Person Of Interest

Russian Torrent Versions 8

    Version 8 is by unknown producer Persons of Interest. A side has blissful strings and edgy drumprogramming, on the flip quirky basement techno bizz. Ltd 12. Check!!

    Nat Birchall

    Live In Larissa

      Nat Birchall is one of the UK’s most special musicians, a spiritual, soulful saxophonist who has drunk deeply from the endless well that is the music of John Coltrane. A modest man, Birchall is happy out of the limelight but nonetheless has found international acclaim for a series of fine albums on Matthew Halsall’s Gondwana label as well as more recently his own Sound Soul and Spirit imprint. This, his sixth album, is his first ever live recording and is released on vinyl and download only. A decision Birchall took on listening to the tapes and thinking the music really suited the warmth of vinyl. It features the core band from his last recording World Without Form: pianist Adam Fairhall, vibist Corey Mwamba, bassist Nick Blacka (GoGo Penguin) and drummer Paul Hession.

      The recording came about when Birchall played two nights at the Duende Jazz Bar in Larissa, Greece in May 2013 – where, despite the tiny stage, the warm welcome and overwhelmingly positive reaction to the music inspired the band to reach deep within themselves for two nights of truly inspired music. Thankfully the tapes were rolling and despite the tiny stage and proximity of the mics (a nightmare for mixing) the music was really happening.

      Live In Larissa opens with John Coltrane by the bassist Bill Lee (father of Spike Lee) from Clifford Jordan’s classic Glass Bead Games album – a lost 70s classic on the Strata East label. Everyone solos and the band really stretch out with the performance taking up the whole of Side A of the LP. Divine Harmony is from Nat’s World Without Form recording and the title comes from the harmony that exists throughout the universe and the song has a hymn or prayer-like quality to it. Return To Ithaca is a densely textured musical journey also from World Without Form. Side C opens with Journey In Satchidananda - a classic song by Alice Coltrane. This, along with "John Coltrane" have been in Nat’s set list for the past ten years at least and although the song is pretty much just a bass-line it leaves plenty of room for improvisation and Birchall’s playing here is based on the original recorded melody (as played by Pharoah Sanders). World Without Form is inspired by how musicians aim to "make something out of (almost) nothing" when they improvise on simple melodies and forms. Both this and Divine Harmony are songs where the tenor plays the theme in a strong way, leading the ensemble, who accompany according to the melodic lead. On The Black Ark the bass, piano and horn/vibes parts are simple but rhythmically subtle and "lock" together to make the song work. This gives the music a particular sense of swing without having a walking bass line. Finally the album closes with Sacred Dimension, the title refers to the attempt to reach a higher state of mind when playing music. To try to transcend the notes and get to a place where the music happens by itself. In order to do this there are several things that need to be in place, the right musicians and the right audience and on this rare occasion in a small jazz bar in Larissa the magic happened and the band and audience reached that special place and praise be indeed that the tapes were rolling!!!



        Osunlade returns with his latest full length album, 'Peacock'. Recorded in homage to the Orisha Ochun, an album about love relations, the heart, acceptance, vulnerability and change.

        While love is the reason, funk is the cause. With the exception of the albums two electronic explorations the album is fully realized in classic analog soul funk with Osunlade taking the reigns of all or most instrumentation and vocals. A very personal one indeed, yet this 8 song continuous play takes us back to the beauty of music listening.

        Kalbata & Mixmonster

        Congo Beat The Drum

          Freestyle Records is immensely excited to be the musical home of the stunning album Congo Beat The Drum from Kalbata & Mixmonster.

          Kalbata (Ariel Tagar) is a techno & 2-step producer who previously released on labels such as Soul Jazz, Brownswood and Greenmoney. Kalbata did a string of high profile remixes for artists such as Fat Freddy's Drop, Spank Rock, The Count & Sinden and Roll Deep, collaborated with Warrior Queen and is also the man behind reissue labels Fortuna and Spring Hill Records. Mixmonster (Uri Wertheim) is the man behind funk band 'The Apples' as well as a member of cut-n-paste duo Radiotrip.

          Ariel and Uri went into their home studio ago in Tel Aviv, Israel with the purpose of recording a 100% analogue dub album in the spirit of the late King Tubby and the early dancehall era of the late 70's and early 80's. A 16-track tape machine and an old analogue mixing desk were their main instruments, with musicians playing live all throughout the album.

          A year after recording the instrumental backing tracks, they travelled to Kingston, Jamaica and started tracking down their favourite singers and deejays from days gone by.

          The resulting long playeris on the one hand truly loyal to the origins of Jamaican music and on the other, a well produced forward thinking album, sounding totally fresh in today's music aesthetics. It will also rattle your speakers in ways not heard since the heyday of reggae & dub!

          The highlights of this quite amazing long player are many, but from the beautiful & mellow 'Prisoner In Love' ft Little John, though the utterly original, drum driven title track Congo Beat The Drum on which Major Mackerel displays his amazing vocal talents as the earth shattering rhythm shakes the floor.

          There is yet another amazing musical moment when JA legends Trinity & Jah Thomas join forces over a dub style rhythm on Trouble In The Dance, as reverberating rimshots and analogue synths bubble and squeal on this dark dance floor destroyer.

          Echo Minott worked with luminary King Jammy at the tender age of just 17, and his dreader than dread vocal performance on Out A Road, and the fully analogue production of this album really rings true on this track.

          Sadly, Voice make A Joyful Noise may be the last recording made by the late Prince Jazzbo before his untimely passing in September 2013. Another genuine Jamaican legend who collaborated with Coxsone Dodd and Lee Scratch Perry, as well as running the highly respected Ujama Records for many years. Voice make A Joyful Noise is a wonderful epitaph to a great career in original Jamaican music.

          The final cut features multi talented genius Kutiman on the CRB organ - adding his keyboard skills to an instrumental version of Prisoner In Love - finishing off what may just be the greatest new reggae album for years past and even years to come!

          Guy One

          Suro Yuama

            Guy One is the representing voice of the Frafra people in northern Ghana. As the winner of the "Ghana Music Award 2012" he is a super star among the Frafra. He sings and plays the Kologo, a 2-stringed guitar, mostly for traditional occasions. His words always have a strong meaning which gives him the attribute of a singing philosopher.

            For Philophon he teamed up with Max Weissenfeldt, drummer of the legendary Poets of Rhythm and Whitefield Brothers, to create a deep groove with a haunting choir of Frafra soul.



              The last time Fennesz released an album on Austrian label Mego it was 2001 and the name of that release was 'Endless Summer'. Now in 2014 Editions Mego is extremely proud to release the conceptual follow up that landmark of abstract pop. Becs (pronounced 'baeetch') is Hungarian for Vienna and is the first full length Fennesz solo release since 2008's 'Black Sea'.

              Eschewing the more drone orientated works of 'Black Sea', 'Becs' returns to the more florid pop mechanisms as deployed on Endless Summer. 'Static Kings' features the extra leverage of Werner Dafeldecker and Martin Brandlmayer who deploy a range of atmospheric abstract effects to shape a bewitching sound world. The 10 minute centrepiece 'Liminality' (featuring Tony Buck on drums) is classic Fennesz: epic, evocative, beautiful, impossible. 'Pallas Athene' creates a sanctuary of hovering beauty which leads into the title track. Emotional and assured, the track 'Becs' is an astonishing contribution to contemporary pop. 'Sav' co-written by Cedric Stevens (aka Acid Kirk) inhabits a less structural terrain as one enters a forest of small sounds and oblique atmospheres, where the closing 'Paroles', a gentle melody unravels amongst swirls of electronics and fried disruption. Becs is not just an album or a series of songs, it's a world to inhabit, a landscape ripe with sounds, songs and that esteemed Fennesz signature.

              A singular work by a singular artist.

              Sleezy D (Virgo)

              I've Lost Control

                Seminal acid house from 1986! Containing members of Virgo this seminal release has been re mastered from original DAT's for 2014 and released in original Trax Red labels. Released in conjunction with Trax / Harmless.

                Ric Piccolo

                Austral Works 2

                  Tango! Volume two in the rare Argentinian grooves, reworked by disco connaisseur Ricardo Piccolo. You'll never find these joints again! Limited to 250 copies.

                  Fantastic new pressing of lost Trax classic 'I'll Never Let You Go' by William S. Re mastered for 2014 from original DAT's and pressed nice and loud in original 1987 artwork.

                  While the A side is a useful addition to your catalogue its all about the stunning B side Instrumental Mix. Released in conjunction with Trax / Harmless.

                  Jack Ruby

                  Hit And Run

                    From the same label that released the much lauded Mickey Newbury – American Trilogy 4CD set , Saint Cecilia Knows now brings us the collected recordings of legendary lost 1970s New York City Band, JACK RUBY.

                    Seen and heard by just a precious few, Jack Ruby made only five studio recordings and played an equal number of gigs between 1973 and 1977. None of their music was ever released and, until now, they have existed solely as a word-of-mouth legend among peers. They have been variously described as “the Velvet Underground in a car crash” and the “art-punk Steely Dan”. Formed in 1973 by vocalist Robin Hall, guitarist Chris Gray, multi-instrumentalist Randy Cohen, classically-trained viola player Boris (also known as Boris Policeband), and later joined by bassist George Scott (James Chance and the Contortions/8-Eyed Spy/John Cale) and new vocalist Stephen Barth, the first incarnation of Jack Ruby demoed two tracks in a Times Square recording studio in 1974; including their signature tune, the nihilistic proto-punk “Hit and Run” - sounding like some unholy blend of Raw Power-era Stooges, Velvet Underground and J.G. Ballard’s Crash.

                    They recorded three more tracks as a demo for Epic Records through Sly Stone’s A&R, Stephen Paley, but a record deal evaded them. In 1976, Hall and Gray reactivated Jack Ruby as a short-lived live-performing unit with George Scott on bass, that disbanded for good after a riotous show in October 1977 at Max’s Kansas City.

                    “Hit and Run” is a two-disc set of everything Jack Ruby recorded between 1973 and 1977 (across four incarnations of the band) that should see them acknowledged as one of the most radical and brilliantly original groups to emerge from the 1970s New York City music scene.

                    Remastered from recently-discovered master tapes, the first disc collects all five of the band’s studio recordings, which although forty years old still sound thrillingly-urgent and modern, alongside a 1977 cassette of a band rehearsal, and a 2013 remix by producer Don Fleming.

                    Disc two contains another side to Jack Ruby; a series of largely-electronic, avant-garde pieces from 1972 and 1974, some of the earliest extant recordings made on a Serge synthesizer. What Jack Ruby left is a remarkable legacy of recorded music - hidden for decades, now-revealed - constituting a previously-unheard secret history of the New York City music scene of the early 1970s.

                    “Jack Ruby may be the most influential punk band from New York City that no one ever knew about.” Thurston Moore.

                    “Jack Ruby occupy a place right between early seventies street rock, post Roxy/Hawkwind synthesis and the future sound of Punk and No Wave.” Jon Savage. Simultaneous limited edition vinyl release on Feeding Tube Records

                    •Deluxe 2-CD package, original cover art by Japanese artist Ken Hamaguchi.
                    •Liner notes by Thurston Moore and Jon Savage, plus extensive band history.
                    •Remastered from recently-discovered master tapes.
                    •Exclusive remix by producer Don Fleming (Sonic Youth/Hole/Dinosaur Jr).

                    Back in stock Cover of Actor by St Vincent.
                    "Actor" takes the ambitious compositional and sonic underpinnings of St Vincent's debut as a starting point and never looks back. The arrangements are more masterful, the songwriting grander, the performances ever more confident and inspired. St Vincent aka Annie Clark developed an idiosyncratic writing process for "Actor", immersing herself in some of her favourite films – 'Badlands', 'Pierrot le Fou', 'The Wizard of Oz', 'Stardust Memories', 'Sleeping Beauty' - and beginning each song as a secret film score, then slowly giving it independence as its structure and lyrics came fully into focus. The resulting eleven tracks are as cinematic as pop songs can be, but the movie is a private one, revealing its storyline in hushed, cunning couplets and cascades of scathing guitar. Here is a record to listen to with your eyes closed. Melodies are transposed and inverted. The fantasy of Disney is juxtaposed with the sweep of Morricone, David Mamet's unsettling dramatic form and the alienation of Philip Roth. Igor Stravinsky scores Roger Corman's horror flicks. "The Strangers" starts off as a deceptively dulcet elegy for a lost love, then suddenly capsizes under a flood of distortion. "Actor Out Of Work" is a devastating sonic kiss-off, complete with slyly poisonous lyrics and steamrolling guitars. The strings and woodwinds at the opening of "Marrow" might be escorting Dorothy to the Emerald City, or straight into the flying monkeys' clutches. The crackerjack band, including supporting turns by McKenzie Smith and Paul Alexander of Midlake, has the crunch of a tank and the grace of a chamber ensemble.

                    The Goastt

                    Midnight Sun

                      On April 28th 2014, The Ghost of a Saber Tooth Tiger (The GOASTT) will release Midnight Sun, a guided tour of bold, shape-shifting sonic murals and evocative lyrical panoramas. Plucking musical ingredients from all over the map, the album has a highly imaginative and distinct feel. It celebrates the unusual and the grandiose but fundamentally just rocks hard and feels good.

                      Like the hero in the album’s melancholy “Don’t Look Back Orpheus” who takes a journey into a dreamlike underworld, the listener embarks on an auditory voyage of soaring whimsical keyboards and crunching space-age guitars that blends original melodies with kaleidoscopic freakouts. Midnight Sun injects a surreal landscape with colorful, classic hooks.

                      With an infectious sense of adventure akin to Beck and Flaming Lips, and several years of touring and recording under their belt, the GOASTT takes their creative and savvy approach to psychedelia to new extremes. The ambitious songs flow cleverly together with unexpected ease to tell a vivid and provocative story.

                      Familiar yet compelling, visceral and vital, Midnight Sun is at once a response to the bizarre world we've inherited and helped to create, and a refreshing escapist daydream that, if not hopeful, is keenly insightful. The GOASTT has given us a record that is poised to be a postmodern-psychedelic classic.

                      The Ghost Of A Saber Tooth Tiger has been busy since their debut. The band toured with The Flaming Lips and Tame Impala, performed at the Hollywood Bowl with Jean-Claude Vannier and released a Record Store Day vinyl EP entitled La Carotte Bleue. Muhl released an EP with her teenage folk duo Kemp & Eden, who also performed in the film Greetings From Tim Buckley. Lennon, meanwhile, released a record by his experimental duo Mystical Weapons with Deerhoof's Greg Saunier, a film score to the indie comedy Alter Egos and produced the new album by Yoko Ono Plastic Ono Band.


                      Midnight Passenger

                        Ex-Cult’s Midnight Passenger is the result of a neverending obsession with the open road. It’s the sound of five people spending the last year in countless dive bars and disgusting motel rooms, sleeping on dozens of dirty floors. Since recording with Ty Segall in 2012 the band hasn’t come up for air, putting under their belt four US tours and tons of weekend trips with the likes of Segall, OBN III’s and Captive.

                        In these same dive bars across the USA Ex-Cult truly found their sound. While some of the songs were played for audiences as early as January 2013, it wasn’t until a West Coast tour in June that the blueprint for Midnight Passenger really started to form. Taking pieces of every tour back home with them, the band honed a sound that captures the desperation of the first record while integrating new techniques of negative noise.

                        Recorded by Doug Easley in January 2014, Midnight Passenger delivers ten songs meant to be heard together, each one following a different, damaged storyline. The buzz-saw guitars, krautrock rhythms and sneering vocals are all still present, but with Midnight Passenger, Ex- Cult adds a few layers of psychedelic slime to their sound.

                        Bed Rugs

                        8th Cloud

                          Bed Rugs: take their name from the much discussed mat in The Big Lebowski. After the highly praised release of last year’s mini-LP ‘Rapids’, we are pleased to go backwards and present ‘8th Cloud’, their 1st ever recording album, showing that even then they punched well above their weight.

                          Like Tame Impala and MGMT the sounds are heavy weight and the melodies ambitious - classic rock from Beatles to Nirvana. Les ZAZA’s French magazine recently summed them up as ‘the illegitimate children of McCartney and Cobain.’

                          James Endeacott who has seen them a good few times describes them as ‘off the scale’. Their spectacular London shows were the best antidote to anti-European feelings we have seen for a long time.


                          The Burning World

                            The Burning World is an excellent curio in Swans’ already eclectic discography. 1987’s Children of God confirmed that Swans could indulge delicacy alongside immersive swathes of sound. In 1989, band leader Michael Gira coproduced The Burning World alongside multi-instrumentalist Bill Laswell and continued to refine his songwriting without compromising power. Jarboe’s inimitable vocal presence enhances the overall tunefulness while Gira’s own weary-but-resilient declamations ascend to towering intensity at precisely the right moments. All throughout, Gira rages against God for the sake of love, lifting the veil off darkness to reveal exaltation.

                            “(She’s a) Universal Emptiness” finds Gira’s signature croon perfectly belied by Jarboe’s harmony, but the sauntering balladry is spiked with assaultive snare drum and a rogue chord on the verge of feeling saccharine. “Jane Mary, Cry One Tear” sends Gira’s voice to seemingly impossible depths. The slight quiver and momentary roll of the tongue that marks his style is on full display, as if the merest detail of his evocative delivery is toiled over in advance. It begins with the minimal guide of an acoustic guitar and builds to ardent fury, all the while honoring the intricate minutiae in his voice. The Burning World resolves Swans mournful rock sensibility with some of the most pure hooks Gira ever sang over, but his indelible assets as a singular songwriter are wholly intact and unmistakable.

                            Reigning Sound

                            Live At Goner Records

                              It all happened on a rainy afternoon in June, 2005, at the Goner Shop. Following a sweaty Saturday night gig at Memphis’ favorite dive bar, The Buccaneer, Reigning Sound sets up in front of a roomful of hungover heathens and blazes through fifteen-and-a-half pounders, including covers of The Sham’s “Black Sheep,” The Swingin’ Yo- Yo’s’ “Do Something,” and of course, Carl Perkins ’ “Tennessee.” Scream with shock and delight as Greg Cartwright gets electrocuted during a Compulsive Gamblers song! Originally released as a limited-edition CDR to raise funds for Katrina victims in late ’05, and nationally on vinyl the next year, the LP has been out of print for over half a decade. It’s a document of an amazing band and an amazing show, in glorious full fidelity. It’s Reigning Sound:Live at Goner Records!

                              Howlin Rain

                              Live Rain

                                LIVE RAIN, the first-ever official live album by Howlin Rain, is released via Agitated Records.

                                "A great rock guitarist needs a signature affectation. Ethan Miller's happens to be an abrupt upstrum that, combined with a backward stagger, probably makes him something of an onstage hazard to his bandmates. When he really gets into it, as he does with elemental regularity, the Howlin Rain leader resembles a spasmodic marionette under the influence of a power greater than himself - call it the power of rawk. With his long thinning hair and big black beard, Miller also sometimes resembles a defrocked rabbi on the run. And when he opens his mouth, the history of classic arena-rock vocals passes before your ears in a full-throated wail, embracing the combined spirits of Bruce Springsteen, Rod Stewart, Leslie West, Greg Rolie and the ghost of Freddy Mercury." - the Village Voice.

                                Recorded live in various locations on the 2012 worldwide tour for The Russian Wilds, the live 2XLP features vintage Howlin Rain originals including "Roll On The Rusted Days," "Dancers At The End Of Time" and "Hung Out In The Rain" plus The Russian Wilds' "Phantom In The Valley" and an 11-minute plus version of "Self Made Man."

                                Live Rain features the most honed and bombastic Howlin Rain line-up to date; songwriter Ethan Miller (lead vocals / guitars), Earthless' Isaiah Mitchell (guitars / backing vocals), Drunk Horse's Cyrus Comiskey (bass/ backing vocals) and Raj Ojha (drums).

                                Live Rain was recorded by David Streit, mixed by Tim Green and produced by Ethan P. Miller.

                                FORMAT INFORMATION

                                2xLP Info: 6 different posters replicated in all, by the Likes of Arik Roper, Alan Forbes etc. Printed on A4 / 300 gsm matt card… full colour!

                                Amps For Christ

                                Canyons Cars And Crows

                                  Coming seven years after the release of the previous full-length record, Every Eleven Seconds (5 Rue Christine), and two since the their split LP with Woods (Shrimper), Canyons Cars and Crows is a proper resurrection for Amps for Christ. Recorded at Equation Road in the beautiful Pomona Valley, the record upholds the band’s traditions of mixing folk with hardcore and noise with music—known as folkcore and musnik, respectively— and covers familiar sonic territories from ragas and Basho folk to dirges and jigs. The songs, dire but hopeful, examine man’s relationship to nature.

                                  Henry Barnes, the force behind Amps for Christ, was a founding member of Man Is the Bastard. The group’s first release was the cassette-only album The Plains of Alluvial, released by Shrimper in 1997; since then there have been many full-length and split albums on a number of labels. Outside of Amps for Christ, Barnes has collaborated recently with Man Is the Bastard’s Eric Wood on a Bastard Noise / Brutal Truth split LP on Relapse Records, a split with Bizarre Uproar, and a pair of splits with Japanese artists Outermost and Government Alpha. Look for live shows across one or two oceans following the release of Canyons Cars and Crows.

                                  Black Beauty, the never-before-released masterpiece by Arthur Lee’s legendary band Love is making its first-ever official release in any format, anywhere! Chosen as one of Time Magazine’s most anticipated releases, critics are hailing the album as an instant classic. Black Beauty is that rarest of rock artifacts: an un-released, full-length studio album, from an undisputed musical genius. It represents the missing link in a catalog that also includes Forever Changes, the seminal 1967 Love album the New York Times called “one of the most affecting and beguiling albums of all time.”

                                  With Black Beauty, Arthur Lee manages to combine searing ’70′s rock with gorgeous melodies and stellar songwriting – topped off by his most distinctive, snarling, soulful vocals ever. With unparalleled sound, and a wonderfully eclectic collection of songs, the album offers Love fans a rare glimpse into a previously undocumented phase of Arthur Lee’s career, while shining a light for new fans to discover the unique genius that is the music of Arthur Lee and Love.

                                  David Fricke wrote about the album in Rolling Stone: “Black Beauty might have been received as a strong comeback for Lee, a turn to steamy R & B, with heavy-guitar punch — if it had come out.” High Moon Records is honored to finally grant Arthur Lee’s wish for Black Beauty to be available to music fans worldwide.

                                  “A lost classic.” – Rolling Stone
                                  “Black Beauty is as eclectic and eccentric as any of Love’s best” - Mojo

                                  180-gram vinyl LP, packaged in state-of-the-art tip-on sleeve with 11” x 11” full-color, 28-page book

                                  Includes download card for High Quality MP3s

                                  Extensive Black Beauty essay by Ben Edmonds (Creem, Rolling Stone, Mojo), featuring all-new interviews with band members, colleagues and close friends of Arthur Lee

                                  Abundant, never-before-seen Black Beauty-era photographs by Herbert Worthington, cover photographer of Fleetwood Mac’s Rumours

                                  Brilliantly re-mastered by multi-Grammy® Award nominee Dan Hersch (Paul Simon, the Kinks, the Cars).

                                  Mastered for vinyl by multi-Grammy® Award winner Doug Sax (Pink Floyd, Rolling Stones, The Who).

                                  FORMAT INFORMATION

                                  Ltd CD Info: TrueSound audiophile CD packaged in hardbound eco-book with 60 page full-colour booklet and exclusive bonus tracks.

                                  Ltd LP Info: Limited edition numbered first pressing of 5000 copies.

                                  Pattern Is Movement

                                  Pattern Is Movement

                                  Pattern Is Movement redefine what it means to return. Their self-titled fourth album is the story of what they've seen – and of what we've all seen – since 2008's All Together: a new and shifting territory, half-jungle/half-city, where a percussive primal R&B heartbeat keeps time with baroque melody of civilization. Counting among its touchstones everything from Drake, Fred Hammond, Mr. Roger's Neighborhood, Prince, Bollywood, Outkast, Springsteen, and Werner Herzog to peers like Bon Iver, Candy Claws, Beirut, and Thundercat, Pattern Is Movement unearths an entirely modern artifact right under our feet. It's beautiful and pulsing. It'll make you sweat. Founded in Philadelphia by Andrew Thiboldeaux and Christopher Ward, Pattern Is Movement map a vast territory of internal exploration and external output. As the band recorded a series of albums over the past decade — The (Im)possibility of Longing, Stowaway, and All Together — they also shifted in membership and in stylistic focus, eventually solidifying into a powerful duo: Thiboldeaux on Rhodes, synth, bass, and vocals, and Ward on drums. Deeply soulful and natively genre-defying, they’ve toured extensively, joining bands like St. Vincent, The Roots, and Shudder to Think, and will embark on a nationwide tour this March and April with Yellow Ostrich, including appearances at SXSW.

                                  “Sounds like what might happen if Justin Vernon went into the studio with Spoon — sharp and propulsive yet airy and steeped in white noise, its effortless falsetto croons riding to glory atop a drifting keyboard figure that elicits callbacks to ‘Super Rich Kids’ and ‘Bennie And The Jets." - STEREOGUM.

                                  Jerry Goldsmith

                                  The Omen : Original Motion Picture Soundtrack

                                    One-time pressing on Black vinyl and randomly-inserted Red-striped vinyl!!!! MONDO is pleased to present the original motion picture soundtrack to THE OMEN by Jerry Goldsmith. This release features the most comprehensive version of the soundtrack ever to be released on vinyl. This release features all new artwork by Phantom City Creative and is newly remastered by James Plotkin.

                                    FORMAT INFORMATION

                                    2xLtd LP Info: Super limited edition LP. 180 gram 2LP in deluxe gatefold.

                                    Martin Creed announces details of a new album, Mind Trap via Telephone Records.

                                    The album features songs alongside instrumental pieces for orchestra. Martin sings and plays the instruments, supported by gospel singers Dee Alexander and Yvonne Gage (who've worked with The Police, Madonna and R.Kelly) and Andy Knowles (musical credits include stints with the Fiery Furnaces & Franz Ferdinand) playing drums on If You’re Lonely, You Return and Don’t Tell Me. Keiko Owada plays bass on Gift Attack / Don’t Won’t. Co-produced by Martin with Andy Knowles, the album was recorded in London, Chicago and the Czech Republic. Nick McCarthy of Franz Ferdinand and Mark Ralph (who works with Hot Chip) provided additional production. The Chicago songs, which form the heart of the album, were recorded all-analogue at John McEntire's (Tortoise) Soma Studios. Engineered by Bill Skibbe (The Kills/Franz Ferdinand). It also includes 3 specially commissioned orchestral works: Work No. 955 was originally written for the Birmingham Symphony Orchestra, Work No. 994 was composed for the Hiroshima Symphony Orchestra and Work No. 1375 was commissioned by the The London Sinfonietta. These pieces were recorded for the album by the Brno Philharmonic Orchestra conducted by Mikel Toms. All lyrics and music on the album are written by Martin Creed, with the exception of the The New Shutters which is Martin’s arrangement of a traditional Neapolitan folk song. The album sleeve features one of Martin’s paintings, Work No. 1674: Anouchka and was designed by Andy Knowles, who has recently directed videos for Franz Ferdinand and The Cribs. Martin has released one previous album, Love To You (Moshi Moshi) in 2012.

                                    29th January 2014 sees the opening at the Hayward Gallery of the first major survey show of Creed’s work. This far-reaching retrospective will include all of his best-known works, from the Turner-prize winning installation Work No.227: The Lights Going On and Off (2000), Work No. 293: A sheet of paper crumpled into a ball (2003) to his epic sculpture Work No. 1092: MOTHERS (2011) and will occupy both floors of the Hayward Gallery and its outdoor terraces. To coincide with this exhibition at the Hayward, Southbank Centre has commissioned Martin to compose a new piece for the Royal Festival Hall organ. This will be part of the Pull Out All of The Stops Festival, which celebrates the complete restoration and reinstallation of the organ. Key performances during Martin Creed’s run at the Hayward Gallery will be the premiere of his new organ commission on 30th March (Face to Face with Bach) and the performance of Creed’s ballet Work No. 1020 on 8th April. The Ballet is choreographed by Creed and the music, played live by Creed and his band, will feature songs from Mind Trap. Martin Creed was born in 1968 in Wakefield, England and was brought up in Glasgow, Scotland. He studied at the Slade School of Art, London from 1986-1990. His work has been exhibited internationally and is represented in collections including Museum of Modern Art, New York; The Moscow Museum of Modern Art; The Centre Pompidou–Metz, France; Tate, London; Van Abbemuseum, Eindhoven; The Scottish Gallery of Modern Art, Edinburgh and The Museum of Contemporary Art, Chicago. Recently, Creed’s Work No. 1197: All the bells in a country rung as quickly and as loudly as possible for three minutes opened the 2012 Olympic and Paralympic celebrations as part of the London 2012 Festival.

                                    Opera Mort


                                      Dédales is the second LP from Opera Mort following up their debut for the inhouse label of the sadly defunct Parisian record shop Bimbo Tower. The project is an ongoing collaboration between Jo Tanz and Laurent Gerard, two figures in the eye of France’s contemporary avant garde underground; Jo with his Tanzprocess label and Laurent with his Élg project (Élg’s ‘Mil Pluton’ album appeared on Alter in 2012). They also form two thirds of the trio Reines D’Angleterre with the legendary French artist Ghedalia Tazartés who will be returning to live performance later in 2014. The 8 tracks on Dédales were edited down from a series of improvised live takes of abstract and other-worldy electronics, shifting the Opera Mort sound into more focussed territory and creating a musical language that’s uniquely singular and a direct result of their close collaborative relationship.

                                      Larry Saunders

                                      On The Real Side / Sweet Sweet Lady

                                        LARRY SAUNDERS, aka The Prophet Of Soul, is best remembered on the rare soul scene for his Northern Soul, crossover classic, “On The Real Side”. It was originally recorded in 1974 at Soul Sound Studios, Englewood, New Jersey, for Joe and Sylvia Robinson’s All Platinum subsidiary Turbo. The song also saw a UK release in the same year on London Records.

                                        Soul man Saunders, son of Blues singer Johnny Ace, signed to All Platinum in ’73 and recorded a number demos, with in-house writer/producer Tommy Keith, including two unreleased numbers “Good Luck Charm” and our featured B side “Sweet Sweet Lady”. The latter was subsequently recorded and released by The Moments and again in ’76 by The Whatnauts.

                                        In 1976 Saunders moved to Soul International for his debut album Prophet Of Soul featuring arrangements by William Bell and Travis Wammack on guitar. He also recorded the modern soul side “Take Another Look” on the TK subsidiary Juana, which was credited to Frankie L Saunders.

                                        Most recently Larry, together with his daughter, the multi Grammy nominated artist Ledisi, appear on the 2005 album The Craft by hip hop duo Blackalicious.

                                        Dean Courtney

                                        I'll Always Need You / Today Is My Day

                                          “I’ll Always Need You” was written by Leon Huff and Len “1-2-3” Barry who originally cut the song in ’66 for his near-mythical UK Brunswick album It’s That Time Of Year. Courtney’s version is far superior with a Jimmy Wisner arrangement and featuring Cissy Houston and Dee Dee Warwick on background. It was Wisner who brought the song to the attention of RCA along with “My Soul Concerto” which was Dean’s debut 45 coupled with “We Have A Good Thing”, written by John T Mack Jnr of The Charades. Sadly, both of Courtney’s legendary RCA 45s sank without trace along with other Wisner productions on Dean, unreleased at the time, including “Love Is Wonderful” and our chosen B-side “Today Is My Day”.

                                          Fortunately for rare soul fans, Dean didn't walk away from the music scene after RCA failed to recognize his talents. Instead a move to MGM saw the release of the equally superb “(Love) You Just Can’t Walk Away”, again arranged by Jimmy “Wiz” Wisner. Despite it’s obvious qualities the record only scraped in to the Billboard R&B top 40 and failed to crossover.

                                          Benny Troy

                                          I Wanna Give You Tomorrow

                                            New Jersey seasoned vocalist Benny Troy is a familiar figure on the UK Northern Soul scene thanks to his 1975 disco-tinged dance floor classic “I Wanna Give You Tomorrow” and his sensational appearance at the Prestatyn Soul Weekender in 2009.

                                            Benny Troy, was born Benjamin LaManna, in Newark, New Jersey on February 17, 1947. From an early age Troy was fell in love with R&B music and at 18 he joined a reformed Joey Dee & The Starlighters following in the footsteps of Jimi Hendrix.

                                            By the mid-seventies Troy had teamed up with singer/songwriter/producer Billy Terrell who recorded him on his own composition “I’ve Always Had You” for De-Lite Records, a superb slice of proto-disco and modern soul. The song was a hit for De-Lite and heralded the now legendary album Tearin’ Me To Pieces featuring our new release “I Wanna Give You Tomorrow”.

                                            Benny Troy has performed alongside The Trammps, Vicki Sue Robinson, Tavares and Crown Heights Affair and is still active today in Atlantic City and New York.

                                            "When I finally got to see them live, I was transformed into a hysterical nine-year-old girl at a Beatles concert." -Kurt Cobain

                                            Formed in Osaka by guitarist and chief songwriter Naoko in 1981, Japan’s Shonen Knife rose from humble DIY beginnings crafting their own idiosyncratic songs, and fashioning their own brightly coloured outfits, to touring with Nirvana on their ‘Nevermind’ tour, trailblazing a path for women in music and inspiring legions of bands. Championed by Nirvana, Sonic Youth and hailed as a favourite by the crème-de-la-crème of Alternative Rock, Shonen Knife remain one of the most influential and beloved of Japanese rock exports. Live, they are tight with machine-precision, punching out fast, highly exciting sets of Punk, Pop, Rock & Metal hits, all coated with their own distinctively quirky and life-affirming charm. As they fast approach their 1,000th gig, Shonen Knife's joy and invention shows no sign of fading. As Naoko says, "Let's Rock!"

                                            All female Japanese cult trio Shonen Knife return with ‘Overdrive’, their 20th album in 33 years.

                                            This new long-player features ten original songs produced by Naoko and manager Atsushi, recorded by Ippei Suda (Afrirampo/Balzac) Yotsubashi at LM studio Osaka, and mastered by Koichi Hara (Afrirampo/OOIOO/Boredoms). The UK and European release features special lime green/purple artwork by Masahiko Ohno (Solmania).

                                            "The concept is 1970's rock and hard rock which is the Golden Years of Rock'n'roll. This album is the harder, 1970's sound." Not so much a retro album but Naoko harking back to her love of the rock she grew up on, namely: Thin Lizzy, Black Sabbath, Bad Company & Deep Purple. It’s a warm overdriven abrasive sound filled with doubled harmonic solos, dissonant power chords, menacing bass and thunderous drum rolls. In the past the band have ventured into hard rock on Mongoose vs Cobra, Antonio Baka Guy and more recently Pyramid Power & Economic Crisis but this is the first time they’ve dedicated a whole album to heavy rock.

                                            Recent Press:

                                            "Rocks like Motorhead designed by Hanna-Barbara" - Uncut

                                            "Ultimately, without using superlatives, Shonen Knife should be set up for life as ambassadors for live music." - Clash Music

                                            "There are two types of people: those who enjoy thrashy Japanese girlpunk, and those who have something wrong with them." - The Independent On Sunday 

                                            "Shonen Knife's gloriously infectious buzzsaw rock & roll remains firmly in place to charm the pants off even the most of cynical and hardened of churls." The Quietus

                                            'No Deal' is the new album from Melanie de Biasio. Album of the week recently on Gilles Peterson’s BBC 6 Music show, 'No Deal' has already achieved Gold status in her native Belgium, and is approaching Silver in France.

                                            Originally from Charleroi and currently based in Brussels, De Biasio is a classically trained flautist and the possessor of an extraordinary voice - she has been called the Belgian Billie Holiday. The minimalist, semi-improvised 'No Deal' will reward any music-lover willing to take the time to immerse themselves in its subtle splendour. The album should appeal to fans of late-period Talk Talk, who’s Mark Hollis is a huge figure for De Biasio. She also cites Frank Zappa and Pink Floyd as formative influences, plus Nina Simone and Abbey Lincoln, two icons of the civic rights fight and spokeswomen of an aggressive jazz stripped of any affectation.

                                            'No Deal' comes in at 33 and a third minutes and contains just seven songs, through which De Biasio’s voice drifts gracefully, at times disappearing altogether. With Pascal Paulus on keyboards, Pascal Mohy on piano, and Dre Pallemaerts on drums, De Biasio has streamlined everything to give more space to her extraordinary vocals. There is a natural flow to the album, from the intimate beginnings of 'I Feel You' to the farewell note of 'With All My Love'. The final song intimates the reconciliatory, redemptive powers of song, the calm after the storm, yet bristling with emotion, a ‘frisson‘, as they say in French. Rarely has a record unfurled as many dark beauties and hidden luminescence, speaking a thousand musical languages while remaining completely accessible.

                                            People's Temple


                                              Oh yeah! Agitated gets in on the act with a three tracker psych blast from the midwest's purveyors of the finest 'Elevators chug and UK invasion jangle you are likely to hear! Formed in 2007 by two sets of brothers: Alex Szegedy (guitar/vocals) and George Szegedy (drums) and Spencer Young (bass/vocals) and William Young (guitar/vocals).

                                              An easy reference point could be the Nuggets compilation, in fact Nuggets compiler Lenny Kaye had this to say about them last year: "Awash in reverb and mood enhancers, the People's Temple create an atmosphere truly "Texas Revisited," embracing trippy International Artists like the Red Krayola and Bubble Puppy, bone-shaking a tambourine ("Nevermore," "Looter's Game"), and mumbo-jumboing poetics ("House of Fools"). Alternately soaring, dislocating, unsettling and uplifting, the album culminates in the phantasmagoria of "(Dark Dreams) Distant Memories," a hymn to the glories found in a millisecond's delay by way of Jane's Addiction. Pass the Kool-Aid," Kaye wrote.

                                              A live single on Third Man Records, a 45 on Trouble in Mind, singles and albums on Hozac, is setting this up as a complete doozy of a single..

                                              FORMAT INFORMATION

                                              Ltd 7" Info: Limited to 500 only.

                                              A Winged Victory For The Sullen

                                              Atomos VII

                                                Erased Tapes are pleased to announce the release of A Winged Victory for the Sullen's ‘ATOMOS VII’. The first installment leading up to the release of the second full length studio album 'ATOMOS', and score for choreographer Wayne McGregor's long form dance piece.

                                                McGregor was heavily influenced by the duo's 2011 self-titled debut, playing it repeatedly during practices with his core group of dancers. After noticing the group's reaction with the music, he contacted Adam and Dustin to see if they could write the score for his new oeuvre. The duo recorded more than sixty minutes of music over a four-month period during the summer of 2013 in Brussels, Berlin and Reykjavik with the help of their longtime collaborative sound engineer Francesco Donadello. This EP also sees the involvement of Ben Frost, who composed the music for McGregor’s previous work 'Far'.

                                                McGregor, mastermind behind the Random Dance Company and resident choreographer at the Royal Ballet since 2006, is known in popular culture circles for serving as movement director for the film 'Harry Potter and the Goblet of Fire'. He has also choreographed the Radiohead video 'Lotus Flower' and 'Ingenue’ by Atoms for Peace.

                                                IN THEIR OWN WORDS:
                                                ‘While we were re-amping guitars at Greenhouse studios, Ben expressed interest and admiration in the sounds we had created. We were planning for the B-side to be a metamorphosis of part VII, and Ben seemed the obvious choice. With the multi-tracks transformed, it follows a trajectory that we had not felt comfortable with before. But with Ben's involvement and influence, it was a painless entrance to this crooked, distorted world.’
                                                – Adam Bryanbaum Wiltzie.

                                                ‘We never imagined 2013 would be such an explosively creative year. The first record took us two years from start to finish, but in the micro span of time over last summer we were able to change the formula for the way we write, record, and let go. It was incredibly liberating.’
                                                – Dustin O'Halloran.

                                                The now buy-on-sight, Box Bedroom Rebels series continues to throw us curveballs in the form of this new release, following on in style from the last one. After blasting our eardrums with some punk attitude, drifting us across blue oceans on a wave of lo-fi bliss, and supplying us with plenty of leftfield pop nuggets, the two "Ambience" records have delivered us a direct hit of classic minimalist beauty. "Ambience 2" features Agathe Max, a Lyon based classical musician who works with violin, piano and loop pedals creating hypnotic drones and achingly beautiful dueling violins. Think John Cage dissonance, Arvo Part minimalism & Eric Saties spaciousness. The music was composed in the style of William Burroughs cut-up method but applied to music, creating endless possibilities. Both sides of the 7" seem to flow nicely after each other, suggesting continuity between the two pieces as manipulated strings collide with pixie-like melodies and a deliciously rich, organic soundbed. The Music on the CD uses Burroughs’ cut-up process to create the 75 minute piece "Spotted Thoughts In Hazy Light" which is continually engaging, slowly building with a menacing undertow. Layers of violin, micro-edits, vocals, clicks & percussion all working wonderfully towards the desired goal. Exceptional stuff and as always, likely to fly out. Place those orders now!

                                                STAFF COMMENTS

                                                Matt says: Melancholic wonder from the insatiable Box Bedroom Rebels team. A gloriously sad way to drink red wine, gobble downers and lie in the bath with not a care in the world.

                                                FORMAT INFORMATION

                                                Ltd 7" Info: *Highly limited* 150 copies. 2 track 33rpm 7", 75 minute 1 track CD, insert & portrait - all with that Box Bedroom Rebels panache!

                                                Muyei Power

                                                Sierra Leone In 1970s USA

                                                  Muyei Power or Orchestre Muyei (muyei means ‘our country’) was one of the top dance bands of the1970s in Sierra Leone. Soundway Records' first collection of music from this West African country (‘Muyei Power: Sierra Leone in 1970s USA’) is an album of rock-infused, 'afro' music from a group that traveled the world throughout the mid 1970s. Fusing elements of electric Congolese and Nigerian music with fast, syncopated, uptempo modernised arrangements of traditional music, Muyei Power produced a series of unique single-only releases that have been unavailable for 35 years. The rare recordings featured here are a glimpse of a dynamic and powerful band at the very height of its powers.

                                                  Even though lyrically Orchestre Muyei focused on traditional themes and songs, the arrangements and formulation of the instrumental side of things still very much reflected the mixed nature of urban Sierra Leone music, exemplified by a small collection of bands that also included Afro National, Sabanoh 75 and Super Combo.

                                                  For the early part of 1970s the band toured extensively throughout Sierra Leone, Liberia and Côte d’Ivoire before making a handful of 45s in local TV and radio studios.

                                                  The recordings featured here however come from a period of touring the college circuit in California during late 1975 and early 1976. Later that year, as they played the colleges of the east coast, they gave the tracks to the owner of the African Record Centre in Brooklyn, New York. He initially released two of them on his in-house Makossa Records label as 7-inch 45rpm singles in 1976. The tracks from 1975/6 were then not heard of again until 1979/80 when the African Record Centre released many of them on a series of Makossa Records 12”s that sounded far superior than the records that had been released a few years earlier.

                                                  Orchestre Muyei Power finally split up in 1979 leaving no proper album releases and only a handful of recordings for us to enjoy all these years later.

                                                  The CD & LP both come with detailed liner notes, with the vinyl being pressed on 180g vinyl with a free digital download insert code.

                                                  Seafloor is the experimental-dance music brainchild of Brooklyn-based musician, producer and graphic designer Matthew Young, better known for his role as keyboardist / vocalist in the synth outfit Body Language and one half of Vacationer. For the "Lure EP", his third official release as Seafloor, Young has sculpted four heavy-hitting tracks that take cues from the classic house model but re-contextualize them within the constantly mutating scene of club music. Pronounced melodies, textures and rhythmic elements are woven together seamlessly to create rich, vibrant songs that engage the listener as well as inspire kinetic movement. Setting off the EP is “BustnLoo”, perhaps the most immediately engaging dance track on the record. Washes of synth pads and pulsating vocals give way to a 4/4 house rhythm as whimsical melodies, chord stabs and basslines bounce throughout. Rounding off Side A is the emotionally charged “Missing You,” a loose and jazzy composition with an infectious vocal hook. A series of soulful chord progressions drives the song, while the coke can drums and pneumatic 808s plonk and fire off in a half tempo, garage-inspired fashion. Side B revisits warehouse vibes with deeper and darker overtones; perhaps the most club focused music Astro Nautico has releases to date. “Somadose” fertilizes tribal percussion with a robotic, metallic bassline and measured static to birth a late night ketty burner or DC-10 / Villalobos style afterparty churner. The track continues to build with uplifting chords and vocals to a satisfyingly synthetic climax. Concluding is “MRDJ”, another peakhour, pitch black anthem featuring chords that swarm around you like a pack of raver hornets and kick drums that knock you back with every punch. Mangled vocal snippets overlaid through the track give it a narcotic twist while neo-hoover sweeps and the ghosts of past warehouse raves haunt the recesses of the track. Excellent stuff. 

                                                  Well, isnt this a pleasant surprise?! Pure H E A T from Vancouver's master analogue cook - ESB, with our favourite Ukrainian sound wizard - Vakula providing support. The Canadian hardware scene is thriving at the moment, finding a lot of love across the pond here in Europe where its combination of boogie / street soul equipment and sounds mixed with a more house-minded sensibility and arrangement are finding favour amongst the aficionados and DJs bored with beatport house or tiresome edits of classic 80 grooves. "On Cue" displays some unique production traits but keeps them tightly in the confinds of a classic deep house formular - mixing sunblushed boogie basslines, sweaty, sweeping pads and old school Jomox drums with an almost Larry Heard essence, with subtle acid inflections to create a stone cold twilight anthem, tailor-made for fiery hot sunsets at that most magical time of the day. "Time Won't Forget" goes on a straight up deep house tip, utilzing a heady vocal refrain with thick piano stabs and a swaying mid-tempo groove. Undulating through its long, patient arrangement, this is the very essense of scientific restraint and to me, is what house music is all about - just one hypnotic groove repeating over and over alllll niiiiight! The sound mangler, Vakula puts "On Cue" through his dusty outboard, conjuring up a much more ghostly, ethereal track which carries on like some magical tropical garden enchanted with fairies and sorcery. Beautiful and very hard to place. "Terrium" then picks up the batton where "Time Won't Forget" last lazily placed it down, again rolling out an effortlessly relaxed house groove that you definitely won't want to end in a hurry - and guess what? It doesn't! This baby just chugs on and on, seranading us with delicous fried synth fragments, chunky analogue bassline and completely enveloping pads. Amazing stuff - highly recommended. 

                                                  FORMAT INFORMATION

                                                  Ltd 12" Info: Strictly limited - 300 copies. Hand numbered.

                                                  Toi Toi make the natural progression from club night to record label, keeping true to their underground roots and supplying the golden combination of English and German inspired electronic goodness. Mr. G fits the bill perfectly for Toi Toi's first release, having recorded a track named and dedicated to the night (released on Bassculture) after an inspired live performance at one of their events. Here he delivers four tracks in his synonymous, driving future-tribalist style. "Mango & Rum" is dark and discordant, eerie melodies weaving and intertwining with the percussive forward thrust. A clammy female vocal refrain and tight piano stabs immediately transport us straight to some fluorescent purple outdoor stage. "Side Swing" rides a big organ and bass riff through the course of its duration, a straight up 4/4 pounding away throughout while a filtered and looped vocal effect ties our head in knots. Daze Maxim works "Mango & Rum" into something really quite deep and tribal and makes me think of pretty girls covered in feathers and facepaint loosing their shit to Radioslave or Slam under clear starry skies. Finally "Freefall 7" concludes with a subtle, end-of-night bliss hidden within its concentric grooves. Again, clever use of a seductive female vox transports us exotic headspaces while the warm, bubbling piano chords simmer gently on top of the mix, hi-hat patterns spiting over the sides. Excellent stuff. A heads down, eyes-wide-shut beast of an EP for going wild next to the speaker stacks on foreign dancefloors. Recommended. 

                                                  General Ludd

                                                  Hitit / Kickout

                                                  2 long tracks of drum heavy sound experiments from General Ludd (feat. the dudes behind Dam Mantle / Golden Teacher / Tropics of Capricorn / Lovers' Rights etc) on my favourite new industrial / techno label - Clan Destine Trax. "Kickout" pairs rampant 808 subs with menacing sirens, huge industrious sweeps and saturated drum machine abuse. A stupendously powerful frequency assault that should flatten any dancefloor. "Hitit" on the flip has equal levels of intensity, again pairing highly evocative sirens with hypnotizing percussion workouts. Utilizing some heavy voodoo, Ludd concocts a ridiculously intoxicating groove which should inject some frenzied primal instincts into the dancefloor. Pitch black technoid magic! Move fast...

                                                  Fortuna POP! are beside themselves with excitement to welcome the incredible CHAIN AND THE GANG to their ever-increasing family, with the release of their fourth album MINIMUM ROCK N ROLL on April 14th. Led by the remarkable Ian Svenonius, prime mover behind two of the most essential bands of our time, Nation Of Ulysses and The Make-Up, and author of two books, The Psychic Soviet and Supernatural Strategies for Making a Rock 'n' Roll Group, not to mention online talk show host and auteur filmmaker, Chain And the Gang deal in a new genre called CRIME ROCK that updates rock n roll, blues, and gospel music or vocal quartets from the late 50s /early 60s for the discerning few.

                                                  As Ian himself puts it: “If asked about it by a prospective fan, I would say "Watch out; it might hurt your feelings." Or "Be careful … there's no telling what might happen if you put it in your ear." Why? Because Chain & The Gang isn't for everyone. It's not designed for the victims of Ikea who rely on robots to choose their background muzak. But it can also prove to be addictive and has some disturbing side effects.“ A gang with a fluid and floating active core, Minimum Rock N Roll was recorded in Portland Oregon with Ian and Katie Alice on vocals, Brett playing the electric guitar, Chris on electric bass guitar, and Fiona driving the drum kit and then mixed down in DC by Brendan Canty. More minimal and more ferocious, more lean and more mean, Minimum Rock N Roll is Chain & the Gang looking for food, hungry and intent on devouring the known world, once they find its tender underbelly.

                                                  The opening song DEVITALIZE is both topical and timeless. A call for de-evolution, disenfranchisement, total rejection of the worldwide trend of class war disguised as connoisseurship and good taste. Then the record goes pell-mell, bouncing from disco demands for love and affection (NEVER BEEN PROPERLY LOVED) to classic love songs (I'M A CHOICE (NOT A CHILD)); analog-electro stompers (STUCK IN A BOX); swamp-errific groovers (GOT TO HAVE IT EVERYDAY); incitements to silence in the face of surveillance and grotesque confessional culture (MUMS THE WORD); outlines of the Chain & the Gang music genre "Crime Rock" (CRIME DON'T PAY, WHAT ARE YOU IN HERE FOR?); a wordless explanation of Minimum Rock N Roll (MINIMUM ROCK N ROLL); a dance based on obscuring the pointless pretenders (CURTAIN PULL); and a lament about being late to the party (EVERYTHING WORTH GETTING IS GONE). Svenonius again: “MINIMUM ROCK N ROLL is a challenge to all the tiresome groups with no content, no heart, no soul, no direction, who parade around like mediocres onstage with an inherited diagram of acceptable behavior. What are they striving towards? A slot at a festival? Chain & the Gang want it all. They want justice in this universe and the other ones in the other dimensions. And that starts with aesthetic justice.

                                                  MRR is naked, raw, catalyst, creepy, crazy, cretinous..."crime rock". Minimum Rock n Roll uses fewer beats, fewer words, fewer ideas … "why pay more for unneeded words rhymes and riffs?" is the philosophy behind the album. It's a purely distilled rejection of the indie rock prescription for enforced brain dead, artless mediocrity.” Minimum Rock N Roll is a protest against a world where everything is available … the internet's engorgement of the senses has bred a world that’s stupefied, self-satisfied and sedate. It’s time for a diet. This record is a kind of aural austerity! Barely any words! Hardly any beats! Fewer notes! Its just EXACTLY ENOUGH.

                                                  FORMAT INFORMATION

                                                  LP Info: Heavyweight vinyl LP.

                                                  Back in stock Cover of Morning Phase by Beck.
                                                  Touted as one of the most anticipated albums of 2014 by Mojo, Q, NME and the Sunday Times, ‘Morning Phase’ is the upcoming 12th album from Beck - his first for six years. The album has been described as a “companion piece” to the largely acoustic ‘Sea Change’ released in 2002. Jack White worked with Beck on three of the tracks on the album which also features Meidal-Johnsen, Joey Waronker, Smokey Hormel, Roger Joseph Manning Jr and Jason Falkner.

                                                  STAFF COMMENTS

                                                  Andy says: Mellow and, of course, melodic. Worth the wait.

                                                  FORMAT INFORMATION

                                                  Ltd LP Info: 180 gram vinyl.

                                                  Liz Green

                                                  Haul Away! - Limited Print Edition

                                                    Special LP format includes free print made, hand numbered and signed by Liz herself. This format is available exclusively to independent retailers.

                                                    The follow up to Manchester songbird Liz Green’s rapturously received debut ‘O, Devotion!’ (2011).

                                                    Recorded at London’s legendary Toe Rag Studio with producer Liam Watson, Liz’s sophomore album displays a wonderful array of sounds and styles, from the ‘drone-blues’ of ‘Battle’ to the sea shantyinfluenced title track.

                                                    In a departure from its predecessor, ‘Haul Away!’ sees Liz bringing the piano to the forefront, influenced by such artists as Thelonius Monk and Nina Simone.

                                                    Artwork designed and conceived by Liz herself, including the iconic cover image.

                                                    Includes self-styled single and ‘wonky circus tune’ ‘Where The River Don’t Flow’, a jaunty dance of life and death.

                                                    Various Artists

                                                    Riviera Disco Vol. 2

                                                      Different countries, different styles. Carefully selected by Julien Tavernier for the Riviera Disco club. Starring Bijou from Belgium, De Pin Up Club and Peet Need from The Netherlands and Jean Paul Lazarre and Philippe Taverio (Ajello) as Impresa Gottardo from Italy. Limited to 250 copies worldwide!

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