MAGIC MIX

psych . krautrock . prog . rock

WEEK STARTING 18 May

Genre pick of the week Cover of A Magic Lane Of Light And Rain by Pretty Lightning.

Pretty Lightning

A Magic Lane Of Light And Rain

Cardinal Fuzz / Sound Effect Records are proud to present to you 'A Magic Lane of Light and Rain' the new long player from Pretty Lightning. Pretty Lightning is a psychedelic blues duo and the spiritual home of Christian Berghoff and Sebastian Haas - brothers in mind and sons of the Datashock family collective. Formed in 2007 their debut LP 'There Are Witches In The Woods' was released via Fonal in 2012 and showcased their rolling and tumblin' Spacemen 3 in the Mississippi chug.

Now in 2015 Pretty Lightning present 'A Magic Lane of Light and Rain' a throbbing delta blues psychedelic gloop that collides with the communal vibe of some of their Krautrock forefathers. Recorded in a way that holds no regards for studio polish or any hi-tech sheen - Pretty Lightning favour sounds that bleed together and push their music into a fuzzy sun-baked back porch haze. 'A Magic Lane Of Light and Rain' provides you with pounding stomping drums, reverb drenched dirty riffs, ghostly vocals, analog keys/loops and songs that sound as though there coming filtered from a long faded dream.

Ilyas Ahmed

I Am All Your Own

    I Am All Your Own is Ahmed’s most direct work, with his vocals brought to the fore and unobscured. Written and recorded entirely on 12-string and electric guitars and recorded fully analog for an intimate and homespun atmosphere.

    Music video for “Come On” made by filmmaker Paul Clipson (Barn Owl, Jefre Cantu-Ledesma, Tarentel) will be fully serviced Ilyas Ahmed has collaborated with Liz Harris (Grouper) and Golden Retriever

    LP edition with two sided insert and download card. Limited supply on red vinyl. Cassette edition on chrome plus tape, free download

    On I Am All Your Own, his first album in three years, Ahmed employs strategies gleaned from experimental and ambient musicians, such as Lawrence English and Fripp & Eno, and applies them to song-based guitar music. Building slowly and purposefully, each individual track adds to the albumʼs overall, scrupulously-forged contour.

    His most direct work, Ahmed’s voice is brought to the fore and unobscured. Like the best work of his friend and collaborator Liz Harris (Grouper), as well as classic touchstones such as the Velvet Undergroundʼs self-titled third album and David Crosbyʼs “If I Could Only Remember My Name,” Ahmed’s songs exist in a sublime moment of suspended animation, calmly dwelling in between modes of music making both timeless and contemporary – deeply imbued with stillness and peace.

    “Ilyas’ music is in service to dream investigation, at once still and impermanent as an August cloud and then sweeping like a strange breeze through your thoughts. I Am All Your Own will wrap you in serenity but is aware that any second now you may escape. Music of a sweet morning, and unforgettable.” - Thurston Moore, London.

    “a pristine bit of late-fall melancholy, all traipsing acoustics and droning organ... an ecstatic and strange haze, like the last night of a hot summer’s lost weekend” - Pitchfork.


    Issued in 1975, this is the articulation of Zambia’s Zamrock ethos. While other albums - Rikki Ililonga’s 'Zambia', Witch’s 'Lazy Bones!!' - are competitors, it’s hard to best this album as it covers each major quadrant of the Zamrock whole: it came from the mines; its musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks - hard. Amanaz were serious, and they made a serious stab at an album. They titled their album 'Africa', according to original band member Keith Kabwe, “because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen… all the atrocities slave drivers committed. “ Thus, their “Kale,” a blues sung in Nyanja, that traced the continent’s arc from slavery to Zambia’s independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and bandleader/lead guitarist Isaac Mpofu. Africa’s vibe ranges from anxious (“Amanaz”) to escapist (“Easy Street”) to straight-up pissed-off. On the “History of Man,” his voice whiskey-burned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species. There’s a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu’s more restrained “Khala My Friend,” which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there’s the clear Velvet Underground-influence on the nostalgic “Sunday Morning,” which, as Kabwe recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release - and the underground funk of “Making The Scene.” The album also tackles traditional Zambian music and early-‘60s rock – punctuated, of course by Kanyepa’s wah-wah and Mpofu’s fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. “Green Apple” is a civil song, featuring Kanyepa’s sighing guitar. It is a perfectly arranged album, from the dichotomy of Mpofu’s and Kanyepa’s lead and rhythm guitars, to the vocal harmonies, to the rhythm section’s sense of space and time, which allows Africa’s funk to build. Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the mix, and with the guitar solos mixed much louder. We’ve presented them both here as they each have their appeal: it’s up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and we hope that this can be seen as its definitive reissue.

    Areski & Brigitte Fontaine

    Je Ne Connais Pas Cet Homme LP

    Following their groundbreaking collaboration with Art Ensemble Of Chicago, 'Comme à la Radio', Areski and Brigitte Fontaine began recording almost exclusively together as a duo. Originally released in 1973, 'Je Ne Connais Pas Cet Homme' is their first record billed under both names.

    Deeply rooted in North African and European folk traditions, the album features evocative vignettes with breezy vocals and minimal accompaniment of classical guitar, strings and woodwinds.

    As always, there is a mercurial quality to their lyrics. The title track (translated as "I Do Not Know This Man") suggests at once Apostle Peter's denial and a poetic acknowledgement. On "C'est Normal" Fontaine playfully questions the status quo while Areski offers satirical answers. What makes Je Ne Connais Pas Cet Homme one of their best-loved albums, though, is its remarkable sense of intimacy - as if Areski and Fontaine beckon listeners into their strange and beautiful world.

    This first-time domestic release continues Superior Viaduct's reissue campaign of Fontaine's classic '70s catalogue.

    The Beach Boys

    Pet Sounds - 180g Vinyl Edition

      The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times."

      Damian Castellanos

      - The KYVU Tapes Vol.1 (1990-1998)

        You probably know Demian Castellanos as the man behind the London psyche rock outfit The Oscillation. Cardinal Fuzz and their European best partner in crime Hands In The Dark are teaming-up to release "The Kyvu Tapes Vol.1 (1990-1998)".

        Demian grew up in a house called Kyvu (which means "view of the dog" in local dialect) in a village called The Lizard where the view from his house overlooked Kynance Cove in Cornwall. All of which act as reference points as Demian Castellanos takes you on a sonic exploration on the Kyvu Tapes Vol.1.

        The fruit of his 90's decade-long, obsession for the infinite possibilities offered by the electric guitar - playing it with forks, knives, bits of paper, volume control, and making the most of the effects pedals he had - was countless hours of experimentation and sonic explorations on a 4-track Tascam Porta 3. Largely influenced by new sound of the British psyche/shoegaze scene of that time, his music could be described as analog and guitar based ambient music or room drones, a vast auditory map of sonic places to lose himself in and immerse himself in a surreal/non-real present time of that period.

        15 years down the line, Demian decided to dig out his endless night and day recordings of that period, reflecting now a bizarre conversation between his older and younger self.

        FORMAT INFORMATION

        Ltd LP Info: 350 Pressing on Black Vinyl.

        Cosmic Ground

        Deadlock / Decay

          Following January’s killer trio of Deep Distances’ trio of 10” EPs come 2 more incredible releases heavy on kosmische drone and motorik electronics.

          The first of which is a mighty 12” from Dirk Jan Muller, a debut solo offshoot from German outfit Electric Orange. Whilst that project contains hints of electronics, Dirk airs his full range of vintage analogue equipment for his solo venture here. Incredible dark 70s Germanic psychedelic electronics heavy on nods to the Berlin School of Schulze, Froese, Tangerine Dream and Manuel Gottsching.

          ‘A’ side “Deadlock” is lifted from last year’s (CD only) debut full length, and opens with epic hypnotizing, trance like drones which peak and trough before giving way to an incredible sequenced rush of kosmische electronics. An incredible piece, tantalizingly good and no surprise that “Prog Archives” awarded the album it was lifted from, 5 stars out of 5, hailing it as one of the very best Berlin School styled LPs since the 70s.

          The reverse, “Decay” was previously available as a download only to buyers of the CD and is equally magnificent. The label is proud to commit this one to vinyl for a first time here.

          An incredible record, further cementing Deep Distance’s burgeoning reputation as THE place to head to for that authentic, revered Kraut / Kosmische groove.

          Cream

          Disraeli Gears

            The 1960s British rock supergroup power-trio’s sound was characterised by a hybrid of blues rock, hard rock and psychedelic rock combining psychedelia-themed lyrics, Eric Clapton's blues guitar playing, Jack Bruce's operatic voice and prominent bass playing, and Ginger Baker's jazz-influenced drumming.

            Following on from the “Cream: 1966 - 1972” vinyl box set released in November; the six albums are now available individually on 180g heavyweight viny and include download vouchers.

            Cream

            Fresh Cream

              'The 1960s British rock supergroup power-trio’s sound was characterised by a hybrid of blues rock, hard rock and psychedelic rock combining psychedelia-themed lyrics, Eric Clapton's blues guitar playing, Jack Bruce's operatic voice and prominent bass playing, and Ginger Baker's jazz-influenced drumming.

              Following on from the “Cream: 1966 - 1972” vinyl box set released in November; the six albums are now available individually on 180g heavyweight viny and include download vouchers.

              Cream

              Wheels Of Fire

                'The 1960s British rock supergroup power-trio’s sound was characterised by a hybrid of blues rock, hard rock and psychedelic rock combining psychedelia-themed lyrics, Eric Clapton's blues guitar playing, Jack Bruce's operatic voice and prominent bass playing, and Ginger Baker's jazz-influenced drumming.

                Following on from the “Cream: 1966 - 1972” vinyl box set released in November; the six albums are now available individually on 180g heavyweight viny and include download vouchers.

                Die Wilde Jagd

                Die Wilde Jagd

                  Music from the "Rauhnächte" - DIE WILDE JAGD go hunting in the thicket of Neo-Krautrock, Electronica and Synthpop.

                  Every year anew, during the Rauhnächte (those harsh nights between Christmas and Twelfth Day), the Wild Hunt (Die Wilde Jagd) rides across the country: raucous, jeering hunters from the nether world, whose path it is better not to cross. This is an ancient Germanic myth, which, in slightly varied form, is known in many parts of Europe and whose name Ralf Beck and Sebastian Lee Philipp have aptly chosen for their new project. The two first met in 2006 in Düsseldorf's Salon des Amateurs , a meeting place for new and established experimental musicians and artists, also known as Germany's "postpunk Hacienda". It seems no coincidence that Düsseldorf is the duo's founding city: their music is full of subtle references to local acts, such as Kraftwerk, NEU!, DAF, Liaisons Dangereuses, Pyrolator, the Krupps and Propaganda. Since their first meeting, Beck and Philipp regularly come together during the time of the Rauhnächte to record in Beck's well-equipped studio. Using the numerous analog keyboards and recording devices assembled there, and combining them with a diverse range of percussion instruments, they create their own "hunting music", which at times sounds unsettling, like swampland or a dark forest, but also urgent and pressing, like incandescent lasers or a hypnotic dance. Their soundscape is marked by repetitive guitar loops, electronic percussion, drums and synthesizers. Booming tom-toms and medieval-sounding flutes herald the start of the hunt. Whispering, reciting voices conjure up the spirits of the woods, while synthetic sounds, melodies and noises flit about before they are re-captured, structured and grounded by crystalline beats and pulsating bass lines.

                  About the musicians: Ralf Beck is a musician and producer from Düsseldorf. He has released several albums as part of the duo Nalin & Kane, as well as under the name Unit 4. He collects old synthesizers and effect pedals and has already worked together with Karl Bartos. In his studio Uhrwald Orange he has recorded music by Propaganda, Kreidler, Black Devil Disco and many more.

                  Sebastian Lee Philipp is part of the Berlin-based electro-wave duo Noblesse Oblige and composes music for theatre and radio plays. Between 2001 and 2006 he lived in London where he ran the club night "Caligula" and performed as a DJ.

                  Fu Manchu

                  Kept Between Trees

                    Reissue of the first 3 song 7" + 1 unreleased from 1990. These were songs that were a transformation from their hardcore/punk band - Virulence, that started in 1985. “we were listening to a lot of Melvins , laughing hyenas, TAD, GORE, Swans early White Zombie” - Scott Hill. The song "blowtorch" was recorded at that same 1990 session but never released. ….Extra track featured on download card " flashin' " was recorded as a demo a few months after the self titled recording in 1990...and is also unreleased. 

                    Charlotte Gainsbourg

                    IRM - 180g Vinyl Edition

                    With a title taken from recurrent times having MRI scans after a water-skiing accident, and co-writing and production credits going to Beck, Charlotte Gainsbourg's "IRM" album was always going to be an interesting listen. The follow up to her 2006 collaboration with Air, Nigel Godrich and Jarvis Cocker; "5.55",  "IRM" was produced in the summer of 2009, and features plenty of distinctly Beck style quirkiness which gives Gainsbourg's soft vocals a different feel. The tracks range in style from the oddball pop of "Master’s Hands", via the slightly wonky Motorik rhythms of title track "IRM" to the sublime, moody cinematica of "Le Chat Du Café Des Artistes" (very Gainsbourg - Serge), and distorted psych-rock stomp of "Trick Pony". Already causing a stir with our Balearic customers, this album is definitely worthy of further attention by the rest of you.

                    Guns N' Roses

                    Appetite For Destruction

                      Guns N' Roses' debut, 'Appetite For Destruction' was a turning point for hard rock in the late 80s - it was a dirty, dangerous, and mean record in a time when heavy metal meant nothing but a good time. On the surface, Guns N' Roses may appear to celebrate the same things as their peers - namely, sex, drink, drugs, and rock & roll - but there is a nasty edge to their songs, since Axl Rose doesn't see much fun in the urban sprawl of LA and its parade of heavy metal thugs, cheap women, booze, and crime. The music is as nasty as the lyrics, wallowing in a bluesy, metallic hard rock borrowed from Aerosmith, AC/DC, and countless faceless hard rock bands of the early 80s. It's a primal, sleazy sound that adds grit to already grim tales. 

                      STAFF COMMENTS

                      Andy says: The album that James Dean Bradfield learned to play guitar to. A classic.

                      Kaleidoscope

                      Faintly Growing - Unreleased Mixes

                        With every passing decade since Kaleidoscope's demise, the band’s recorded legacy has continued to rank amongst the most highly prized artefacts that define the psychedelic genre. Their seminal debut album from 1967, `Tangerine Dream` is now considered to be one of the finest examples of English psychedelia with original copies of this album fetching in excess of £1000. Similarly 1969’s heavier edged follow-up ‘Faintly Blowing’ and 1970’s ‘From Home to Home’ are also fetching hefty sums.

                        The two tracks on this 7" are unreleased alternative mixes from the band`s own personal archives that have laid unheard for over 45 years – that is until now! Discovered only recently in in a dusty corner of lead singer Peter Daltrey's attic (along with some original stage costumes) Peter explains how he acquired these now priceless artefacts:

                        "After a long day-and-into-the-night recording at the Philips/Fontana Studio No 1 at Marble Arch, the band would request acetates of the day`s work to listen to at home. Dick Leahy (Philips/ Fontana 60's A&R Legend) was always involved in the arrangements and instrumentation of each track in consultation with us. So at the end of the session, the engineer would dub down a mix of the track for us and then overnight we would go away and listen to the arrangements which (although almost always in mono) still gave us a fair idea of what the finished track would sound like. At the next session we would then pow-wow in the control room with a chain smoking Dick and come to an agreement on changes for overdub embellishments that might be required. Thus these acetates were an invaluable tool in helping us hone and craft each track and refine the Kaleidoscope Sound!"

                        Both tracks collected here:`Black Fjord` and `If You So Wish`, have been taken from the band`s widely lauded second album: 'Faintly Blowing' and feature the first 'new' material that has surfaced from the band in close on 25yrs. The version of `Black Fjord`features a band in the full throws of sonic experimentation with the vocals heavily drenched in reverb giving the impression of a band recording in some gigantic cathedral-like echo chamber!!

                        Whilst the version of `If You So wish`sees lead singer Peter Daltrey providing a tentative guide vocal during an orchestral session which provides a wonderful insight into the development of the track, although obviously not originally intended for commercial release.

                        Fine attention has also been paid to the packaging which comes as a 7" foldout sleeve which reproduces the original artwork from the inner and outer gatefold album sleeve. Limited to just 499 copies it also comes hand numbered and pressed on beautiful coloured vinyl, housed and protected by a PVC sleeve.


                        FORMAT INFORMATION

                        Ltd 7" Info: DOUBLE SIDED 7" FOLD-OUT SLEEVE – BLUE VINYL

                        Les Big Byrd

                        Liquid Sky

                          The Byrds are back! With pure liquid for all the freaks on the inside longing for the outside. Höga Nord are more than happy to deliver their latest EP 'Liquid Sky' on a picture disc 12". The album was recorded during the winter 2014 according to band member Joakim Åhlund. That might explain the subtle dark nerve in the music and lyrics. Mellow, mature music for fresh motherlovers as usual: Opening track 'The Summer Ends Tonight' takes off like a melancholic third eye opener. Title track 'Liquid Sky' sounds like a loving hug when you really need it. When the 'Roundhouse Blues' kicks in it´s time to play hide and seek with our minds. And then. Um. Well. Just remember to enjoy the summer before the night it ends. Steady psychin´! 

                          FORMAT INFORMATION

                          Ltd 12" Info: Picture disc EP.

                          Listening Center

                          Cycles / Other Phenomena

                            The second of Mays’ new Deep Distance releases sees a more then welcome airing to the magnificent Listening Center “Cycles/Other Phenomena” LP. Previously released as a cassette only full length on NYC based, Danish music / design collective “This is Care of…” and following 45s on Ghost Box here.

                            The Listening Center is the alias of drummer and electronic musician David Mason. “Drawing primarily from influences such as the BBC Radiophonic Workshop, lost film/TV soundtracks, and Kosmische Musik, Listening Center presents a patchwork of imagined pasts/futures, in which the listener can make his or her way through an undergrowth of dream-like melodies and electronic sound palettes which have the effect of being at one point reassuring, then unsettling.

                            Recorded exclusively using analogue synth technology (and the occasional tape manipulation), in live performance and recording, Listening Center keeps an eye and an ear on the spectra of alternative pasts and futures.”

                            A wonderful LP released as a limited pressing of 300 on white vinyl which will no doubt disappear in rapid fashion. Fabulous stuff, be quick!

                            FORMAT INFORMATION

                            Ltd LP Info: 300 only white vinyl LP only.

                            Born to an Irish mother and Bengali Hindu father, Sara Mitra has a diverse heritage and range of influences. Combining folk, jazz and country, Sara saw her 2010 debut album 'April Song' critically acclaimed and gain the support of major radio outlets. Building on that debut Sara Mitra draws folk blues and psychadelic influences into her second LP, 'Losing You'. Recorded and produced by Ben Lamdin of Nostalgia 77 fame.

                            “A wonderful UK singer who really has a very individual sound and a great choice of repertoire as well… I’ve been playing her on the show a lot, (I) really love her versions of standards and her original tunes as well. The music she has been creating with Nostalgia 77 over the past few years is some of my favourite British vocal jazz of recent times” - Jamie Cullum, BBC Radio 2

                            Stevie Nicks

                            Crystal Visions... The Very Best Of

                              2 x regular weight (120 gram) clear vinyl, in plain white inner sleeve. After initial pressing sells through, this vinyl will default to a standard black vinyl.

                              Brooklyn NY band Regal Degal are proud to announce their sophomore album Not Now on Terrible Records.

                              This collection of songs serves as the most essential Regal Degal record yet. Not Now is a culmination of the myriad experiences that have shaped theRegal sound - a stint in Los Angeles where the band released their debut full-length Veritable Who's Who on No Age's PPM Records, a recent relocation to NYC and countless shows with the likes of Black Dice, Chk Chk Chk, The Clean, Panda Bear, DIIV, Real Estate and Grizzly Bear - the latter of which turned out to be most fruitful for the band.

                              Produced in tandem with Grizzly Bear's Chris Taylor, and recorded in both Berlin and New York at the legendary Grizzly Bear church and Mexican Summer's Brooklyn studio, the band were able to truly capture the impact of their live show, while leaving space for Taylor's unique sense of space and dynamics.

                              Not Now toys with a dense array of sonic influences ranging from 60s psych pop, 70s glam and krautrock, 80s post-punk, 90s shoegaze, and a post-00s appreciation for a variety of electronic music (Italo disco, minimal synth, classic Chicago house) creating the album's vibrant and intricately woven fabric.

                              Track one "Delicious" takes the listener through its swaying dream-funk, decorated with a deliriously sweet bodega guitar lead that suggests a traditional melody of some forgotten old world celebration. After the first line drops -- "I hear a lonely cyborg sing a techno lullaby" - a melancholy cityscape begins to unfold.

                              Such is the terrain of Not Now -- bustling, vast, worldly, at once familiar and alien. "Ruining My Life" picks up where "Delicious" leaves off (literally, the first word of the song is "Delicious"). Its jangling 12-string guitar infuses an ecstasy-fuelled drum machine-driven hoedown, with a shimmering Johnny Marr-esque appreciation of precious melodic prowess.

                              Fun guitar riffs aside, Regal steps up the vocal game significantly this time around. From the tense Eno-esque strut of "Wide Awake" to the playfully devastating drama of "Pyramid Bricks" (re-recorded from its previous incarnation as the title track of Regal's previous EP), Not Now is a suite of deep and ponderous rock songs that stem from a curious mix of romantic and rhythmic sensibilities. It occupies many spaces at once, simultaneously existing in dimensions of pure joy, dire depression, and everything in between.

                              The album title itself presents the idea of another time, or perhaps a denial of the present -- could this be an acknowledgment of infinite possibilities beyond our present-minded daily routines, or maybe just an escape in general? It's a statement to consider, especially when choosing "not now" is an option that anyone with a laptop or a smartphone is confronted with on a daily basis. Maybe now is not the time to be doing whatever you're doing, but instead a good time to entertain a new idea, a new sound, a new record by a band new enough to keep people on their toes but seasoned enough to make it worth their time and energy. 

                              The Bristol-based four-piece are the loudest, most abrasive band on Sonic Cathedral to date, and one who make a mockery of those articles that crop up every now and again asking if guitar music is dead. “If guitars are supposed to be dead,” wrote Drowned In Sound in their review of 2013’s ‘Hunge r’ EP, “it’s probably because Spectres have killed them.”

                              They certainly find influences in all the best places: first album My Bloody Valentine, ‘Sister’-era Sonic Youth, the Loop of ‘Heaven’s End’, Swervedriver’s Creation-days desert-gaze, A Place To Bury Strangers’ total sonic annihilation and Royal Trux’s squalid noise on ‘Twin Infinitives’ to name just a few. The album opens with the ominous and unsettling white noise and dark found sounds of ‘Drag’ and is unrelenting for the next 50 minutes, taking in first single ‘Where Flies Sleep’, a re-recorded version of ‘The Sky Of All Places’, originally released early in 2014 as part of the Too Pure Singles Club, and ‘Sea Of Trees’, which was given away as a free download to attendees of Sonic Cathedral’s recent 10th anniversary show at the 100 Club in London.

                              FORMAT INFORMATION

                              LP Info: Black vinyl edition.

                              Ltd LP Info: Smokey grey coloured vinyl house in a gatefold sleeve with download code.

                              The Velvet Underground

                              Loaded

                                "After The Velvet Underground cut three albums for the jazz-oriented Verve label that earned them lots of notoriety but negligible sales, the group signed with industry powerhouse Atlantic Records in 1970; label head Ahmet Ertegun supposedly asked Lou Reed to avoid sex and drugs in his songs, and instead focus on making an album "loaded with hits." Loaded was the result, and with appropriate irony it turned out to be the first VU album that made any noticeable impact on commercial radio -- and also their swan song, with Reed leaving the group shortly before its release. With John Cale long gone from the band, Doug Yule highly prominent (he sings lead on four of the ten tracks), and Maureen Tucker absent on maternity leave, this is hardly a purist's Velvet Underground album. But while Lou Reed always wrote great rock & roll songs with killer hooks, on Loaded his tunes were at last given a polished but intelligent production that made them sound like the hits they should have been, and there's no arguing that "Sweet Jane" and "Rock and Roll" are as joyously anthemic as anything he's ever recorded. And if this release generally maintains a tight focus on the sunny side of the VU's personality (or would that be Reed's personality?), "New Age" and "Oh! Sweet Nuthin'" prove he had hardly abandoned his contemplative side, and "Train Around the Bend" is a subtle but revealing metaphor for his weariness with the music business. " - All Music

                                FORMAT INFORMATION

                                LP Info: 180g vinyl.

                                The Waterboys

                                This Is The Sea

                                  Expanding the epic, multi-layered sound of 'A Pagan Place', 'This is the Sea' is a more ambitious record and finds Mike Scott at his melodic peak.

                                  180g vinyl cut from the 2004 digital remaster.

                                  Includes "The Whole Of The Moon".



                                  White Hills are one of the most legendary acts in psychedelic rock today and remain a consistent top seller, often selling through multiple vinyl pressings quickly upon release.

                                  ‘Walks For Motorists’ showcases a new intensity for the band, emphasizing rhythm and groove. It is their definitive statement.

                                  The album was recorded at Bryn Derwen Recording Studio in Wales with David Wrench (Caribou, Bear in Heaven, FKA Twigs, Owen Pallet).

                                  White Hills have recently appeared in Jim Jarmusch’s film ‘Only Lovers Left Alive’, toured with both The Cult and Kylesa and were selected by Scion for their AV Club compilation.

                                  FORMAT INFORMATION

                                  LP Info: LP version pressed on virgin vinyl and packaged in a high gloss jacket with spot varnish, artworked inner sleeve and free download coupon.

                                  CD Info: CD version in 4 panel mini-LP style gatefold package with spot varnish printing and innersleeve.

                                  2xLtd LP Info: Double LP set, exclusive to independent retailers. Translucent red vinyl LP plus bonus ‘Drives For Pedestrians’ black vinyl LP featuring 30 minutes
                                  of unreleased material packaged in its own jacket with bootleg style cover sticker.

                                  Various Artists

                                  The Big Lebowski OST - Back To Black Edition

                                    The soundtrack to one of the Coen Brothers finest moments is a cornocupia of exotic titbits, classic (but obscure) rock cuts and made-up score sounds. Don't fret, yes it has got Kenny Roger's psychedelic stoner country tune "Just Dropped In (To See What Condition My Condition Was In)" on it. Perhaps less familar, although no less brilliant, is Bob Dylan's "The Man In Me" which accompanies the movies' opening credits. You've also got some Captain Beefheart, Elvis Costello, Henry Mancini, Nina Simone and even the Gipsy Kings' cover of "Hotel California"! Plus, composer Carter Burwell's track "Wie Glauben", featured in the flick as music by Kraftwerk rip-offs Autobahn. Wonderful.


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