanderings, the track cracks and breaks amidst a storm of guitar detritus. “That melt down at end could be one of my favourite Phantom Band moments on record to date,” Marquiss comments.

                                It’d be too broad to call Fears Trending the dark side to Strange Friends’ light. The playful intricacies and deviations of The Phantom Band remain and, after all, the album was recorded at the same time as its sister. “I think it's more about the atmosphere than the writing process that splits the two albums” Anthony reflects. “I guess there was a desire with Strange Friends to come back with no baggage attached and release a record that seemed really straight to the point. This record is straight to the point too but it's just that it's making a different point.” So it goes with The Phantom Band, a group forever changing, each new evolution more often than not a prescient for what’s to come.

                                FORMAT INFORMATION

                                Ltd LP Info: Very limited edition 180g heavyweight vinyl.


                                Everything Else Matters

                                  Pinkshinyultrablast, a five-piece band from Saint-Petersburg in Russia, are set to release their debut album 'Everything Else Matters' in January. Hailing from a city more synonymous with the State Conservatory rather than a gang of shoegaze addicts, they've been compared to Lush. But this is no mere throwback tribute – due to their sharp, icy electronics and ability to subvert the genre, bringing something new to the table. They possess not only the spirit of late 80s/early 90s British bands like Ride, but also machine-made sounds of the same era from Sabres Of Paradise or Global Communication, not to mention wider vibrations like Cluster, Popul Vuh, Terry Riley and Philip Glass.

                                  This is an album brimming with playful melody and finely-crafted songwriting. Imagine the scope of a Caribou record, fronted by Elizabeth Fraser soundtracking a grizzly Raskolnikov crime. The band take their name from an Astrobrite album, an act who were, according to the band, instrumental in how they "researched spaces between ambient, heavy guitar and pop music" .The spaces are what stand out, the production creates a dream-like affair, while space to breathe and reflect on the beauty of the music is accommodated. There is a sparseness to the album that in turn gives spaciousness, even expansiveness.

                                  FORMAT INFORMATION

                                  Ltd LP Info: 180g vinyl in smokey black with glitter speckles ("starry night vinyl").

                                  Hailing from Perth, Australia, POND formed in 2008 as an all-inclusive, ego-free collective spawned from numerous other interlocked bands and projects: Mink Mussel Creek, Allbrook/Avery, and Tame Impala.

                                  “Pond…are very good at nailing tracks with best-of-both worlds approach, fusing those indulgent chunks of far-outness with fundamentally solid rock’n’roll tunes.” – Pitchfork.

                                  FORMAT INFORMATION

                                  LP Info: 180g vinyl. Comes in amazing die-cut cartoon sleeve

                                  Natalie Prass is the kind of artist Spacebomb was created for - a songwriter’s songwriter and performer’s performer blessed with a golden voice and universal appeal - a singer who understands the vision and brings an undeniable talent to the process. She’s a joy for any listener to discover - a lover and a fighter and old-soul trader in genuine energy, aiming straight for the heart. Prass turns a sly eye to the pageantry of emotion, the drama of love and the mysteries of everyday life with a disarming mixture of sincerity and cosmic insolence, unapologetically romantic, spinning golden threads of lyric and melody, each inflection and melisma planned and considered, each word tailored for meaning and effect-the pop gesture as artform. She delivers it all with carefree charm and nearly divine intuition. Her voice, at times so ethereal, is shot through by strength and sinew and just a hint of transient grit. The feeling is soft, but it cuts so deep, leaving any listener with a trace of a soul, thunderstruck and enchanted.

                                  Born in Cleveland, in the heart of the 1980s, Prass entered the teenage slipstream back on the east coast, past the haunted houses, surf shops, and burger joints of Virginia Beach, a mid-tier, rough-around-the-edges resort town. There is an inevitability to every biography, a myriad of strange narrative palm lines that twist and intersect, and she followed hers bravely to a seam of alternative beach culture, living close to the Atlantic Ocean but studying a less bronzed way of life. With her pet bird on her shoulder, she took intensive music and visual art courses all through high school. Going to a good music school was the next logical step, but after a year in cold, snowy Boston, Prass dropped out of Berklee and returned to the beach. She spent a spell working and playing shows in boardwalk clubs before moving out to Nashville where she has spent close to the last decade developing her craft, collaborating with some of the better characters on the edges of Music City culture, building a reputation with her radiant voice, unique performances, and for being a bit of an iconoclast. Prass has carefully avoided the glossy singer-songwriter scene, reaching for something more interesting, more exciting. For her debut performance at Nashville’s storied Ryman Auditorium, she surprised fans by pulling off a guileless reggae set in front of an Isaac Hayes poster she had displayed behind her band.

                                  When the time came to record a full length, Prass returned to Virginia to work with Spacebomb Records, a label able to realize big visions and lush productions within the rustic charm of its attic studio. The match made sense musically and her ties to Matthew E. White go back to playing in rock bands in their high school days. The two worked together, selecting nine tracks to run through Spacebomb’s creative machine. With hard work and the alchemy of circumstance, they crafted an unassuming masterpiece-a real stunner that sounds both thoroughly out-of-time and impossibly fresh.

                                  Prass is a powerful, beguiling performer and cunning pop composer-one for the moment and one for the ages.

                                  We all want the world to be beautiful. We want scribes and songbirds to tell us so - and sometimes they do and then it is. They point their pens and focus their lens where they will and surprise us to our soul. ‘On Your Own Love Again’ is a record that does it to us, with songs from a spine-thrilling new place and a gifted young singer with her own musical logic.

                                  Jessica Pratt’s self-titled 2012 debut has been much-murmured about. People respond to the austere, pristine clarity of the performances, the gentle strength, marvelling at how much comes from so little: just a voice and a guitar or two. They remark on the timeless nature of the songs and the voice, scrupulously informed by the folk rock of ages past but sung without bags (none in hand, nor beneath eyes). They speculate on just who is the personality behind this Jessica Pratt? It is hard not to respond to the sound of her music, not to want more right away.

                                  Two years on and Jessica’s very new ‘On Your Own Love Again’ is here for us, playing her further adventures in different pastures. If they feel removed from the first songs, it may help to know that the recordings of the first album were made some years back with no expectation of making an album. They sat quiet on the shelf for a long time, appearing on the internet eventually. It all seemed harmless but when Birth Records honcho Tim Presley rolled up in his long white limousine and began to spin tales of folk rock glory, who was she to say no?

                                  The nice part about learning that people dig your sound is that it gives you the chance to think of what else you’d do. After deep consideration, Jessica found new songs within her and an urgency to make another record, marked with a strong sense for rendering it exactly the way she heard it in her head, spending time with her tunes and crafting the smallest details. In this way, she truly was able to inhabit her own skin as a singer of her songs - and make ‘On Your Own Love Again’ the first Jessica Pratt album constructed to be an album.

                                  What makes ‘On Your Own Love Again’ new? Everything and yet everything woven so subtly into the presentation leaves you unaware that you have been modulated upon. The album was recorded entirely by Jessica in the fashion of ‘Night Faces’ and ‘Dreams’ from her first album, mixed in collaboration with Will Canzoneri.

                                  Touched lightly with additional instrumental and vocal parts, the songs ripple beneath the surface with lyrical details that morph almost subliminally from the personal into fantasy. When Jessica’s playful nature bubbles up, she sends her voice travelling into strange places to see what it finds there. The music too is deceptively accomplished, providing subtle hallucinatory nuances to the tunes: the orchestral organ stop working in the shadows of ‘Wrong Hand’; the reverberant percussion floating through ‘Game That I Play’; the clavinet panned out on the side in ‘Moon Dude’; Jessica’s sudden vocal dip into her lower register on ‘Greycedes’; all pulling at the ears, highlighting her unique pop sensibilities with craft and humour, giving the album’s inherent romance a greater heft.

                                  Perhaps most significantly, ‘On Your Own Love Again’ was recorded at home, at places in Los Angeles and San Francisco, over the past two years. This process sands the surface of her more active multi-tracking approach, allowing a sound as delicate and singular as her former recordings.

                                  Alasdair Roberts is the name of the new solo record from the well-known Scottish songwriter, guitarist and singer Alasdair Roberts, his eighth Drag City Records release under that name, following on from 2013’s ‘A Wonder Working Stone’.

                                  The making of ‘Alasdair Roberts’ found Alasdair back at Glasgow’s Green Door Studio, where he previously made his 2009 album, ‘Spoils’. ‘Alasdair Roberts’ has a warmer feel than ‘A Wonder Working Stone’, partially the result of having been recorded in the analogue domain by Green Door’s masterly house engineer Sam Smith. In the main however, the rich ambiance throughout the album is evidence of yet another tremendous leap in Alasdair’s writing, playing and singing.

                                  The six years since ‘Spoils’ seem like a much greater expanse of time for all the growth shown on the four albums between then and now. The decision, then, to selftitle this album hints at the idea of the artist as having achieved, in Jungian terms, complete ‘individuation’.

                                  Evident as well upon listening is the sound of deep contentment in Alasdair’s playing and singing (not to be confused with gratuitous delusions of self-satisfaction). Moreover, this music is projected from a place of confidence, where what is needed for the music comes naturally, instinctively and as needed.

                                  ‘A Wonder Working Stone’ was an expansive double album, featuring some thirteen musician friends working through complex arrangements of ten sprawling epics written in the syncretic style Alasdair debuted on ‘Spoils’. By contrast, Alasdair Roberts’ ten songs are sparse, intimate and concise. The focus throughout is on Alasdair’s deft acoustic fingerstyle guitar and his voice. The songs are variously elliptical and gnomic, direct and personal, romantic and tender.

                                  There are occasional guest appearances from fellow Glasgow-dwellers Alex South (clarinet), Donald Lindsay (tin whistle) and singing quartet The Crying Lion (Alex Neilson, Lavinia Blackwall, Harry Campbell, Katy Cooper), always to great dramatic effect.

                                  In response to the economy of the arrangements, Alasdair’s voice pitches down on occasion, enhancing the close feeling of this album - an environment where even the sounding of percussive stick-clicks signals a dynamic sonic shift. Alasdair has always delighted in a good, dark set of traditional ballads, the kinds of songs which address human mortality in all its grisly manifestations but even in the relative isolation of this almost-solo set, Alasdair shows no sign of the misanthrope; his advocacy for the fellowship of man is always unshakeably present.

                                  Alasdair Roberts has had a remarkable career to date, starting his music-making in the mid-nineties under the band name Appendix Out and collaborating widely with many musicians from within and without the traditional music tradition over the intervening twenty years. Alasdair has toured incessantly far and wide during this time, working as well with artists from other disciplines such as filmmakers, poets and puppeteers. The resulting performances, expressions and actions are his life’s work and ‘Alasdair Roberts’ is a new phase in an essential and ever-evolving discography; it will please long-term followers and new listeners alike and stand with his other records as a testament in time to as pure a talent as this era has seen and heard.

                                  Siskiyou returns with Nervous, a majestic album of carefully constructed art rock built around songwriter and lead singer Colin Huebert's stacked acoustic guitars and intimate, whispery vocals. Siskiyou’s sound has been previously dubbed a sort of ‘Northern Gothic’, conjuring cold winds and the life-saving warmth of temporary shelters and tiny hearth fires. With Nervous, the band continues to push beyond the crisp lo-fi intimacy of its early work, and has forged its most confident and finely-crafted recording to date, moving fully into auteur and chamber-pop territory with a song cycle that brings to mind the meticulousness of mood and sonics found in recent work by PJ Harvey, Nick Cave and Tindersticks. Inflected by an anxious, sussurant restraint, Huebert's voice is supported by the falsetto backing vocal counterpoint and economical instrumentation of bandmates Erik Arnesen, Peter Carruthers and Shaunn Watt. Fans of the understated and underrated 1990s group Swell may also hear a welcome evocation of that group's acoustic guitar-driven simplicity and austere deployment of adornments.

                                  Following Siskiyou's excellent sophomore release Keep Away The Dead in 2011, Huebert became afflicted with a serious inner ear condition that eluded conventional diagnosis. While honouring a previously scheduled songwriting residency in Dawson City, Yukon in winter 2012, Huebert found himself grappling with severe anxiety and an unwelcome interiority, engendered by hyperacusis and a house that felt utterly haunted. Intense chronic ear-ringing and panic attacks continued throughout the year, for which conventional medicine was unable to find any cause or effective treatment; Huebert began focusing on meditation, retreated to silence for a period, and then began rehearsing his new songs with the band at extremely low volumes. The songs on Nervous are shot through with the entirety of this experience: the literal feeling of being trapped in one's head and the physical-psychological feedback loop of debilitating anxiety; the lyrical themes and tense, whispered singing amidst tightly-wrought compositions and arrangements.

                                  Huebert found solace in new working methods within the controlled environment of studio-based production and composition, developing new sonic palettes and pursuing new avenues of instrumental arrangement and recording fidelity. Working with producer/engineer Leon Taheny (Owen Pallett/Final Fantasy, Dusted, Austra) on most of Nervous, Siskiyou has emerged with by far its most assured, ambitious and authoritative recordings, while preserving the economy of elements, deft structures, and assiduous melodic deliberation for which the band has been rightly celebrated over its two previous albums. In charting escape paths from his disquieting cranial confinement, Huebert has very much succeeded in setting his songs out on an expansive canvas, while preserving a palpable sense of nervous interiority and quiet desperation at their heart.

                                  Nervous includes contributions from guest musicians Colin Stetson, Owen Pallett, JP Carter, Ryan Driver and the St. James Music Academy Senior Choir, among others. The album features original artwork by Michael Drebert.

                                  FORMAT INFORMATION

                                  LP Info: The Deluxe 180g LP edition includes a series of 12"x12" prints of Drebert's india ink drawings inspired by the album.

                                  Kaitlyn Aurelia Smith


                                  Kaitlyn's solo debut Euclid (primarily written on a Buchla Music Easel synthesizer) was inspired by her love of mbira music, early electronic music pioneers like Laurie Spiegel, Oskar Sala, and Terry Riley, and euclidian geometry. Each of the first six songs on Euclid were initially structured using euclidian geometry, an idea which Smith explored while attending a class at the San Francisco Conservatory. As Smith explains, "We each chose a 3D shape and assigned our own guidelines to the different components that make up the shape. For example each point of the shape represents a different time signature, each line between the points represents a pitch, each shape within the closed lines represents a scale, etc. And then you play the shape."

                                  Despite their heady geometric origins, the songs have a playfulness and warmth that makes them inviting and memorable. In addition to the buoyant grooves of Smith's synthesizers, some of the songs feature wordless vocals, which energize the otherworldly songs, while grounding them with Smith's earthly presence. She slows things down for the second half of the record, which features a collection of twelve short pieces, Labyrinths I-XII. Originally composed as new soundtracks to old silent films she found online, Smith says the tranquil Labyrinth pieces are "intended to feel like one is walking through a holographic labyrinth and encountering different experiences such as hang gliding, viewing microbes under a microscope, ice fishing in Alaska, and watching glaciers collapse."

                                  Despite their brevity, most of these songs feel like mini odysseys, effortlessly casting a cinematic hue on the the listener's world. Throughout Euclid Kaitlyn Aurelia Smith consistently delivers sonic puzzles draped in a warm Pacific mist. At times these songs feel so alive — like the musical analog to roots growing deeper and stronger, leaves on branches bending towards the light, or the sun peeking over the horizon, briefly igniting the air with a primordial swirl of warm and cool colors.

                                  The band’s legendary eponymous 1982 debut. Features remastered album tracks, live material from one of the band’s earliest performances, and a rare studio outtake. Booklet has notes by Richard Edson, Glenn Branca and Byron Coley. Sonic Youth’s eponymous debut 12-inch was recorded in late 1981 at Radio City Music Hall in NYC and originally released on composer Glenn Branca’s Neutral label. The album is loosely based on compositions the newly formed group had performed at that year’s week-long Noisefest event (and remains the only recorded document of an early line-up featuring actor Richard Edson on drums).

                                  Back in print on CD, the Goofin’ Records edition also features extra live material from a 1981 gig and an outtake from a early studio session. “We wanted it to sound like PIL who we were into. It didn’t but we were lucky it came out sounding like a record. We did it in two eight-hour sessions at a studio at Radio City Music Hall called Plaza Sound. The janitor let us in the back door.” - Kim Gordon.

                                  Bone-shaking tropical funk bolstered with guitar hooks that sound like Congolese finger pianos.

                                  Lead single ‘African Tree’ strolls past on a marching band rhythm, complete with an arenasized chorus and Kyuss-heavy stoner rock guitars.

                                  Produced by Andrew Hung of Fuck Buttons.

                                  FORMAT INFORMATION

                                  LP Info: LP format includes a copy of the album on CD.

                                  Soul Jazz Records’ new ‘Punk 45’ album ‘Burn Rubber City, Burn!’ charts the rise of the music scene in the mid-West city of Akron, Ohio, at a time when the city and the rubber industry it was associated with was in deep decline.

                                  Featuring a fantastic collection of Akron groups including Devo, The Bizarros, Rubber City Rebels, Jane Aire, Chi-Pig, The Waitresses and more.

                                  The album follows on from Soul Jazz Records’ earlier ‘Punk 45’ albums about USA and British punk (‘Kill The Hippies! Kill Yourself!’ and ‘There Is No Such Thing As Society’) as well as the cover art book ‘Punk 45’.

                                  ‘Burn Rubber City, Burn!’ coincides with the release of as a second album about Ohio’s early punk scene, ‘Extermination Nights In The Sixth City’, featuring the music scene of nearby Cleveland.

                                  “Soul Jazz Records’ story of American punk opens up a whole 1970s history that is still underexposed.” - The Guardian

                                  FORMAT INFORMATION

                                  2xLP Info: The album comes complete with extensive text as well as exclusive photos and original record artwork. Vinyl edition is on deluxe gatefold double vinyl with free download code.

                                  CD Info: CD comes with outsize large booklet and thick slipcase.

                                  Soul Jazz Records’ new ‘Punk 45’ album charts the rise of underground punk in the mid-west city of Cleveland, Ohio, which for many people is the true birthplace of punk music in the mid-1970s.

                                  Featuring a fantastic collection of punk 45 singles from Cleveland groups including Pere Ubu, electric eels, The Pagans, Rockets From The Tomb, Mirrors, X–X and more.

                                  Vinyl edition is on deluxe gatefold double-vinyl with free download code.

                                  The album follows on from Soul Jazz Records’ earlier Punk 45 albums about USA and British punk (‘Kill The Hippies! Kill Yourself!’ and ‘There Is No Such Thing As Society’) as well as the cover art book ‘Punk 45’.

                                  ‘Extermination Nights In The Sixth City’ coincides with the release of as a second album about Ohio’s early punk scene, ‘Burn Rubber City, Burn!’, featuring the music scene of nearby Akron.

                                  “Soul Jazz Records’ story of American punk opens up a whole 1970s history that is still underexposed.” - The Guardian

                                  FORMAT INFORMATION

                                  2xLP Info: The album comes complete with extensive text written by Jon Savage as well as exclusive photos and original record artwork. Vinyl edition is on deluxe gatefold double-vinyl with free download code.

                                  CD Info: CD comes with outsize large booklet and thick slipcase.

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