Back in stock Cover of Early In The Morning by Yoko Ono / Thurston Moore / Kim Gordon.

Yoko Ono / Thurston Moore / Kim Gordon

Early In The Morning

    An extraordinarily powerful recording from a very special trio. Beautifully pressed on one-sided 10" vinyl with a Yoko etching on the flip side, packaged in a clear plastic sleeve. Limited edition of 1000. Proceeds to benefit ASHINAGA Tokyo Rainbow House for orphans of the Japanese tsunami. 1 song / length 14:36


    Ltd 10" Info: ONE COPY ONLY LEFT!

    Joe Gibbs & The Professionals

    African Dub All-Mighty - Chapter 3

    "The third (and most impressive) of four volumes of dub mixes from the studio of producer Joe Gibbs, African Dub, Chapter 3 finds engineer Errol Thompson getting a bit more adventurous than he had on the earlier installments. More of these dub versions keep shreds and snatches of the original vocal tracks in the mix, which is almost always a plus in a dub context -- little snippets of disembodied vocals float through the otherworldly musical atmosphere, lending a sometimes spooky human element to the sound and often casting new and refracted light on the meaning of the original lyrics. And on this volume, Thompson seems to be taking a few cues from his competitor Lee "Scratch" Perry, throwing such extramusical elements as water sounds (on "Freedom Call") and ringing telephones (on "Jubilation Dub") into the mix along with the usual gossamer shreds of guitar, horn, and keyboard. Highly recommended." - All Music

    Lee Perry

    Megaton Dub

    Wicked dub album from Lee Perry recorded at The Black Ark studio originally released in 1983 but musically from 1977/78. Featuring heavyweight dubs of tunes by Jolly Brothers, Leroy Sibbles, Earl Sixteen & Mikey Dread.

    Lee Perry

    Megaton Dub 2

    Heavyweight dub album from Lee Perry's Black Ark Studios, originally released in 1984 featuring a killer dub of The Congos "Row Fisherman Row" and many more.

    Back in stock Cover of Theppabutr Productions: The Man Behind The Molam Sound 1972-75 by Various Artists.

    Various Artists

    Theppabutr Productions: The Man Behind The Molam Sound 1972-75


      *Official Record Store Day 2013 Exclusive
      *Limited one time pressing
      *2xLP housed in an old-school gatefold tip-on jacket
      *Includes 18 × 24" foldout poster
      *Includes download card with full album and two bonus tracks not available on the previous CD release
      *Ever travelled in time and space wearing headphones? The latest album from Light In The Attic’s on-going collaboration with Bangkok’s ZudRangMa label promises to help you do just that.
      *Following the celebrated Thai Funk: ZudRangMa compilations exploring Molam music from the ‘60s, ‘70s and ‘80s, it’s time for an in-depth look at one of the architects of the sound. Theppabutr Productions: The Man Behind The Molam Sound 1972-75 issues, for the first time outside of Thailand, the work of pioneering producer Theppabutr Satirodchompu, the man credited as the creator of the modern Molam sound.
      *Those uninitiated in Molam (or "Mor Lam”, as it’s sometimes known) should probably get acquainted with Thai Funk Volumes 1 and 2, like, right now. But as time is short, let us say it was the exciting, electric music born of the age-old folk music traditions of northeast Thailand in the latter half of the 20th century. It’s the sound of a corner of a far eastern nation carving its way through the musical shifts sweeping the west while keeping one eye on the past – and the resulting groove-laden vinyl gems sound just as fresh and dynamic today as they did decades ago.
      *Theppabutr’s contribution to Molam is almost immeasurable – he signed hundreds of Molam artists and recorded even more. Here, acts from his stable including Roied Petchsiam, Chanpen Sirithep and Theppabutr’s singing wife, Baneyn Rakkaen, showcase his heavy, deep and raw sound, colored by native instruments including the haunting, church organ-like khaen and the driving riffs of the phin.
      *Like the Thai Funk compilations, Theppabutr Productions: The Man Behind The Molam Sound 1972-75 is the result of some serious crate-digging by the ZudRangMa label’s own Maft Sai, who scours used record bins and street markets in Bangkok and beyond. Beyond the label, Sai is a DJ responsible for the Bangkok Paradise club, which brought Theppabutr back to the stage in February 2012 with his group Wong Dontri Molam Theppabutr. Thanks to Sai, the wider world is now privy to a rich seam of Thai pop, garage rock, funk, and disco from a selection of artists largely unknown outside of Southeast Asia.
      *A record label and shop with a strong desire to find old gems and and present them as beautiful reissues, ZudRangMa and Light In The Attic clearly share a similar ethos despite the thousands of miles separating them. In their native Thailand, ZudRangMa’s CD issues of these compilations are housed in a limited, hand-stitched soft cloth sleeve. Not to be outdone, we issued our complementary vinyl editions as epic 2xLP packages complete with gatefold sleeves, vintage album art, lovingly remastered audio and four varieties of the beautiful hand-stitched, printed and colored cloth outer sleeves.
      *Theppabutr Productions: The Man Behind The Molam Sound 1972-75 continues that tradition, appearing here on vinyl for the first time and issued with an old school tip-on gatefold sleeve, a download card for all tracks and a foldout poster. This compilation opens a musical door that few in the western world have peered through before. Pop on the phones and travel back to a Thai concert hall sometime in the early ‘70s – it’s time to meet the Berry Gordy of Bangkok.

      Back in stock Cover of Todo Muere Vol. 4 by Various Artists.

      Various Artists

      Todo Muere Vol. 4


        Sacred Bones is pleased to present the fourth volume of our annual Record Store Day vinyl compilation, Todo Muere. This year's edition features eight tracks from a wide variety of roster artists, each one new or previously unreleased on any physical format. Like the three volumes that preceded it, Todo Muere Vol. 4’s track listing is as eclectic as the Sacred Bones roster itself, and for longtime followers and new fans alike, it serves as a snapshot of where the label is in 2014.

        Back in stock Cover of R&B Hipshakers Vol. 2 by Various Artists.

        Various Artists

        R&B Hipshakers Vol. 2


          Second volume of our "R&B Hipshakers" series, featuring rockin' R&B and early soul from the King/Federal/DeLuxe catalogue.
          Available on LP for the first time. A special Record Store Day 2013 release.
          A compilation of tracks from 1956 to 1967 by essential artists such as Otis Redding, Hank Ballard, Johnny Watson, Freddy King, Lula Reed, Titus Turner… 20 terrific dance cuts selected by genre expert Mr Fine Wine, from WFMU's Downtown Soulville.
          Several titles reissued for the first time.

          Back in stock Cover of Gross Magic / History Of Apple Pie / Echo Lake / Novella by Various Artists.

          Various Artists

          Gross Magic / History Of Apple Pie / Echo Lake / Novella


            A four-way split featuring the cream of London's vibrant indie scene. The 12" EP, limited to 1000 pressings, includes the acid-fried rock of Gross Magic, the scuzzed-up pop of The History Of Apple Pie, an ethereal, ambient take from Echo Lake and a grunge pop anthem from Novella. This 12" is a repressing of the original sold-out 2011 release.


            Back in stock Cover of Super Chief: Music For The Silverscreen by Van Dyke Parks.

            Van Dyke Parks

            Super Chief: Music For The Silverscreen

            ‘Super Chief: Music For The Silver Screen’ is an ‘orchestral fantasy’ inspired by a rail journey Van Dyke embarked upon across the United States in 1955.

            Originally made available for the first time on a very limited vinyl pressing in 2013. Now re-pressed, following an almost immediate sell out of the original pressing.

            In Van Dyke Parks’ own words: “I’ve made an orchestral fantasy illustrating my first trip across the USA by rail, in 1955. This Suite is drawn from over a score of years, and as many films, now re-recorded from my archives as a film-music composer. […] In editing, I was surprised to discover my penchant for folk themes, reframed in orchestral settings. (There are countless quotes from the 19th century ‘The American Century’). […] The lingo of such traditional American music reveals my obsession, however unconscious, for rustic old saws that can still cut the wood. Yep, it’s Americana. All made in the great 48. […] Celtic examples abound: ‘The Water Is Wide’, ‘Old Joe Clark’, ‘The Forked Deer’, ‘Saint Anne’s Reel’, ‘I Ride An Old Paint’, etc. With these references, a dash of lowchurch hymns (‘Goin’ Home’) and an occasional Aboriginal motif, all embedded in this novel and singular Ode to that passing American scene... so long ago, yet about a handshake away. […] It can come in handy as a backdrop to a romantic interlude in candle-lit dinner conversation over a fine linen-count. (I’ve tried this at home.) Perhaps for a head-set in a subway tunnel, or as a car-tune in a smooth segue from the surrounding road-rage on a daily commute.”


            Ltd LP Info: LP features a copy of the album on CD. The CD includes three extra tracks: ‘The Pleasure Dome’, ‘Bed Of Stones’, and ‘So Long Santa Fe’.

            Back in stock Cover of Bambi / Red Song by Suuns.


            Bambi / Red Song

            Rounding off an incredible year for Suuns which has seen their debut album acclaimed throughout the UK press.

            Suuns return for dates with The Besnard Lakes and this incredible 12” featuring two brand new tracks.

            Say the band: “With a couple weeks off this summer in Montreal, we thought we’d take a crack at a few new songs. Stark and futuristic, these are extended jams that may or may not materialize as condensed versions of themselves on records to come. Open air textures, repetition and exploration were the name of the game for us on this one, and the finished product is a refined mining of the ideas that came out. ‘Bambi’ is a creepy story of love lost and found, while “Red Song” is just that: a song about color”.

            STAFF COMMENTS

            Laura says: Two great pulsing workouts, infused with Kraut rhythms and Suicide-esque distortion.

            Back in stock Cover of Jeepers Creepers by Sinkane.


            Jeepers Creepers


              2013 favourite and Caribou/Of Montreal/Born Ruffians/Yeasayer collaborator SINKANE is to release a new 12" exclusively for Record Store day! This 12" is the 3rd from the artist in recent times, following a "Runnin'" 12" featuring a Daphni remix, and the recent remix 12" featuring Ostgut Ton pillars Barker & Baumecker and Tuff City Kids (Running Back label boss Gerd Janson with Philip Lauer). The band will be on tour in Europe in April.

              + Incl. Remixes by Phon.O, Benjamin Damage, Africaine 808
              + Band will be on tour in April
              + 3rd Remix 12“ in a row (after 12“ with + Live Album with Radio Daphni Remix, Barker & Baumecker Remixes)

              LIMITED TO 200 COPIES IN THE UK

              Back in stock Cover of Supersonic by Oasis.




                Especially for Record Store Day on Saturday April 19th, Big Brother will release a limited edition remastered replica on heavyweight vinyl of Oasis’s classic debut 12 inch single ‘Supersonic’ first released 20 years ago on 11th April 1994.

                ‘Supersonic’ was included on Oasis debut album ’Definitely Maybe’, released in August 1994. The album was an immediate critical and commercial smash and the fastest selling debut album (at the time) - ’Definitely Maybe’ has been certified seven-times platinum in the UK (over 2 million copies), and has sold over 5 million copies worldwide.

                The album frequently appears on ‘best album of all time’ polls, including a No.1 placing in a 2008 Q Magazine poll of the ‘Greatest British Albums’.

                To celebrate the 20 year anniversary, Big Brother Recordings are to reissue the band’s classic albums in chronological order as part of the new Chasing The Sun series.

                Each album has been remastered and will be made available with rare and exclusive bonus content. Definitely Maybe will be the first reissue in the series, out 19th May. (What’s The Story?) Morning Glory and Be Here Now will follow later this year.

                Limited to 3000 copies for the UK and Ireland.

                Back in stock Cover of Centralia by Mugstar.




                  Exclusive new material from Liverpool's finest modern day Psycho-nauts..fresh from a tour with Clinic, nearly 40 minutes of psychotropically enhanced krautjams from the northwest of the UK, the perfect counterpart to their recent AXIS lp. 300 only, in blue vinyl... get strapped in..

                  Back in stock Cover of Klapp Klapp by Little Dragon.

                  Little Dragon

                  Klapp Klapp


                    Limited to 350 copies.

                    Back in stock Cover of Me! I Disconnect by Grace Jones.

                    Grace Jones

                    Me! I Disconnect


                      Gary Numan Cover.

                      Back in stock Cover of A Minute's Silence by Joy Formidable.

                      Joy Formidable

                      A Minute's Silence


                        Strictly Ltd Ed 12” release from Joy Formidable for Record Store Day.

                        Featuring 2 brand new exclusive non-album tracks ‘A Minute’s Silence’ and a live cover version of the Bruce Springsteen track ‘Badlands’.

                        Limited in the UK to 500 copies only.

                        Back in stock Cover of Northern Council - Clear Vinyl Edition by College.


                        Northern Council - Clear Vinyl Edition


                          College is David Grellier - best known for his track 'a real hero' that featured and played an integral part in the hit motion picture film 'DRIVE' College, in Grellier's words, was an attempt "to synthesize into my music the emotions of my childhood" and was greatly influenced by American 1980s pop-culture, "80's soaps and an aesthetic which I particularly like: color, images, silvery films and the sun – images of Los Angeles, Chicago and all of the other cities that continue to fascinate me. This album Northern Council has only been available digitally before and is a first and only pressing on vinyl for Record Store day 2014. The album has been described as synth heavy and sits somewhere between early Daft Punk - John Carpenter film soundtracks and the soundtrack to DRIVE.

                          FORMAT INFORMATION

                          Ltd LP Info: Frosted Clear Vinyl + Five (5) Limited Edition 12” x 12” Collectors Art Prints + Download Card.

                          Back in stock Cover of Luftbobler - Inc. Actress Remix by Dinos Chapman.

                          Dinos Chapman

                          Luftbobler - Inc. Actress Remix


                            300, hand numbered 180-gram black vinyl, full artwork sleeve. Super limited release of the brilliant title track from Dinos Chapman's debut album, acclaimed by The Wire, The Quietus and Boomkat who called it " an unexpected delight - full of nagging melodies and post-rave rhythms" that wouldn't sound out of place on an Autechre or Aphex album.

                            Back in stock Cover of Eric Burdon & The Greenhornes by Eric Burdon & The Greenhornes.

                            Eric Burdon & The Greenhornes

                            Eric Burdon & The Greenhornes


                              Hailed by Rolling Stone as one of the "100 Greatest Voices of All Time," Eric Burdon has been a commanding presence in the musical landscape both as front man for The Animals and WAR and in with his prolific solo career. After playing with Brendan Benson at SXSW, Burdon has teamed up with Benson - as producer - and The Greenhornes - as his band - and recorded an eponymous 4-track EP as "Eric Burdon and The Greenhornes" all exclusively for Record Store Day 2013.

                              LIMITED TO 500 COPIES FOR THE UK - EXCLUSIVELY FOR RSD 2013

                              David Bowie

                              Heathen - 180g Vinyl Edition

                                2002's 'Heathen' reunited David Bowie with producer Tony Visconti ('Space Oddity', 'Heroes', 'The Man Who Sold The World') for the first time in 20 years and featured guest appearances by Who legend Pete Townshend and Foo Fighter Dave Grohl. Townshend, who last worked with Bowie on the 1980 Scary Monsters And Super Creeps track "Because You're Young," contributes an incendiary lead guitar line to the track "Slow Burn," which Bowie called "the most eccentric and aggressive guitar I've heard Pete play."

                                "Slow Burn" also features a performance from The Borneo Horns, who accompanied Bowie on the Serious Moonlight tour while Grohl takes lead guitar duties on the Neil Young cover "I’ve Been Waiting." Other standout tracks on Heathen include the sublime "I Would Be Your Slave," the uptempo "Afraid," the epic "Slip Away" and "Everyone Says Hi," a beautifully melodic tune with a classic Visconti string arrangement.

                                “Heathenism is a state of mind,” explained Bowie. “You can take it that I’m referring to one who does not see his world. He has no mental light. He destroys almost unwittingly. He cannot feel any God’s presence in his life. He is the 21st Century man. There’s no theme or concept behind Heathen, just a number of songs, but somehow there is a thread that runs through it that is quite as strong as any of my thematic type albums.”

                                The original vinyl issues of this release can go for up to £100 online, so it was an easy decision for Music On Vinyl to make this highlight of Bowie's work available again to those with smaller budgets.

                                Back in stock Cover of Ultimum Photon A Sole by Onyou.


                                Ultimum Photon A Sole

                                  ONYOU have been stirring around the Chicago scene for a multitude of years now. The band has spent hundreds of hours laboring away in their underground layer perfecting their noxious brew. During that time they have appeared on the surface briefly to litmus test the toxicity through heavily dosed live performances. Seemly as rare as a hen’s tooth, those lucky enough to experience onYou first hand, walk away shrouded in sweat and subsequently drippy nightmares. These boy’s don’t mess around, they stoke the flames of some seriously fucked up psychosis and hypnogogia. We have been drinking onYou’s brew for years, telling everyone in the aftermath how necessary the experience is.

                                  Having dropped six releases for Captcha Records, Ultimum Photon A Sole is the card they’ve held close to their chest for the last year, perfecting it week after week. The result is a very heady ethereal and tribal record that veers to the darkside with mantric vocals, heavy guitar shredding and dual drumming. Skillfully traversing a massive ascent to the peak of the aside, summiting this album features onYou at the top of their game. Heads will tremble when this batch of psych gets mainlined. Freaks jonesing for bands like Les Rallizes Dénudés and CAN will find close company in onYou. 

                                  FORMAT INFORMATION

                                  Ltd LP Info: Limited edition of 500 copies on electric blue / cyan split vinyl.

                                  Kanye West

                                  808s & Heartbreak - Deluxe Vinyl Edition

                                    Limited Edition 2LP + CD. Deluxe collector’s set 2x180gm vinyl, full CD, double sided poster and lyric sheet, triple gatefold sleeve. 

                                    Multiple Grammy Award winning musical phenomenon, rapper, producer Kanye West returned in 2008 with his fourth album, the ambitious 808s & Heartbreak. The introspective electro-pop leaning release veers from his previous three albums (The College Dropout, Late Registration, Graduation) not only in sound, but in conception and it finds West singing as much if not more than he raps often with the aid of an auto-tune voice processor.

                                    Debuting at No. 1 on the Billboard 200 on the strength of the two hit singles "Love Lockdown" and "Heartless," the platinum certified 808s & Heartbreak features production work from West, No I.D. and Jeff Bhasker and guest appearances by Kid Cudi, Young Jeezy, Mr. Hudson and Lil Wayne.

                                    "Kanye West long ago established himself as hip-hop’s most soulful producer, and then as one of its cleverest wordsmiths, and then as one of its savviest marketers. Along the way he almost single-handedly killed gangsta rap and replaced it with something resembling emo. With that as the backdrop, West - now an introspective 31 years old - has created 808s & Heartbreak...the most indulgent and most disciplined record he’s ever made.

                                    "808s sounds nothing like West’s three previous LPs. It’s minimal and percussive in places (“Bad News” and “Love Lockdown,” for instance), a sharp contrast to West’s previous signature sound - a giddy, maxed-out bounce. This new record may be closer to R&B than it is to rap...It’s also courageous for West to nearly abandon rapping on this album in favor of distorted crooning. The guy doesn’t have a bad voice, and it’s exciting to hear him pushing himself..." - Nick Marino, Paste

                                    FORMAT INFORMATION

                                    Vinyl comes with CD version of the album enclosed.

                                    Back in stock Cover of Don's Rainbow by Seahawks & Autre Ne Veut.

                                    Seahawks & Autre Ne Veut

                                    Don's Rainbow

                                    The nation's favourite nautical adventurers are back! "Don’s Rainbow" marks a quantum leap for Seahawks, the first release on new label Ocean Moon and the first recording from the "Invisible Sunrise" sessions. "Invisible Sunrise" is the forthcoming album from Seahawks and the first to be recorded with live musicians rather than a hard drive full of dusty old samples. The results are stunningly original, not least on this track with NYC head Autre Ne Veut (who has previously caused storms on Old English Spelling Bee and guested on Ford & Lopatin's album). "Don’s Rainbow" sounds like Michael McDonald’s "Sweet Freedom" crossed with "Nite Flight"-era Walker Brothers. A fantastic piece of hazy boogie with Jan Hammer pulse wave synths, heavy 8-bit Linn drums and fuzz drenched spirals of soprano sax and guitar colliding with the sound of soul from outer space. And we've not even mentioned the vocal - a sleazy, sex-drenched white-boy croon really going for it, but effortlessly slack. Imagine George Clinton if he were from Cornwall. On the flip the dub takes the track into a world of shadows, where smeared washes of sound swim in an ocean of decay. It’s easy to say when releasing something new that - 'they've really excelled this time' or, 'better than everything that came before it!'. But this really is a new chapter in the Seahawks' anthology, and I personally cannot wait for the album after hearing this. Slip these seven inches of pleasure into your loved one’s stocking this Christmas and they're sure to thank you.

                                    STAFF COMMENTS

                                    Matt says: Here we go again... just in time for Christmas, and ahead of an excellent new album. Now with full live band audio support - the Seahawks just got even better! You need this!

                                    FORMAT INFORMATION

                                    7" Info: As always with Seahawks releases the packaging is beautiful. Heavyweight vinyl in a full colour sleeve, with full colour labels.

                                    Back in stock Cover of 17.02.12 - Vinyl Box Set by Fennesz.


                                    17.02.12 - Vinyl Box Set

                                      AMAZING NEW PRICE!

                                      Christian Fennesz is an Austrian electronic musician, active since the late nineties, and influenced by artists like the Fripp & Eno of the 1970s and guitar-synth pioneer Chuck Hammer. Fennesz uses guitar and laptops “to make multilayered compositions that blend melody and conventional musical instruments with harsh, irregular glitch-influenced sounds and washes of white noise.”

                                      Over the years, Fennesz has played and collaborated with a number of artists including Mike Patton, Jim O’Rourke, Ryuichi Sakamoto, Keith Rowe, Peter Rehberg, Mark Linkous (Sparklehorse) and David Sylvain. In 2012 Fennesz also wrote the OST to the independent Austrian film, Aun, directed by Edgar Honetschläger, and based on the writings of Claude Levi-Strauss. On this double LP Fennesz can be heard performing to a live audience at a concert held at the Museo Marini in Florence, Italy in February 2012.

                                      The deluxe box set version includes, in addition to the 2LP, a CD of the performance, a 12 page photographic book, and a DVD featuring a 1927 silent film by German filmmaker Walter Ruttmann Berlin called Die Sinfonie der Großstadt (Symphony of a Great City).

                                      FORMAT INFORMATION

                                      Box set Info: This limited box set presents a full retrospective of the artist's performance at Museo Marini in Florence on Feb 17 2012 with additional features and bonus contents: DVD, photo albums and more. Strictly limited edition of 500 copies.

                                      Various Artists

                                      Not The Same Old Blues Crap: Volume II

                                        On vinyl for the first time. Second volume in a series of three.

                                        Reissued in time to celebrate 25 years of Fat Possum, showcasing their fine blues roots.

                                        “This ain’t no sequel, but the title was so good we decided to recycle it. Recycling being an honorable blues tradition.

                                        “Are things really so bad? In case you haven’t noticed, American teenagers, the record buying public, don’t associate blues with anything good. How could they when all they’ve been exposed to is the cheesy, cigar-smoking, frat-rock, and tourist trap side of it. At the other end of the spectrum, and the other side of the bar, but just as distasteful, are the folklorists, museum keepers, and musicologists - cozy existence insulated from reality with non-profit corporate checks. What place does Fat Possum Records have in all this? All we care about is capturing the vitality and subversive intensity our artists possess that is relevant in today’s world. Blues used to be revered for its outrageousness, but it doesn’t even serve as an outlet for frustration anymore. Hey - we’re frustrated as hell. And we think it shows. Like, right now we’re having to waste time arguing with Kenny Brown about that dent in his van he’s trying to claim wasn’t there before the tour so Fat Possum should fix it. We’re about to release Kenny’s solo record and all he’s worried about is a quarter panel on a Chevy. Goddamn, Kenny Brown.

                                        “We are trying our best, that’s our motto, in case you didn’t know; and like the title, it fits. Our customers seem to like it, and it keeps everyone focused. Try your best, that’s all you can do, when you’ve got a job this big.

                                        “I don’t make sequels and I’m not a folklorist. I didn’t start Fat Possum to document practitioners of a dying culture with ‘archival field recordings’ that rarely sound good, much less do any artist justice. It’s hard enough to make a good record when you are trying to; it’s impossible to make one when all you are trying to do is record something. Fat Possum is always being criticized for being disrespectful, or for not being reverent, in our marketing and publicity. F*ck it. Old blues men are supposed to be bad people. I didn’t find an impressionist painting at a flea market or discover some long forgotten Pharaoh’s tomb. I didn’t discover anybody, I record blues guys that were overlooked by other labels because they: hadn’t toured, had only limited repertoires, were unreliable or refused to play standing up. Guys who sometimes have trouble standing up, who are better at falling down. But hey, that’s the blues. At least, that’s what I call the blues. Check it out.” - Matthew Johnson

                                        The now sound of country soul. Jeb Loy Nichols draws on his roots and love of country, soul, hip hop and modern production sonics, melding them together into an organic, analogue sound that’s been tweaked just enough to make it stand up next to a Kendrick Lamar track. It’s country, it’s soul, it’s folk songs; just not as we know them.

                                        This year Jeb Loy will release his 10th album. This is the precursor to that . Featuring two tracks - 'My Mistake' and 'Wintering Of The Year' - that have been released as limited edition singles which sold out instantly and garnered over 200 plays on UK radio.

                                        This 10” vinyl, mini album with an acetate graffiti insert is a limited edition of 500.

                                        The tracks on this mini album won’t be available on vinyl anywhere else

                                        The Wainwright Sisters release their anticipated new album ‘Songs In The Dark’.

                                        Although they’re sisters, Martha Wainwright and Lucy Wainwright Roche didn’t grow up together. Aside from genetics, their true bond was a musical one, both growing up in families steeped in songwriting. Both their mothers would sing them lullabies (Kate McGarrigle to Martha and Suzzy Roche to Lucy) - to honour that, 30 years later, Martha and Lucy are singing many of these same songs, some penned by their mothers and father (Loudon Wainwright III) on ‘Songs In The Dark’.

                                        The record also includes songs that shaped their childhoods, made famous by the likes of Woody Guthrie and Jimmie Rogers. When Martha and Lucy grew up and become songwriters of their own, they discovered their physical separation was trumped by their shared musical DNA. On ‘Songs In The Dark’, this is captured in its elemental essence: dark, mysterious, and beautiful.

                                        FORMAT INFORMATION

                                        Includes MP3 Download Code.



                                          'Moth' is Chairlift's third studio album. 'Moth' was written and produced by the Chairlift duo - comprised of writer / producers and multi-instrumentalists Caroline Polachek and Patrick Wimberly - over the course of two years in the band's own studio, which they built in an old pharmaceutical factory in Brooklyn, NY. Throughout the recording process, Patrick and Caroline both pursued other recording projects and collaborations - from Caroline penning a song for Beyonce and collaborating with SBTRCT and Blood Orange, to Patrick producing for Solange and Wet. Alongside these collaborations, Moth was born. It has strong pop and R&B leanings, but pared with their own distinctly Chairlift style, and led by Caroline's flawless and expressive vocals. The result is Chairlift's most commercial-sounding album to date. An evolution from their last album, 2012's Something, Moth is a very New York City inspired album. Listeners can expect to be led through an aural mix of big, rich pop inspired hooks, vibrating bass, lively brass and sensuous R&B inspired vocals, all anchored in the duo's meticulously crafted instrumentation.

                                          Back in stock Cover of 1981-1982 - Clear Vinyl Edition by New Order.

                                          New Order

                                          1981-1982 - Clear Vinyl Edition

                                            A LIMITED EDITION BLACK FRIDAY EXCLUSIVE.

                                            1981–1982, also often known by its catalog number "Factus 8", or "1981-Factus 8-1982", is a five-track EP released by New Order in November 1982 by Factory Records. The EP is frequently viewed as a bridge from the group's Joy Division past towards the more electronic sound that they would become famous for. It also marks the band's break from producer Martin Hannett, who had produced Movement and both of Joy Division's studio albums. While Hannett produced "Everything's Gone Green", "Procession" and "Mesh"; “Hurt” and “Temptation” were produced by the band themselves. Bernard Sumner remarked: "Martin's last track was "Everything's Gone Green" – fact he walked out halfway through the mix because Hooky and me asked him to turn the drums up".

                                            Rising from the ashes of the legendary British post-punk unit, Joy Division, the enigmatic New Order triumphed over tragedy to emerge as one of the most influential and acclaimed bands of the 1980s; embracing the electronic textures and disco rhythms of the underground club culture many years in advance of its contemporaries, the group's pioneering fusion of new wave aesthetics and dance music successfully bridged the gap between the two worlds, creating a distinctively thoughtful and oblique brand of synth pop appealing equally to the mind, body, and soul. (

                                            FORMAT INFORMATION

                                            Ltd LP Info: ONE COPY ONLY!

                                            Back in stock Cover of Aoxomoxoa by Grateful Dead.

                                            Grateful Dead


                                              The Grateful Dead's third studio effort was also the first that the band did without any Warner Bros. staff producers or engineers hampering their creative lifestyle and subsequent processes. As they had done with their previous release, Anthem of the Sun, the Dead were actively seeking new forays and pushing envelopes on several fronts simultaneously during Aoxomoxoa (1968) -- which was created under the working title of "Earthquake Country." This was no doubt bolstered by the serendipitous technological revolution which essentially allowed the Dead to re-record the entire contents when given free reign at the appropriately named Pacific High Recording facility. As fate would have it, they gained virtually unlimited access to the newly acquired Ampex MM-1000 -- the very first 16-track tape machines ever produced -- which was absolutely state of the art in late 1968. The band was also experiencing new directions artistically. This was primarily the net result of the budding relationship between primary (by default) melodic contributor Jerry Garcia (guitar/vocals) and Robert Hunter (lyrics), who began his nearly 30-year association with the Grateful Dead in earnest during these sessions. When the LP hit the racks in the early summer of 1969, Deadheads were greeted by some of the freshest and most innovative sounds to develop from the thriving Bay Area music scene. The disc includes seminal psychedelic rockers such as "St. Stephen," "China Cat Sunflower," and "Cosmic Charlie," as well as hints of the acoustic direction their music would take on the Baroque-influenced "Mountains of the Moon" and "Rosemary." The folky "Dupree's Diamond Blues" -- which itself was loosely based on the traditional "Betty & Dupree" -- would likewise foreshadow the sound of their next two studio long-players, Workingman's Dead (1969) and American Beauty (1970).

                                              Back in stock Cover of Once Forever And Again by The See See.
                                              Hot on the heels of the recent 'must have' collection of sold out 45s and rarities on the mighty Sundazed label, The See See return with their third studio full length in October via The GPS on vinyl and on CD and download via Dell'Orso.

                                              Another fantastic collection of bittersweet sunshine psych pop nuggets, layered with the bands' killer ear for a vocal harmony and hooks aplenty. Passing nods to Big Star, Later era Byrds / Burritos and the 'Paisley Underground' sounds of the great Rain Parade and Long Ryders amongst others, the set doesn't disappoint and is sure to build on the acclaim and quick sell out status of all of their previous output.

                                              Admired by the likes of Sid Griffin, Ric Menck and Norman Blake to name a few, the band have recently collaborated with longterm fans such as Jim Noir and The Coral, from whom Nick Power penned the great “Jenny Said” from the set here.

                                              FORMAT INFORMATION

                                              Ltd LP Info: White Vinyl LP / Pressing of 750.

                                              The Ruts

                                              Babylon's Burning

                                                The Ruts were an English reggae-influenced punk rock band, notable for the 1979 UK Top 10 hit "Babylon's Burning". This release features "In A Can" a classic Ruts compilation album and The Ruts "Live & Loud" originally released in 1987 as part of the Link Records Live & Loud series. Now both rolled into one deluxe double LP package on Limited edition coloured vinyl.

                                                Back in stock Cover of Amazing Grace - Vinyl Edition by Spiritualized.


                                                Amazing Grace - Vinyl Edition

                                                  Jason Spaceman returns to the garage. It's not quite the drug'n'drone hypnosis of his early Velvets / Stooges infatuation but it was recorded live and the whole thing took only three weeks. The sound is raw, minimal and compared to "Let It Come Down" refreshingly lo-fi. But, don't worry, there's no less elegance here; there's just more urgency. And it's still crammed full of Jason's usual passions; gospel, blues, country, jazz and garage-rock. The more things change, the more they stay the same. Still awesome then!

                                                  Back in stock Cover of II by K-X-P.
                                                  Finland's finest are back with something truly epic. Where K-X-P's 2010 debut was an exercise in Kraut-tronica, K-X-P II finds the band unleashing their inner pop deviance. This is an album full of rock 'n' roll shamanism, glam-punk madness, grinding dance music, electronic Motörhead techno – and a bit of Krautrock too.

                                                  K-X-P comprises frontman Timo Kaukolampi (electronics, vocals and the ‘K’ in the band’s name) plus Tuomo Puranen (bass, keyboards and the ‘P’ in the band’s name) and drummers Tomi Leppänen and Anssi Nykänen (the ‘X’ – for the mystery). While Tomi is a permanent feature of the band and 2 drummer line-up is a studio only affair- it has been known to happen live on rare occasions. Born from the ashes of seminal Finnish groups Op:l Bastards and And The Lefthanded. the band began with a manifesto: “K-X-P started after I wanted to stop playing in bands,” says Timo, frontman. “It’s the antidote to normal bands. Its an anti-band"

                                                  Their latest album is music from a place of perfectionism, fed by some dark times in Timo’s life. “I've recently experienced some personal losses – big ones – and so though it might seem like a really long time between albums, but in my actual life it's more like a split second,” he says.

                                                  The record was written in Berlin and completed in Helsinki. Timo travelled to the German capital in search of solitude. “In Berlin I was totally alone, a nobody in the shadows of this city. It offered new challenges for me to break through; a jungle of concrete and, the antithesis of myself: absolute hedonism.” he says. The band recorded in converted cinemas and traditional studios, surrounding themselves with vintage equipment, analogue electronics and - for the first time – analog step sequencers.

                                                  Before K-X-P, Timo worked in the Xenomania pop factory, where he composed for – among others – Annie, who appears as a guest vocalist on ‘K-X-P II’. This time around, he’s been more willing to let his natural ability with a pop hook inform his work with K-X-P. “Especially for this record, these 'pop' lines/hooks are just coming up – and I can't act like it is something that I have done intentionally,” he says. “I felt that rhythm of this record needed to be different. More in and out, faster moves. Shorter songs. More punk.”

                                                  Most of all, the album is a record for the band that K-X-P grew into on stage. Since releasing their debut album, ‘K-X-P’ in 2010, the band have come into their own live. “That's where we unleash our power,” says Kaukolampi. “Pre first album shows were pretty static and minimal. Now it's totally all over the place, exploding energy. Free jazz, drone, noise, pop, rock.” Timo had an epiphany while watching videos of the band performing and realising he spent most of the show bent over his electronics, “like some bird of prey feeding on a carcass.” So he created an alter ego, a persona inspired by “a lunatic occult reverend, a yoga teacher, John Lydon, Freddie Mercury and Rob Halford. And then I had to compose some music for this creature.”

                                                  While The Misfits early recordings, devotional chants, P.I.L. and Bad Brains have been added to the band’s list of musical influences, lyrical influence still comes from a dreaming place. ‘Staring At The Moon’ finds Timo imagining the fusion of spiritual consciousness and an animal body- like a 'praying tiger, wolf or minotaur’, Magnetic North is inspired by Finland, a place of “northern lights, polar night and endless summer days; heavy metal, Nokia, drinking, the highest suicide rate in the world…”. Elsewhere, Flags And Crosses is inspired by TImo’s father’s experiences in World War II, Reel Ghosts is composed from distant voices found on reel-to-reel tape and Dark Satellites has its eyes fixed upwards.

                                                  The band will, of course, be stepping out to perform this masterpiece in 2013. “I feel so good when K-X-P is playing live,” says Timo. “It's like drug to me. I'm addicted to that noise and everything that surrounds it.”

                                                  FORMAT INFORMATION

                                                  LP Info: Heavyweight 180g black vinyl.
                                                  Includes download coupon.

                                                  Back in stock Cover of Carter Tutti Plays Chris & Cosey by Carter Tutti.

                                                  Carter Tutti

                                                  Carter Tutti Plays Chris & Cosey

                                                  ‘Carter Tutti Plays Chris & Cosey’ is released on CD and double Vinyl and features eight brand new reinterpretations and re-workings of classic Chris & Cosey songs from the 1980s and 1990s.

                                                  The idea for the album originated from their recent much requested, live performances of ‘Carter Tutti Plays Chris & Cosey’ which led to an unprecedented series of shows in the U.K., Europe, Scandinavia and North America from 2011 to 2014. These dates in turn instigated so many requests for recordings of the live set that they were inspired late last year to re-record this collection of reworked classic versions in their own Norfolk studio.

                                                  Each format will feature an exclusive remixed track - Compact Disc copies feature ‘Vengeance’ (Exclusive Remix), and the Vinyl edition includes all five tracks from their 2014 U.S. limited tour merchandise CD. There is also a video to promote the album based on a new Carter Tutti edit of the C&C track ‘Sin (2015)', directed by Gavin Toomey from footage he has been shooting and archiving for a forthcoming Chris & Cosey biographical documentary. To coincide with the release, Chris & Cosey have announced a very special 'final' Valentines weekend live date by returning to the iconic Heaven Nightclub in London on Sunday the 15th of February 2015. The show will be the last performance of the ‘Carter Tutti Plays Chris & Cosey’ set for the foreseeable future; the founding members of Throbbing Gristle plan to predominately refocus on working in their studio for next couple of years.

                                                  The duo will then go back into the studio to finish recording a brand new Carter Tutti Void album to be released later in 2015. Support artists to complete this event come from fast rising cult Japanese all female trio Nisennenmondai (who last year played two sold out London headline club shows of their own at Corsica Studios and Birthdays) and the Quietus Magazine DJ's. Sin (2015)

                                                  FORMAT INFORMATION

                                                  2xLP Info: Includes bonus LP 'Carter Tutti Remix Chris & Cosey'

                                                  Back in stock Cover of Transporteur by Bitchin' Bajas.

                                                  Bitchin' Bajas


                                                    This spring will mark the Bitchin Bajas debut for Hands In The Dark with the 12" EP Transporteur.

                                                    Here is a little intro if you are not familiar with the project started in 2010 as solo side project for Cooper Crain, guitarist of Chicago Krautrock heroes Cave. Since then, Dan Quinlivan and Rob Frye joined the band and Bitchin Bajas have got the public attention thanks to a perfect, extensive discography on quality record labels such as Bathetic, Permanent and Drag City. The trio play warm, instrumental, psychedelic and melodic ambient music, mixing minimal 60/70's electronic with original acoustic elements: flute, saxophone, xylophone, woodwinds to name only a few.

                                                    On Transporteur, Bitchin Bajas show multiple faces, introducing 4 new songs showing as many different forms of the modern ambient genres, all perfectly produced and heavily loop-based for an utterly pleasant 34 minute journey in a timeless and spaceless zone. Then only shortly after the listener can open their eyes again and return to the harsh reality of their own life.

                                                    Back in stock Cover of Logo Presentation Reel 1985 (Instrumentals) / Octabred by Suzanne Ciani / Clone.
                                                    A very special Disposable Music edition comprising two programmes of lost early 80s North American synthesiser music from American / Italian Buchla pioneer Suzanne Ciani and Alaska’s only dedicated electronic collective Clone. Comprising of instrumental versions of Ciani’s much coveted cassette-only electronic advertising portfolio (featuring Atari music and power tool jingles) alongside a Clone archive of exclusive Anchorage one-off radio synth sessions and theme tunes, this release represents another Disposable Music milestone bringing lost embryonic electro and proto-synth pop from a place beyond the outskirts of the oblivious record industry.

                                                    Quite possibly one of our most requested releases on any format and one of Finders Keepers proudest vault digging moments to date, the limited release repackaging of Suzanne Ciani’s original cassette portfolio of electronic advertisement music harboured some of her most radical and uninhibited experiments - unconsciously redefining synth-pop and electro from behind American TV screens whilst totally evading the radar of the record industry. These commissions originally made for companies such as Atari, a major power tool firm, soft drinks companies and printed publications, provided a new canvas and challenging directive for Suzanne who would deploy her maverick expertise with some of the most experimental electronic instruments and forward thinking visual/sound artists. As one of the only female composers in the global advertising industry Ciani’s results represented a small sound revolution in the world of production music forging deep nostalgic memories of the would-be electronic-music generation in its wide-eyed infancy.

                                                    Finally for their precious Disposable Music series, Finders Keepers are now able to present these originally truncated TV and radio recordings in their full-length forms mastered from original tapes including much coveted instrumental versions. Including 15 tracks in total these original recordings are presented here in a new wider musical context as pieces of early synth based pop music, designed specifically for widespread commercial consumption whilst retaining veritable maverick integrity an attribute that quickly diminished at the hand of less adventurous, less sensitive and more complacent production music composers.

                                                    Finding a perfect bedfellow on this early synthesiser based Disposable Music edition and adding weight to one of our most exciting musical partnerships of recent years these newly excavated early 1980s recordings from the Alaska based Clone synthesiser collective (see Harmonitalk CACHE04) are the results of the group’s wide library of weekly synth jam sessions primarily recorded for band leader (and electronic harmonica soloist) Gary Sloan’s weekly radio show The Import Hour ,which specialised in playing the earliest slim pickings of global new wave and electronic music to the station’s Anchorage fan base. Relying on the very records and tapes that actually made it over to Alaska in 1980, Gary and Clone would compose and create their own music to fill the gaps providing us with a long archival shelf of C60 and C90 masters to cement their legacy of perhaps the only dedicated synthesiser initiative to exist in this extreme North American state.

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