MAGIC MIX

ALL GENRES

BACK CATALOGUE - C

Chaka Demus & Pliers

Tease Me

    THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

    25 years after its original release comes the reissue of Chaka Demus & Pliers’ debut single. “Tease Me” was in the UK Singles Chart for three months back in 1993, and now it's on yellow vinyl.

    Creation Rebel

    Dub From Creation

      THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      40th anniversary reissue of the debut Creation Rebel album, originally released on pre-On-U Sound label Hitrun in 1978. This is the seminal first studio work by revered dub producer Adrian Sherwood (Ministry, Nine Inch Nails, African Head Charge), and engineered by Dennis Bovell (Fela Kuti, The Slits, Orange Juice). A classic of the genre unavailable on vinyl since original release and now commanding high prices second-hand. Includes DL card for full album plus two bonus tracks, and printed inner sleeve telling the story of the recording in full.

      Chantal Acda

      Let Your Hands Be My Guide

      Currently based in Belgium, Dutch-born Chantal Acda (b. 1978) has worked under the Sleepingdog moniker since 2006, making three acclaimed albums that closed on the With Our Heads in the Clouds and Our Hearts in the Fields (2010) album for which she collaborated with Adam Wiltzie (Stars of the Lid, A Winged Victory For The Sullen). They toured the UK and Benelux with Low in 2011.

      After all this, it was time for her first real solo record. Playing in various formations had made her conscious of the patterns that we all, as humans, share in. So, she sought out kindred spirits with whom she might record an album filled with freedom and intensity, and who were conscious of the patterns we so often fall back on.

      Nils Frahm was the first of these to cross her path. The inventive German pianist and producer is an intense and adventurous performer and was a perfect match for this project. Acda also experienced a direct bond with Peter Broderick, a multi-instrumentalist known from his solo work (on labels such as Bella Union and Erased Tapes) and from his work with, among others, Efterklang. Cellist extraordinaire Gyda Valtysdottir from Icelandic group Mum had previously worked with Chantal as a member of the Sleepingdog live band. And lastly, Shahzad Ismaily stumbled into this picture by chance, but when Acda and he found themselves in the same room they formed an instant rapport.

      The circle completed, Acda had found the 4 worlds that would enable her to record the album in full freedom. Power revealed through vulnerability. Nils Frahm, who plays throughout the record, also took on the role of producer. What began as a journey ended as this wonderful record - one wherein the five musicians were able to find their place and, together, and with great warmth, tell their nine-song story. Let your hands be my guide.

      Chantal Acda

      Live In Dresden

      A nice collectors follow-up to 'Let Your Hands Be My Guide'. Limited edition of 500 hand made/numbered copies for the world..

      Currently based in Belgium, Dutch-born Chantal Acda (b. 1978) has worked under the Sleepingdog moniker since 2006, making three acclaimed albums that closed on the With Our Heads in the Clouds and Our Hearts in the Fields (2010) album for which she collaborated with Adam Wiltzie (Stars of the Lid, A Winged Victory For The Sullen). They toured the UK and Benelux with Low in 2011. After all this, it was time for her first real solo record. Playing in various formations had made her conscious of the patterns that we all, as humans, share in. So, she sought out kindred spirits with whom she might record an album filled with freedom and intensity, and who were conscious of the patterns we so often fall back on.

      Nils Frahm was the first of these to cross her path. The inventive German pianist and producer is an intense and adventurous performer and was a perfect match for this project. Acda also experienced a direct bond with Peter Broderick, a multi-instrumentalist known from his solo work (on labels such as Bella Union and Erased Tapes) and from his work with, among others, Efterklang. Cellist extraordinaire Gyda Valtysdottir from Icelandic group Mum had previously worked with Chantal as a member of the Sleepingdog live band. And lastly, Shahzad Ismaily stumbled into this picture by chance, but when Acda and he found themselves in the same room they formed an instant rapport.

      The circle completed, Acda had found the 4 worlds that would enable her to record the album in full freedom. Power revealed through vulnerability. Nils Frahm, who plays throughout the record, also took on the role of producer. What began as a journey ended as this wonderful record - one wherein the five musicians were able to find their place and, together, and with great warmth, tell their nine-song story. Let Your Hands Be My Guide.

      ‘Live in Dresden’ features six songs from ‘Let Your Hands Be My Guide’ played by Chantal Acda, Alan Gevaert, Eric Thielemans & Gaetan Vandewoude.

      With her new release, "Zandoli", Belgian-Caribbean artist Charlotte Adigéry proves herself to be a consummate storyteller. Sometimes patently silly, sometimes deeply introspective, Adigéry’s ever-wandering mind spins tales that are absurd and poignant and ridiculously fun. Having been taught the ropes by her Martinique-born mother - namely rhythm’s relationship to musicality and the importance of a sense of humour - Adigéry is a persuasive young artist who can sing about lizards one moment and latex the next.

      A descendent of a Nigerian Yoruba tribe that worked their way out of slavery on the faraway island of Martinique, Adigéry likes to draw inspiration from her Caribbean ancestors’ musical traditions. Opening track "Paténipat" features a chanted chorus of 'zandoli pa té ni pat' - a Creole mnemonic that means 'the gecko didn’t have any leg' - which perfectly enunciates the rhythms of the GWO KA dances that would have swayed the islanders of Martinique a century ago. A zandoli, by the way, is a lizard normally found climbing the walls of Caribbean homes.

      While never addressing love directly, "Zandoli" is a product of pure love and friendship. In the studio Adigéry is joined by collaborator Bolis Pupul, a descendant of the first and only wave of Chinese immigration to Martinique. After matching on Tinder, the pair began to explore their shared histories, resulting in heart-to-heart confessions that seep through the songs of Zandoli. 'Since working on our first EP, Bolis and I have become best friends,' Adigéry says. 'And this record is the product of our love.'

      Moskenstraumen, Christopher William Anderson’s first and only release under his own name, sees him saying goodbye to the electric guitar as the instrument of choice for solo compositions.

      The tracks were crafted using a Gretsch Duo Jet and numerous tape and digital delays/loopers into something far removed from the sound of the source.

      Originally self-released 3 years ago almost to the day and sold in painstakingly produced hand crafted packaging only a few were lucky enough to grab a copy. Now we are incredibly privileged to help "Moskenstraumen" see the light of day again amongst the increasing ranks of Sacred Tapes releases.

      Written and recorded by Christopher Anderson between 2009-11


      FORMAT INFORMATION

      Cassette Info: Limited C60 reissue of twenty copies worldwide.

      After a decade spent at the height of the music industry, touring solo and with large pop bands, Courtney Marie Andrews has realised her desire for a place to come home to. She found that in a small rural town in the deep forests of Washington. There, she posted up at a local bar, slinging drinks, basking in the simplicity and reflection it allowed. She has emerged with a new fire on Honest Life, melding indie-folk and Americana with a rebellious country flavour reminiscent of her Southwestern roots.

      Honest Life is the culmination of Andrews' life on the road, absorbing the stories, traditions and heartbreaks along the way. The songs on Honest Life touch on personal coming-of-age stories ("Rookie Dreaming"), the stunning beauty of resiliency ("How Quickly Your Heart Mends"), take-no-shit self-determination anthems ("Irene"), and thoughts on how to accept emotions like loneliness and vulnerability in your life ("Table for One"). Andrews' heart-wrenching songwriting and crystal-clear vocal style are as captivating as they are invigorating. It's no wonder Ryan Adams called Andrews "a phenomenal songwriter." True to her own vision, Andrews produced the entire record herself and recorded it at Litho Studios in Seattle with recording engineer Floyd Reitsma, whose recent credits include Noah Gundersen and Pearl Jam.

      STAFF COMMENTS

      Barry says: A beautifully rendered and heartfelt collection of Americana anthems and soulful country, all topped by Andrews' powerful and immensely emotive voice. Pristinely produced, relentlessly melodic and irresistibly enduring.

      The highly anticipated follow up to Courtney Marie Andrews' critically acclaimed 2017 breakthrough album, Honest Life.
      Courtney Marie Andrews’ new full-length album, May Your Kindness Remain, will be released March 23 on Loose in the UK & Europe and Fat Possum Records/Mama Bird Recording Co. in the USA. In advance of the release, the album’s title track is premiered as part of NPR Music’s “Songs We Love” series.
      Produced by Mark Howard (Lucinda Williams, Bob Dylan, Emmylou Harris, Tom Waits), the album was recorded over eight days at a rented house-turned-studio in L.A.
      UK fans fell for Courtney’s breakthrough album Honest Life last year, when as the BBC put it, she became an “overnight success” after 10 years trying to break into the business. UK media such as The Guardian, Daily Telegraph and Sunday Times compared her music to the work of classic artists such as Guy Clark, John Prine, Joni Mitchell, Emmylou Harris, Linda Ronstadt and Glen Campbell alongside modern references such as Laura Marling and Julie Byrne. The album became one of the biggest breakthrough records of 2017 in the UK, with 4-5 star reviews from publications including Daily Telegraph, Uncut, Mojo and Q Magazine, as well as reaching #1 on the Official U.K. Americana Chart Independent Album Breakers Chart. In April 2017, Andrews made her debut on the BBC’s legendary “Later…With Jools Holland” programme.


      STAFF COMMENTS

      Barry says: A beautiful mix of deep Americana, new country and the forward thrust of todays melodic indie, Courtney Marie Andrews has not failed to impress yet, and 'May Your Kindness...' is no different. Stunning.

      FORMAT INFORMATION

      Coloured LP Info: Indies exclusive gold vinyl edition.

      Courtney Marie Andrews

      No One's Slate Is Clean

        Reissue of Courtney Marie Andrews' early record, No One's Slate Is Clean, from Fat Possum / House Arrest.

        Her local alt-newsweekly once called Andrews “the biggest star in the pop-folk scene in Phoenix.” In the same article, Jim Adkins of Jimmy Eat World, who had Andrews sing backup vocals on the band’s 2010 release Invented, called the young singer “all pro.”

        But being huge in Phoenix isn’t big enough for Andrews, who hits the road relentlessly. She visits Upland’s The Wire Sunday, Jan. 29, bringing her somber, Carole King-ish crooning and Zooey Deschanel bangs to the stage.

        The self-taught songbird is influenced by artists as far reaching as Sun Kil Moon and Billie Holiday to Joni Mitchell and Pink Floyd. But what inspires her creativity most, she says, is change—people, places and things, continually evolving.

        Touring, which provides plenty of spark for songwriting, is part of the deal for the desert dweller. “It’s bad and it’s also vital for my sanity,” Andrews says. “I really like the stories,” she says, adding that nearly every song on No One’s Slate is Clean was written in a hotel room.

        Many of Andrews’ tunes are autobiographical, of course, sometimes intimately, painfully so. “But there are always those little stretches of truth,” she concedes. “But that is what makes a story a story.” The ones that come easily usually end up as tracks on the album, she says. But that doesn’t mean they are Andrews’ favorites.'"

        Courtney Marie Andrews

        On My Page

          Re-issue of Courtney's debut album.

          For a decade or so since Courtney’s been a session and backup singer and guitarist for nearly 40 artists – from Jimmy Eat World to Damien Jurado - but she never stopped writing her own material. With plans to settle down for a bit and focus on her own songs, Courtney moved to Seattle in 2011 and recorded her last full-length record On My Page. However, the record had hardly been released before she was on the road again performing other artists’ songs, eventually leading her overseas to play guitar and sing with Belgian star Milow. It was during this time that Courtney also wrote many of the songs on Honest Life.

          Craig Armstrong

          As If To Nothing

          Brilliant CD on Massive Attack's Melankolic label. This is a lush, beatless mix of electronica and orchestration. Includes collaborations from Evan Dando, McAlmont, Photek, Bono etc.

          Craig Armstrong

          Kiss Of The Dragon

            More cinematic gear from Craig. Leftfield electronic downbeat etc.

            Cameron Avery has arrived as a new breed of nocturnal crooner, a train-wreck romantic creating timeless, ambitious music for the modern age. Utilizing his soulful wit, shrewd arrangements, and a deep, husky baritone, Avery harnesses the dark power and humor of artists like Nick Cave, Scott Walker, and Tindersticks to expertly walk the fine line between vulnerable and venerable.

            Hailing from the late 2000’s-era Perth, Australia, a healthy scene of hard-hitting garage rock bands, including a long stint as the drummer of Pond, Avery found his musical footing while playing with friends but sought the reward of his own outfit. Encouraged by his friend Kevin Parker of Tame Impala to record on his own, Avery started The Growl as his solo project in 2007, making an EP and an album of aggressive, distorted psychedelic rock and roll.

            When Parker asked him to join Tame Impala as its touring bassist in 2013, Avery jumped at the chance and rose with that band to the top of the psych-rock heap, but all the while remained focused on carving out his singular identity as an artist and following his own muse. On a break from touring, Avery decided to head to the US to work on his album. He would settle in Los Angeles at the behest of Jonathan Wilson, the Echo Park musician and producer who also encouraged Avery to shine a spotlight on his baritone singing voice, unlike the snarling, obscured vocals of The Growl. It was a lofty idea, but one to which Avery aspired, encouraged by the challenge. Melancholic machismo is written into the very DNA of Ripe Dreams, Pipe Dreams.

            From the classical, finger-picked guitar on the opener “A Time and Place” and the orchestral vamping of “Do You Know Me By Heart?” to the bombastic, self-assured swagger of “Dance with Me.” He takes an emotive page from the Leonard Cohen songbook-of-longing on “Big Town Girl” just as naturally as he thumbs an aggressive note of Bad Seed strut and Cramps rut on “Watch Me Take It Away.” And by the time he purrs that earnest refrain of “Baby, it’s you” on the album’s closer “C’est Toi,” Avery has surely mastered that drunken tightrope dance. Now a resident of New York City, Avery looks to continue his search for the ultimate sensations from a fresh vantage point.


            STAFF COMMENTS

            Laura says: The fact that Jonathan Wilson has produced this album is more of an indicator of it's sound than the bands Cameron Avery has previously been involved with: Pond, Tame Impala, The Growl. His rich baritone is perfectly suited to the romantic, string laden, swoon-some songs that make up the majority of this album, but it's equally suited to the more robust numbers and the bluesy stomp of "Watch Me Take It Away" which is one of the album stand outs. Comparisons have been make to Leonard Cohen and Scott Walker amongst others, but on gems like "Wasted On Fidelity" and "An Ever Jarring Moment" and "C'est Toi" I'd say Richard Hawley fans should take note. Lovely stuff.

            New label Concentric Circles open their account with a vinyl release of Carola Baer's "The Story of Valery", which is comprised of music from a one-off demo cassette found in a thrift store. Beautiful personal & emotionally resonant drum computer mantras in the key of Dead Can Dance, The Cocteau Twins and classic 4AD.

            The discovery of a cassette of Carola Baer's early 90s private home recordings was like finding a needle in a haystack. Made as a one-off mixtape of newly recorded songs, and given to a long-since
            forgotten recipient, this cassette was found in 2017 at a Goodwill "bins" location in Portland, Oregon. These chaotic, by-the-pound thrift stores contain 1000's of unsorted items in constant flux, which are only available for the public to buy for a limited time before they are discarded. The prospect that this obscure relic would be rescued from its untimely fate is nothing short of a miracle. As this tape was the only one in existence, with no back up versions of many of the songs, it's more than likely that this
            music would have been lost forever.

            "The Story of Valerie" is made up of songs culled from that cassette, with a few additional tracks from the time, and is the first time Carola Baer's solo material has been heard by the public. The intense emotion of the music is brought upon by the primary themes of the album: the cruelty of humanity, isolated life as a British immigrant in the US, and the pain of doomed relationships. Despite being inspired by classic 4AD acts like Dead Can Dance and Cocteau Twins, Baer's home recordings have a sound and style that is uniquely her own. Many of the tracks feel like musical exorcisms, with Baer's spine tingling voice soaring above minimal arrangements for Yamaha DX-7 and Casio CZ-101 synthesizers. Like finding a stranger’s diary, the listener is granted access to music that is emotionally raw and deeply personal.

            STAFF COMMENTS

            Patrick says: Even without the totally improbable and wonderfully romantic backstory (one off cassette found among thousands in a thrift shop bin), Carola Baer's "The Story Of Valerie" is irresistible. Mournful, melodic, epic and unique, Baer takes the bedroom synth pop stylings of the Cocteau's and twists it into something entirely her own. Be thankful that this one got saved from the tip.

            Carl Barât & his new band The Jackals announce the release of their debut album Let It Reign through Cooking Vinyl Records on Monday 16th February.

            Let It Reign was recorded in LA and London and was produced by Joby J. Ford (The Bronx) and features guest musicians, such as Beastie Boys percussionist Alfredo Ortiz on Glory Days. "I actually started making this record solo, but the long and short of it is I just didn’t like my own company," says Carl, adding that he soon realised that he wanted to get a new band together.

            Rather than call up some old mates to recruit for The Jackals, Carl decided to post a few ads online asking if there were any likeminded souls out there who wanted to try their luck at playing with him. The response was overwhelming, with thousands of people replying. Carl adds "I was lucky, because I found a bunch of people who genuinely fit together as a gang."


            Courtney Barnett

            Kim's Caravan / Close Watch

              THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.




              FORMAT INFORMATION

              Ltd 12" Info: 1 copy only left!

              Courtney Barnett

              Sometimes I Sit And Think, And Sometimes I Just Sit

              Following the runaway success of her EP collection, 'The Double EP: A Sea of Split Peas', Courtney Barnett returns with her debut album. Recorded in the Autumn of 2014 in an intense 10 day session at Head Gap studios in Melbourne, the album finally brings Barnett's incisive vision into stark, unflinching focus; her wit sharpened to a knife edge, her melodies more infectious and addictive than ever.

              'Sometimes I Just Sit and Think, and Sometimes I just Sit' cements Barnett's standing as one of the most distinctive voices in indie rock. Mixing witty, often hilarious observations with devastating self-assessment over a beguiling collection of songs that reveals her as an ambitious songwriter with an ear for clever turns of phrase and an eye for story-song details that are literate without being pretentious. Depressing rentals and dead foxes, go-nowhere relationships and dead end suburbs, even her own fears, doubts and insecurities - nothing escapes Barnett's caustic sense of humour.

              If 'The Double EP' announced the arrival of a major new talent, 'Sometimes…' consolidates that promise and marks Courtney Barnett as one of the best and most unique voices around, period.


              STAFF COMMENTS

              Philippa says: Just how talented is Courtney Barnett? She not only has an ear for the catchiest tunes, with songs that have the musical freshness and immediacy of punk, or pub rock, but her conversational stream of consciousness lyricism is at once playful and insightful. How could you fail to fall for her charms once again?

              FORMAT INFORMATION

              2xLtd LP Info: Indie stores exclusive - Limited deluxe 2LP is a double gatefold heavyweight orange vinyl and also includes MP3 download card.

              Lead single ‘Avant Gardener’ is a vivid display of Courtney Barnett’s magic. A hookladen fug of country roots and discordant psychedelia with a dreamlike narrative.

              The collection is a record of two halves, and collates her story so far. It fittingly begins with six brand new songs and is then backed with six older tracks which were originally released in the form of her 2012 debut EP. Together, ‘The Double EP: A Sea Of Split Peas’ spans genres and stories, and is a unique introduction to an incomparable and exciting new talent.

              As well as ‘Avant Gardener’, selected highlights include the gorgeous and woozy piano-strewn opener ‘Out Of The Woodwork’, which shows the darker side of her writing. ‘Anonymous Club’ sees Courtney at her romantic, melancholic best, while the infectious, Dylan-esque cavalcade that is ‘History Eraser’ was recently nominated alongside Tame Impala for the APRA Song Of The Year back in Australia.

              A conversation between friends, documented in raw, unvarnished song form, brimming with personal history, crackling with energy and shot through with humour - this is the collaborative album of Courtney Barnett and Kurt Vile. Two of the most acclaimed and gifted song writers of our generation “Lotta Sea Lice” also sees them roping in friends such as Dirty Three, Stella from Warpaint and Mick Harvey to create a body of work that sounds organic & candid.

              The shared chemistry is immediately apparent in the breathtaking jam of opener and first single “Over Everything”, with dovetailing vocal lines and intricate, shimmering guitar stylings from the pair. The lyrics play out as a rambling dialogue as they compare notes about song-writing and inspiration – it was the first song written for this project, and comes accompanied by a beautiful black and white video from Australian director Danny Cohen which features Courtney and Kurt swapping lines over series of jaw dropping backdrops in rural Victoria and New Jersey as well as Melbourne and Philadelphia. It’s deceptively simple but incredibly effective.

              Other tracks include the bluesy “Let it Go”, which itself was inspired by texts and emails between the duo, and the drop dead gorgeous ‘Continental Breakfast”, which showcases a more melodic side as the two harmonise over finger-picked acoustic guitars.

              There are even more surprises in store, however, when the pair tackle each other’s tracks, with Vile delivering a delicious, souped-up version of “Outta the Woodwork” backed by Barnett herself, and Barnett taking on Vile’s “Peepin’ Tomboy” completely solo, to spine tingling results. The overall effect is that of Barnett and Vile throwing open the doors to their house to listeners - this is certainly Courtney and Kurt’s party alright, but this time, everyone is invited.

              FORMAT INFORMATION

              Coloured LP Info: Indies exclusive white vinyl.

              Courtney Barnett

              Nameless, Faceless

                First taster from the new Courtney Barnett LP, "Tell Me How You Really Feel", and needless to say we're all very excited here at Piccadilly!

                Limited edition numbered copies.

                The Grammy and Brit nominated Courtney Barnett returns with her second album - 'Tell Me How You Really Feel.' It follows her critically acclaimed 2015 debut album 'Sometimes I Sit And Think And Sometimes I Just Sit', and a recent top 10 collaborative record, 'Lotta Sea Lice', with Kurt Vile. One of the most distinctive voices in music, Courtney is known for mixing witty observations with unflinching self-assessment - fast forward to now and although all of the cleaver turns of phrase and an eye for story telling are still there; this new collection of songs see a more serious and outwardly tone capturing the current social landscape yet still retaining moments of intimacy and warmth. As the world becomes more familiar with Courtney Barnett these songs feel comforting and emphatic yet that raw energy and the ability to make the listener think still remain.

                STAFF COMMENTS

                Barry says: Another absolute stormer from Courtney, though you might have already heard the superb 'Nameless, Faceless' from the 7" a little while ago, and 'City Looks Pretty' and 'Sunday Roast' from the RSD 12", there are a bunch of gems to uncover on this including the snarling skate-punk melodicism of my personal highlight, 'Charity'. Killer.

                FORMAT INFORMATION

                Coloured LP Info: Indies exclusive in gatefold mirror board sleeve. Limited red vinyl.

                Coloured LP includes MP3 Download Code.

                LP includes MP3 Download Code.

                Deluxe CD Info: Limited hardback with exclusive 24 pp photo booklet.

                Courtney Barnett

                Sometimes I Sit And Think, And Sometimes I Just Sit (Special Edition)

                  The CD version includes 'Live From Electric Ladyland Studios NY' audio CD with card wallet, a download card with the exclusive cover of John Cale’s 'Close Watch', an A4 poster of 'Sometimes...' album cover and 4 x Polaroids taken by Courtney Barnett.

                  The LP Version includes gatefold double yellow vinyl of 'Sometimes I Sit And Think, And Sometimes I Just Sit' album audio, plus a download card of mp3s of the album, the live tracks and the John Cale cover. There’s also an A2 poster of 'Sometimes...' album cover and 4 x Polaroids of Courtney & CB3.

                  Following the runaway success of her EP collection, 'The Double EP: A Sea of Split Peas', Courtney Barnett returns with her debut album. Recorded in the Autumn of 2014 in an intense 10 day session at Head Gap studios in Melbourne, the album finally brings Barnett's incisive vision into stark, unflinching focus; her wit sharpened to a knife edge, her melodies more infectious and addictive than ever.

                  'Sometimes I Just Sit and Think, and Sometimes I just Sit' cements Barnett's standing as one of the most distinctive voices in indie rock. Mixing witty, often hilarious observations with devastating self-assessment over a beguiling collection of songs that reveals her as an ambitious songwriter with an ear for clever turns of phrase and an eye for story-song details that are literate without being pretentious. Depressing rentals and dead foxes, go-nowhere relationships and dead end suburbs, even her own fears, doubts and insecurities - nothing escapes Barnett's caustic sense of humour.

                  If 'The Double EP' announced the arrival of a major new talent, 'Sometimes…' consolidates that promise and marks Courtney Barnett as one of the best and most unique voices around, period.

                  FORMAT INFORMATION

                  2xLtd LP Info: Includes a free EOY 2015 CD sampler.

                  Colin Bass

                  Acoustic Songs

                  An acoustic show recorded in Poland and featuring the Camel bassist on fine form in front of a rapturous audience.

                  Colin Bass

                  Live At Polskie Radio 3

                  This live concert from 13-4-99 is a real find. Bass is, funnily enough, the bassist from Camel and his music echoes their style of melodic, thoughtful prog.

                  Christopher Bissonnette

                  Pitch, Paper & Foil

                  Christopher Bissonnette is a Canadian musician/sound artist/designer living and working in Detroit and Windsor. He has released three full-length albums for Kranky and a collaborative recording with David Wenngren (Library Tapes) on Home Normal.

                  Continuing the explorations of the analog synthesizer first revealed on his last album, Bissonnette's deft touch in recording and mixing is a joy to experience. While most contemporary analog synth slingers find themselves unable to not overload the sound-field with the endless array of possibilities the instrument provides, Bissonnette provides a master class in economy and control.

                  Since his first full album release, Periphery, ten years ago, Bissonnette has been expanding his aural vocabulary and production techniques incorporating elements of concrete, field recording and modular synthesis.

                  This new series of works reflects an evolution of my adeptness with modular synthesis. As with my previous release Essays in Idleness, Pitch, Paper & Foil was constructed from a range of synthesis and compositional techniques. The goal with this album was to form a collection that exhibits more restraint than previous works.

                  Modular synthesis can be an unruly medium and taming it in order to produce delicate or subtle tones can be challenging. As with Essays..., I have allowed the artifacts of the process to find their way into the finished product. Tape noise, distortion and by-products of the random sequencing method all contribute to the character of the final recordings.

                  Cody Black was born and raised in Cincinnati in the shadow of King Records where he cut this landmark Northern Soul 45 “I’m Slowly Molding” in 1968. However, it didn’t impact on the UK soul scene until the mid-Eighties when, at last, it finally hit at the ground-breaking ‘Top Of The World’ club in Stafford. Still a mainstay of the All-Nighter scene to this day and commanding prices in the region of $1,000. Black recorded a string of 45s for as many labels including the highly prized “It’s Our Time To Fall In Love” on ‘GIG’ and the sublime “Mr Blue” on ‘D-Town’. Charles Spurling was a fellow Cincinnati music hustler working as an A&R man at King Records when he cut this pounding Northern Soul dancer in 1967.

                  The musical mind of Christian Bland seems to overflow with colors. The lyrics and even titles of his output with, The Black Angels drip with kaleidoscopic imagery. “Indigo Meadow”, “Black Grease”, “You In Color,” “Yellow Elevator #2”. Christian Bland & The Revelators has followed a similar path, and has released a red album, 2010's The Lost Album, and 2012's Pig Boat Blues.

                  Beyond that the thread which runs through all of Bland’s work - whether it’s his visual artwork, music with The Black Angels, and the myriad projects of The Reverberation Appreciation Society - Austin Psych Fest and it’s offshoots, and now an East Austin record store - is a timeless spirit of rock and roll, and in particular the psychedelic kind, circa 1968. He champions it. Lives and breathes it.

                  And what will attentive listeners discover they see when they hear “The Unseen Green Obscene”? The past? The future? The answer will be colored by your own.

                  FORMAT INFORMATION

                  LP Info: Was £14.49. LP on transparent green vinyl, includes download card.

                  Chris Bowden’s debut album ‘Time Capsule’ was first released on Soul Jazz Records in 1992 to widespread critical acclaim. Now 20 years on a new wave of current jazz artists led by the likes of Kamasi Washington in the USA and a host of British artists - Shabaka Hutchings / Sons of Kemet, The Ezra Collective, Moses Boyd, Nubya Garcia, Fourtet, Yussef Kamaal, Tenderlonious, Binker & Moses - have brought this original ground-breaking album into the limelight once more as a pivotal starting point, sharing many of the aesthetics of these current artists at work today.

                  Musically all are inspired by the spiritual jazz of John Coltrane, Alice Coltrane, Pharoah Sanders, Archie Shepp, Don Cherry et al paired with a modern electronic music sensibility. Chris Bowden’s ‘Time Capsule’ has stood the test of time like few other albums (as the title of the album suggested), and remains a pivotal, wholly-successful and original experimental musical collage, a radical inspiration and forbearer to many of the best progressive jazz and electronic artists working today.

                  Charlie Boyer And The Voyeurs

                  Things We Be

                  Charlie Boyer & The Voyeurs have announced details of the release of a new single. Available on 7” and featuring the B-side Feathers & Tar, it follows their debut single, I Watch You, which was released last October.

                  Both tracks were produced by Edwyn Collins & Seb Lewsley at West Heath Yard Studios in January 2013 as part of the their album sessions.

                  Having supported TOY on their U.K. tour at the end of 2012 and recently played with them at their NME Awards Show at London’s Scala, Charlie Boyer & The Voyeurs also have their own London headline show around the release of the single.

                  Details of their debut album, to be released in late spring 2013, and further U.K. dates will be announced shortly.

                  Charlie Boyer & The Voyeurs are: Charlie Boyer (vocals & guitar), Danny Stead (bass), Sam Davies (guitar), Samir Eskanda (drums) & Ross Kristian (keys).

                  Charlie Boyer & The Voyeurs seem set on leaving distinctive footprints – The Guardian

                  Dapper, immaculate and melodic, Charlie Boyer & The Voyeurs are hard not to love – The Fly

                  They have a keen eye for Velvets styled magic - NME

                  Carla Bozulich

                  Quieter LP

                    Legendary art-punk singer, songwriter and sound artist Carla Bozulich (The Geraldine Fibbers, Ethyl Meatplow, Evangelista) follows up her tremendous and acclaimed 2014 album Boy with a new collection of powerful, intensely atmospheric, emotive songs rounded up from various recent collaborations. With guests Marc Ribot, Sarah Lipstate (Noveller), Shahzad Ismaily, Ches Smith, Freddy Ruppert, Andrea Belfi, Jhno and more.. As Carla Bozulich enters her fourth decade of uncompromising, unceasing devotion to artpunk ethics and creativity, the nomadic singer-composer-writer-artist has recently been hanging her hat back in Los Angeles. After years of tireless vagabondage in pursuit of DIY performance opportunities wherever they might take her — and following her extraordinary, widely acclaimed 2014 album Boy — Bozulich has lately found herself a bit more settled in one place, keeping busy with a number of archival and reissue projects.

                    Her first (and classic) 2003 solo album Red Headed Stranger was re-released by Folktale Records in 2016 and her mid-90s band The Geraldine Fibbers’ equally classic 1995 album Lost Somewhere Between The Earth And My Home was reissued on Jealous Butcher Records in 2017. Carla also penned the devastatingly poetic and powerful rape-survival essay “Thanks, Motherfucker” for The Quietus in 2016. And of course she’s continued playing venues small and large, including OFF Festival in 2017, opening for Godspeed You! Black Emperor in 2015, and for Swans at their farewell NYC shows in 2017. This recent period has also found Bozulich reflecting on 25+ years of life on the road, the labour and hustle of DIY touring, with its ecstasies, agonies, succour and sacrifice: “still a fantastic job to have” as Carla writes in the liner notes to her new album Quieter.

                    Quieter is an enchanting collection of previously orphaned and one-off tracks, a couple left over from the bountifully productive Boy sessions, others featuring collaborations with the likes of Marc Ribot, Sarah Lipstate (Noveller), Freddy Ruppert, Shahzad Ismaily and more. The album is the result of Bozulich sifting through unreleased/unfinished material, recovering from tour-inflicted ear-damage, and being drawn to the quieter stuff (relatively speaking) in her abundant archives. Ranging from the searching, searing opener “Let It Roll” – “the most honest work I’ve ever done” says Carla – to the chiming, deconstructed lullabies of “Glass House” (composed by Ruppert) and “Sha Sha” (with her mid-2000s project The Night Porter) and the album’s sultry closing track “End Of The World”(a duet with Ribot, who penned the song), Quieter is a brilliant addition to Bouzlich’s impressively diverse, adventurous, and unwaveringly authentic body of work

                    FORMAT INFORMATION

                    LP Info: 180gram vinyl includes artworked inner sleeve + 12”x24” poster + 320kbps DL card

                    Soul singer Charles Bradley’s star has been on the rise since the release of his widely praised 2011 debut album 'No Time For Dreaming', and his ascent has continued long after the release of his triumphant second album, 2013’s 'Victim of Love'. Dubbed “The Screaming Eagle of Soul,” the singer will release his third album 'Changes' on April 1, 2016 on Daptone Records imprint Dunham Records.

                    The album is named for his popular cover of the Black Sabbath track, previously only available as a Record Store Day 45. “I think about the lyrics very closely when I sing ‘Changes’ and get emotional,” says Bradley. “It makes me think of my mother and the changes in my life since she passed away.”


                    STAFF COMMENTS

                    Millie says: ‘Changes’ is a beautiful and soulful album that is brimming with passion, creating a swaying jazz sensation. Outstanding style and compelling warmth, definitely a must hear!

                    FORMAT INFORMATION

                    2xDeluxe LP Info: Special 2LP edition of the album for Daptone authorized dealers only. Featuring a bonus instrumental LP in gatefold jacket. 400 copies only for the UK. NB: Download card does *not* include the instrumentals.

                    LP includes MP3 Download Code.

                    Charles Bradley

                    Soul Of America DVD

                      "Charles Bradley: Soul of America" takes you behind the scenes in the months leading up to the release of his debut album "No Time for Dreaming." Now with the release of his second album “Victim of Love” it’s your chance to see where Charles Bradley’s journey began. Features interviews with Gabriel Roth and Thomas Brenneck. Directed by Poull Brien.

                      Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles' entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy "TNT" Brenneck created in the studio together over their decade-long partnership.

                      It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: "Can't Fight the Feeling," "Fly Little Girl" and the heart-wrenching single "I Feel a Change"; hard core rarities like his funk-bomb duet with LaRose Jackson, "Luv Jones," the psychedelic groover, "(I Hope You Find) The Good Life" and the ever-illusive alternate full band electric version of "Victim of Love"; sought-after covers of Nirvana's "Stay Away," Neal Young's "Heart of Gold" and Rodriguez's "Slip Away"; and the title track "Black Velvet," a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal.

                      Charles was truly a transcendent singer who led a remarkable life, overcoming unimaginable adversity to achieve great success and international acclaim very late in his life. What was really special about him and made him different from everybody else in the world was how he understood his pain as a cry for universal love and humanity. He felt that if he loved enough—if we all loved each other enough—we could take away the world’s pain and sadness. That is why he jumped off the stage and literally tried to hug everybody he could. It's why he took such great care of a mother that had abandoned him. It's why he sang and danced like a lunatic. It's why he screamed like an eagle. And that's why we love him.

                      Black Velvet is a celebration of his life, and is destined to join Charles' first three albums alongside the cannon of essential soul records for the ages.


                      STAFF COMMENTS

                      Millie says: Black Velvet is a summary of everything that was great about Charles Bradley, his strong compelling vocals and passion is etched into all his music and this album ties it all together as a celebration to him and his legacy.

                      FORMAT INFORMATION

                      Coloured LP Info: Indies only purple / black splatter vinyl.

                      2xLP Box Set Info: Box set is a one-time pressing for the super-fan; we have a gorgeous black velvet wrapped box set that includes the following:
                      180g vinyl version of the standard LP.
                      A bonus 12” 45rpm EP with stripped down mixes of 4 Charles Bradley classics.
                      An exclusive slip-mat.
                      2 printed heavy-duty inner sleeves sporting a surreal painting of Charles and the interview in which he explains the origin of the painting.
                      A 12x12 photo-book with extensive liner notes from producer Tommy 'tnt'.

                      Growing up in Atlanta, Chris Brann discovered house and electronic music by the somewhat longwinded way of getting sent tapes from Europe. He began assembling a home studio but it wasn't until 1994 that he began his music career in earnest and formed Wamdue Kids with DJs Deep C, and Udoh.

                      In 1995 they released the classic "Higher" on the Acacia label, which led to the Wamdue Kids signing to Peacefrog and the release of their seminal debut album "These Branching Moments". Following the success of this the next year Chris released his first solo album "Deep Fall", reflecting a different direction to that of his productions with Wamdue.

                      "Deep Fall", originally released in 1997, is a delicious collection of deep tech-house. Stand outs are the aptly named title track with beautiful synth washes and a single mournful modulated violin at its centre; and the emotional "Journey To The Centre" which is nothing short of epic.


                      Chris Brokaw & Geoff Farina

                      The Boarder's Door

                        Chris Brokaw was a founding member of Codeine (Sub Pop), the band that kicked off the Slowcore scene in the late 80s. He left Codeine to form Come(Matador/Sub Pop) with Thalia Zedek. He now drums in The New Year, and plays guitar for Thurston Moore, Evan Dando and a wealth of other high achieving acts, most recently in 'Martha's Vineyard Ferries' with Bob Weston (Shellac).

                        Geoff Farina is best known for his 12 years with Karate (Southern). Farina’s charismatic voice, and versatile guitar playing are also heard on a number of excellent solo albums, and as one-half of Secret Stars, the seminal early-90s duo. He now fronts Glorytellers and is a favourite of Swedish folk-Athiest Jose Gonzalez.

                        "The Boarder's Door" is eleven new songs and recordings from the peripatetic ramblers.

                        Caspar Brotzmann Massaker

                        Black Axis

                          Caspar Brötzmann Massaker’s masterful second album from 1989 - remastered.

                          The power trio’s blunt force execution is directed by Brötzmann’s explosive and exquisite six string conjuration. Channeling Hendrixian vibrations, mixed with hard German industrial atmosphere.


                          Caspar Brotzmann Massaker

                          The Tribe

                            Caspar Brötzmann Massaker’s masterful debut album from 1989 - remastered.

                            The power trio’s blunt force execution is directed by Brötzmann’s explosive and exquisite six string conjuration. Channeling Hendrixian vibrations, mixed with hard German industrial atmosphere.


                            Craig Brown Band

                            Big City Small Town

                              The Craig Brown Band is back with a dizzying new garage-country 7”, their first songs since the release of debut album The Lucky Ones Forget. Much has happened for the group since the album’s release, from touring with Dwight Yoakam (based solely on Dwight’s observance of the magnetism of their powerful live show) to opening for Jack White at the huge Little Caesars Arena concert in Detroit. And now, this new single will be accompanying Craig and the band on their first trip overseas to Europe, featuring new bassist and longtime Liquor Store co-conspirator Derek “Block” Warren.

                              “Big City Small Town” is a little country rock groover that depicts a very familiar scene for anyone who’s lived in a midsize city; word travels quickly, so own who you are and what you do 100%. “Tell Me” is a charmingly concise and heartfelt appeal for a little fulfillment, from answering life’s big questions to enjoying a good song with someone who cares.

                              Craig Brown Band

                              Overthinking

                                Craig Brown Band represents the closer-to-Canada, mostly Midwestern take on a sound that has long belonged to Nashville. Consider this the bastard child of Neil Young and Bob Seger. This is diet twang with a backbone. This is Northern Country.

                                Craig Brown is a Detroit hero and the closest thing to a proper mayor the city has had in years. He’s one part blue collar and no parts ivory tower. He is a dude. He makes music. He is essential to the fabric of the scene.

                                When he isn’t constantly touring with Terrible Twos, Liquor Store, King Tuff, or running the merch table for Natural Child, you can find him behind the counter at El Club or Lager House or just around.

                                Go Pistons.

                                Clarence 'Gatemouth' Brown

                                Back To Bogalusa

                                'Gatemouth' Brown has a wicked, laid back cajun blues style with some superb guitar solos and a real downhome Louisiana traditional sound. This is 13 tracks of quality blues / americana from a real personality.

                                Corrado Bucci

                                Open Your Eyes - Andres / Bostro Pesopeo Remixes

                                  Rebirth's talent Corrado Bucci gets a full single release, exciting us again with his eclectic music. Since the previous works 'Brooklyn' and 'Chewing Bubble' Corrado has being gaining a great support in the electronic scene. With influences from jazz to funk, he explored new musical territories and started to play real instruments, refining his artistic expression ! Already hammered by Gilles Peterson, Jazzanova and Moodymann, and n.1 as most charted track on RA, 'Open Your Eyes' is an effective track with strong breakdowns, a warm house groove and old school vocals. Detroit's Andrés (Mahogani Music / Slum Village) delivers his signature vibe and smooths it out even further into a soulful neo-disco-house interpretation ! On the B Side Bostro Pesopeo follows his releases on Permanent Vacation with a tasty hypnotic dreamy version of '23 Years Old'. Super limited and extra hot Ep!

                                  Chaz Bundick Meets The Mattson 2

                                  Star Stuff

                                  Given the state of modern music and its fabricated pop icons, what Chaz Bundick Meets The Mattson 2 achieves is a collective music victory in a new era of progressive soundscapes. World-renowned composer/producer extraordinaire Chaz Bundick (Toro Y Moi, Les Sins) has teamed up with the psychedelic-jazz grooves of The Mattson 2 for an album that unifies a trio's creativity into a refreshing project of unhinged sonic originality.

                                  Oddly enough, this collaboration may not have happened if The Mattson 2 hadn’t forgotten a drum throne at an Oakland performance in 2014. The twin’s longtime friend and photographer, Andrew Paynter, came to the rescue and called his friend Chaz to ask about borrowing the throne. Jonathan, the Mattson drummer (who’d also never met Chaz), accompanied Andrew to Chaz's home in Berkeley where they were greeted by Chaz with a warm smile, a drum stool in hand, and Michael, Chaz's dog (which his Les Sins record Michael is named after).

                                  The next day Andrew and the twins met Chaz at a cafe in Berkeley to return the gear. Over coffee they waxed about music, design, furniture, and skateboarding. After a series of hangs with Chaz in the Bay Area, the crew decided to join forces and schedule studio time for their newfound trio. And the rest, as they say, is intergalactic, mega-creative history.

                                  In February of 2016 the relationship was officially christened the night they finished tracking their new record. And to tie the knot with flare, they scheduled a secret show at the Battery and a historical public show at the Starline Social Club in Oakland, where the trio performed all new music from the project for the first time live.

                                  The group and the album, Chaz Bundick Meets Mattson 2, explores psychedelic, jazz, and improvisatory influences ranging from Afrofuturistic Sun Ra, to electric Miles Davis, to groove-fueled Serge Gainsbourg and The Zombies. Grounding the album are break-beats, synthesizers, acoustic strums, and guitar fuzz reminiscent of David Axelrod and Arthur Verocai. With cosmic structures, timeless influences, rich harmonies, and melodic interplays, the trio brings an intergalactic edge to both their live shows and an album worthy of repeated visits


                                  Charmaine Burnette / Session In Session

                                  Am I The Same Girl / Direct Response

                                  Reggaefied version of the Barbara Acklin classic! It was 1968 when The Maytals brought out ‘Do the Reggay’, and that same year Barbara Acklin gave us the sound of soul with ‘Am I the Same Girl’. Fast forward 13 years, and legendary UK producer Dennis Forbes had the genius to combine the pretty melody of Acklin’s hit with the pulsating new reggae sound of Lovers Rock.

                                  In 1981 Charmaine Burnette was pretty much unknown and untested as a singer, but Forbes heard potential in her voice and gave her a chance. Summoned to London’s Chinatown where Dean Fraser and an all-Jamaican band were gathered in a basement studio, Burnette recorded her first single ‘Am I the Same Girl’, recorded in the same session as Sugar Minott’s ‘Got a Good Thing Going’. Both records were released - the former song bombed and went nowehere, the latter was picked up by RCA and went on to reach #4 in the UK charts, assuring Minott’s place in UK reggae history. The same cannot be said of Burnette, who has since faded into obscurity.

                                  Perhaps Forbes was right in thinking that the heavy bass drum and sweet vocal combination wasn’t right, but in fact it was way ahead of its time, just right for today’s fat subwoofers and deep bass bins – crank it up and feel the sound of super heavy reggaefied soul!

                                  Carter Burwell

                                  Hail, Caesar! Original Motion Picture Soundtrack

                                    Mondo is beyond honored to present their very first Coen Brother's soundtrack, as well as our first Carter Burwell score, the magnificent soundtrack for the Coen's latest farce Hail, Caesar! which marks Burwell's 16th collaboration with the brothers. Prior collaborations include Blood Simple, Raising Arizona, Miller's Crossing, Barton Fink, The Hudsucker Proxy, Fargo, Intolerable Cruelty, The Ladykillers, No Country for Old Men, Burn After Reading, A Serious Man and True Grit.

                                    A good part of the magic of this movie comes from the music of Carter Burwell, who dove deep into the period of the film, and the multiple film genres that it explores in each of its many tangents (including a musical number performed by Channing Tatum.) Also, drawing heavy on the red-scare, bringing selections performed by the Red Army Choir to add bombast to the scenes with would be antagonists of this story.

                                    Discussing his work on Hail, Caesar!, Burwell says: “The challenge and the fun of composing the score to Hail, Caesar! is that the it contains scenes from many films-in-the-making, and each of those was scored in a manner authentic to the period— basically MGM in the 1950s. There is an Esther Williams water ballet, a Hopalong Cassidy Western, a Roman Christ epic, and all of these are subsumed by a kidnapping mystery, which is itself subsumed by a studio executive’s crisis of faith. Melodies are shared between these bits of bright cloth to tie them together into a whole, and some of the recording was even done on the same stage where the MGM classics were recorded.”



                                    FORMAT INFORMATION

                                    LP Info: Tip-On Style Single Pocket Sleeve. 180 Gram Black Vinyl.

                                    Solo album from leader / guitarist from Silver Ray. "Go Slow" contains five Butler original alongside the re-working of the traditional sea shanty "Shenandoah". Although Silver Ray are often compared to Mogwai, Explosions In The Sky etc. this album goes much further. Imagine the atmospheric guitar twang of Friends Of Dean Martinez meeting the epic instrumentals of David Axelrod on "Songs Of Innocence".

                                    Following their retrospective 'Screaming Ghosts' collection, Emotional Rescue and Malka Tuti return with the first of two EPs where the C Cat Trance's music is given over to a selection of artists, friends and collaborators for reinterpretation, re-editing, replaying and remixing to provide a modern outlook on the bands mixture of East meets West musicology.
                                    Very much the vision of Malka Tuti and close to their ground-breaking releases of the last two years, the genius is out of the bottle with a who's who representing both labels. First, Autarkic go supergroup in enlisting Tel Aviv's White Screen for a cover of Screaming (To Be With You). Totally replayed, this is the perfect opening, with wide-screen production, updated arrangement and decimal delivering vocals setting the standard.
                                    Following comes an effusive, simple and on-point remix of Dalbouka by the inspiring ledge that is JD Twitch. Platitudes aside - enough has been said by others - but the fact Twitch is as enthusiastic and driven as ever is testament enough. The simplicity and genius of his rework, where 909 is added alongside fx to speaker shaking effect, shows that less can be much more.
                                    In Sneaker (DJ) we have a name moving steadily from the (cult) periphery to become one to consistently check and respect. Following EPs for Rat Life and Bahnsteig 23, the singularity of his reversion is audacious and entrancing. Brevity, purity and ultimately intensity of percussion, horns, bell and guitar. Enter.
                                    To end volume 1 comes Die Orangen. Kris Baha and Dreems' bromance of Aussie label (red) heads, united in post-industrial explorations. With a deep, expansive album incoming on Malka Tuti, their brooding, rattling, ghostly mix is one for late night thinkers, that steps up to encapsulate an EP that successfully marries old and new, bringing C Cat Trance's music present.


                                    Volume 2 of retakes of C Cat Trance's unique post-punk meets world beat brings the collaboration between Malka Tuti and Emotional Rescue to a close. Here again, the label's call in a selection of heads to re-envisage a modern vision of the music to present a perfect representation for today.

                                    Starting with Red Axes retake of an almost untouchable classic, the booming, sound system-quaking version of Shake The Mind is a heads down mover that should add to their reputation and finally give DJ's a follow up to utilise.

                                    Next, Jamie Paton gives the perfect trance-inducing, dubbed edit of Take Me To The Beach. Looping the drums and horns infinitum, building through repetition was never truer, before release. His individual take on remixes is again displayed, deep dubs from the brethren.

                                    To close the 2 EPs, the final side is given to a meeting of older and established artist and new, upcoming, but already respecting crew. In Prins Thomas, the psychedelic protagonist of the heralded northern disco lights, his name was first to be penciled. His live, drum-heavy reversions have become trademark and in Sudaniyya, it's all there. Subtle, confident and alluring, Thomas builds to a steady jam of machine and man, letting it all hang and simply, groove along.

                                    In finale, Khidja bring in friend and fellow Romanian production rising star, Borusaide to cover Simple Helen. A slow-burning ode in original form, their genius reversion captures the essence and much more, giving C Cat Trance's music a whole new lease, while presenting their production talent and musicianship. As was the hope and intention of these updated versions - Re-mixes for the 21st Century - with a nod to the past, but feet firmly in the future. Play loud and play out.


                                    The C.I.A.

                                    The C.I.A.

                                      “This record is an encapsulation. The omnipresent fear and anger. Why? Why? Why? Why? Why? Why? Why? Why? Why? And what is really going on? Consternation…today… There is difficulty, frustration, strain and a large snake. You can feel the pressure of it breathing on the streets, in media, and in your lunch. This s/t, by The C.I.A., is an urgent musical notice. I feel it immediately. The pointed vocal cadence and lyrics of Denée Segal is a sharp scythe, and the actual time is…now. “I feel the same distress call and disposition from Crass records like Penis Envy or DIRT. In fact, if you took that, mixed in “Black Silk Stocking” by Chrisma and a touch of early Nic Endo (Atari Teenage Riot) and even Dinah Cancer (45 Grave) Autopsy era, you can get a feeling. And, similarly to those mentioned, Denée is putting a time stamp on this time. The spirit and her viability is strong in many a corner, and in many a heart. The alarm is ringing. “This is survival sound, put on record well backed by Ty Segall and Emmett Kelly, who have added anything-musthappen, mercurial, constantly moving instrumentation. The sounds, consistent with unique monochrome, move like an engine, made gas-tight by piston rings. Sonic rings moving in tight machine patterns. And at the vocal helm is Denée, steering this machine in vocal directions across an exclamation point motorway. No salt, all salt. Traction and reaction. They built a sound machine with, and for each other. Survival sound lifts its head up when it needs to. Thankfully it gets put on record and released when it needs to.” —Tim Presley

                                      C.O.C.O.

                                      Play Drums + Bass

                                      C.O.C.O.'s mission is simple: "Play Drums + Bass" and that credo was the inspiration for their third ­ without a doubt their best - record. The musical spectrum continues to expand into the nether regions of dub reggae (for a tribute to the late great Tamara Dobson) all the way to the sunny side of surf rock (the albums closer, aptly titled "The End"). The album's lead track is "Good", and the song is exactly that, combining nasty garage with an infectious dance floor rumble. "Your own secret way" is their most smooth, sultry and experimental recording to date, with Ness crooning over a rhythm composed solely of bass and found objects. "We Gotta Right" is a vicious call to arms, with Chris snarling personal emancipation to the sounds of furious toms and a bleeding bass guitar screaming for mercy. Not ones to pigeonhole themselves to the terrestrial, "Asteriods" is a light speed nuclear explosion of dance pyrotechnics that is sure to excite the inner cerebral cortex all the way to the vast stretches of the galaxy. Don't be fooled if you feel that these eclectic descriptions sound like the mixtape of a mad scientist (it is), the message of "Play Drums + Bass" is clear and concise - the rhythm section is the foundation of the dance.

                                      C’Mon Tigre

                                      Racines

                                        Tradition and experimentation are two familiar territories that C'mon Tigre, a duo who find their identity by working with musicians from all over the world, can balance between very well. As they did for their debut album (2014), they have put together a multicolored collective for their second record “Racines”, out on February 15, 2019 for BDC/K7.

                                        The title is a French word that means "roots", referring to the musical roots in which C'mon Tigre's feet, head and heart are immersed, and from which their contaminated tracks sprout to create unusual and original sound environments. In their new album the sounds of the Mediterranean - the sea of their land - intersect, intertwine and overlap with a kaleidoscope of other sounds and a new approach based - they explain - "on the type of work we had done when we rearranged the first album for live shows, by emphasizing the synthetic part of our tracks". This time around they did it from the very beginning: "The composition of the pieces immediately included the use of machines and synthesizers as a basis for acoustic instruments. The goal was to reprocess the terrain of Mediterranean influences that was undoubtedly our starting point".

                                        Imagine a work in progress where bass and guitars interact with woodwind, synths, percussions, vibraphones, dipping the listener into a sensual and hypnotic musical journey. Sailing from the Mediterranean basin and being guided by the fascination for Africa and the Middle East, C'mon Tigre give rise to a personal language, made up of mixtures with jazz, afrojazz, the rhythmics of hip hop, funk, 70s disco. All without ever confining their songs to one style, but pushing the exploration as much as possible, into a dimension that every journey worthy of this name should encompass. "With the musicians we work with the exchange and experimentation continue till the end, the songs can take different directions at any time”.

                                        The result is a mixed, cosmopolitan record, which escapes from any label for the affirmation of a free attitude. The attitude that led C'mon Tigre to seek a connection with dancefloor culture, even if considered only as an evocation to revisit in an absolutely personal way.


                                        FORMAT INFORMATION

                                        LP Info: 180g vinyl, comes with 84-page book.

                                        ‘#7885 (Electropunk To Technopop) features classic tracks such as ‘Nag Nag Nag’, ‘Do The Mussolini (Headkick)’, ‘Sensoria’, ‘Landslide’, ‘I Want You’ and ‘Just Fascination’.

                                        Curated by Richard H Kirk, who explains, “I decided to gather the more concise elements of the work… Hence the choice of 7” singles, edits and shorter album tracks, a kind of soundbite take on CV.”

                                        ‘#7885 (Electropunk To Technopop)’ compiles two distinct periods of Cabaret Voltaire - 1978-81 and 1983-85 - for the first time together on one release and follows the remastered vinyl release of ‘Red Mecca’ and already legendary sold out box set ‘#8385 (Collected Works 1983-1985)’.

                                        The compilation travels from 1978-81 with a line up of Richard H Kirk, Stephen Mallinder and Chris Watson, when Cabaret Voltaire were (mostly) recording at the Western Works Studios in Sheffield and releasing records on Rough Trade and from 1983-85 after Watson’s departure when Kirk and Mallinder released via the Some Bizzare label on Virgin Records. Kirk points out that this “was a time where we got to do what we do, but in different areas, we wanted to push the boundaries of electronic music, we wanted to place what we were doing into places where it really shouldn't be. We certainly didn't want to carry on repeating what we'd done for the ten years previous.”

                                        Cabaret Voltaire formed in 1973 and, alongside Human League, Throbbing Gristle, Fad Gadget and The Normal, were at the forefront of the UK electronic movement of the late 70s. Way ahead of their time, Cabaret Voltaire’s blend of dance music, techno, dub, house and experimental made them, without a doubt, one of the most influential acts of the last 40 years.

                                        “Way, way ahead of their time” - DJ

                                        “True, unflinching pioneers of electronic music” - Loud & Quiet

                                        FORMAT INFORMATION

                                        2xLP includes MP3 Download Code.

                                        Cabaret Voltaire

                                        The Covenant, The Sword And The Arm Of The Lord

                                        This is Cabaret Voltaire’s seventh studio album, originally released in 1985. The album peaked at #57 in the UK charts. ‘I Want You’ went on to be the single.

                                        Cabaret Voltaire, alongside Human League, Throbbing Gristle, Fad Gadget and The Normal, were at the forefront of the UK electronic movement of the late 70s.

                                        Way ahead of their time, Cabaret Voltaire’s blend of dance music, techno, dub, house and experimental made them, without a doubt, one of the most influential acts of the last 35 years.

                                        All audio remastered from the original tapes.

                                        Vinyl cut by Stefan Betke aka Pole.

                                        Exciting new label Eclipse Tribez kicks off its imprint with a 12" by Cabasa
                                        who the label 'A&R'ed' at the Worldwide Internet Memes Meeting in Daussoulx (BE) back in December 2014 (!!!). The offspring of a major player from the Belgian New Beat scene back in the late 80’s, Cabasa is the continuity of his father’s passion. Drawing influences from electronica to jungle and techno, he’s seeking for boundaries between beatless and rhythmic compositions; looking for the most danceable and esoteric music.

                                        Credentials aside, this is some highly arresting musica. "Uso Sketch" announces its arrival through a tribal drum chorus bolstered with some 808 subs and snippets of vintage breaks. "A L’école' returns to the drum cirlce with some newer additions - electronic drums, Roland hand claps and a skitty rhythm that recalls General Ludd's frenzied experimentation. "Defective" sees more poly-rhythmic intricasies explored with aplomb, as Cabasa hammers home his obsession with the beat. "Uncle Sigmund Lost In Qattara" concludes, nodding to the recent Aiwo camp with its haunting breakbeats and ethereal textures. Stumpendously strong release from a camp to watch - major T I P on this one folks...

                                        Cabbage have finally released their highly anticipated debut album, following on from a trio of EP's, released under the delightfully tactful 'Young, Dumb & Full Of...' (Rum, I assume.) 

                                        We start off with the thrashing garage rock of 'Preach To The Converted' with twanging distorted guitar and the sort of snarling vocals you could imagine being venemously spat from the edge of the stage before launching into the fuzzy off-kilter rock of Arms of Pleonexia, reminiscent of a younger Ty Segall swagging around the stage before a baying croud after one too many bottles of corner-shop white lightning. Things continue at this frenetic pace with 'Molotov Alcopop' providing a bit of nuanced rhythm before the gothic rock of 'Disinfect Us' suggests a more mature suite of influences, from the militant march and languid blues overtones of early White Stripes. 

                                        Further on, we get syncopated guitars over a meandering drum machine on the brilliantly swaying 'Pendurabo' and jangling hazy indie, topped with a curiously (but effectively) distorted vocal affectation over the top. 

                                        Brilliantly varied, but held together with a persistent narrative thread, 'Nihilistic Glamour Shots' lives up to the hype of the earlier 3 EP's, with a willingnes to experiment but a knowing nod to all of their numerous influences. 

                                        STAFF COMMENTS

                                        Barry says: Thrashing garage rock, thudding post-punk and jagged riffage all round, Cabbage manage to surpass their excellent musical form with a well-heeled and cleverly written debut.

                                        FORMAT INFORMATION

                                        Coloured LP Info: RSD stores exclusive limited edition red heavyweight vinyl.

                                        LP Info: Black vinyl edition

                                        CD Info: Digi file soft pack inc pull out poster.

                                        Cabbage’s Record Store Day release, a double vinyl compilation of their first 3 EPs entitled 'Young, Dumb & Full Of…’, was one of the days most in-demand releases, with all 1000 copies selling out in hours. 'The Extended Play of Cruelty' is the latest offering from the bro-punk outfit. The band recently signed to Infectious Music (Alt-J, Drenge, Albert Hammond Jr, Leftfield, DMA'S).

                                        The Cable Car Theory

                                        The Deconstruction

                                        Influenced by the NYC and DC hardcore bands they grew up with, Cable Car Theory have created their own distinct take on good, aggressive, melodic music. The music that appears on "The Deconstruction" is at times brutal, at times earnest, both engaging and challenging to the listener. This is another quality release from Defiance.

                                        A huge departure from his known works, Marcos Cabral appears on L.I.E.S. with his most dynamic and experimental work to date, the 'False Memories' double album. Compiled from various cassette tape recordings spanning the years of 1998-2000, here we have the early experiments from an accomplished producer, which showcase the unharnessed energy of youth when it crashes head on with the technology of the day. The tracks created by Cabral reflect his attempts of the music of the time falling somewhere in between techno, dub-techno, IDM, and even noise (actually, especially noise - you'd think our new 'technoise' section had been created just for this release!). An engaging and timeless listen the whole way through.

                                        Marcos says: "I recently found about three hours of my unreleased tracks from 1998-2000 on old cassette tapes. The collection that I set aside for LIES is pretty much all from 1998. During that time, I lived in upstate New York in a 3000 square foot loft with just one other friend. Both being DJs we would use our loft for fairly large parties... Cajmere from Chicago definitely being a highlight. I knew nothing about "making" music at this time and was using this fairly primitive wav. looping program called Acid. I just started recording my crappy Roland MC-303 into my computer and would just mash loops together over and over. Listening to these tracks now, I have a really vague memory of making them, and feel that their naive nature and the happy accidents that happened here are pretty exciting to listen to."

                                        NYC producer Marcos Cabral coming correct with three choice weapons from his private arsenal. On the A-side we have "Pest Control", the title track and EPs dark, techy opus. Cabral's industrialized rhythms permeate through the entirity of the track, vast machines driven into frazzled intensity through repetitive processes and a monster workload. "In The Red" features fellow noise maker Entro Senestre and draws indesipherable vox backwards through an engine room flanger before rearranging with skeletal beats and glitching synth bleeps. Final track, "Standing On The Corner" sees Cabral capably explore the realms of blissed out, late night deep house; tipping his hat to the THC-soaked sounds of Vancouver along the way. Ace!



                                        Chris Cacavas

                                        Bumbling Home From The Stars

                                        Great melancholic Americana from the ex Green On Red / Giant Sand man. Dark, sparse tales of pain, loneliness, regret and loss.

                                        Caddywhompus

                                        Live At Third Man Records

                                          Caddywhompus are lions of a noisy, emotive new school of math rock which has thrived in recent years, especially in the South. At this point, you’re just as likely to fi nd their records in the racks of a DIY space as you are on the walls of record shops around the world. With close ties to Community Records, they are rightful benefi ciaries of a nationwide grassroots underground support built on their consistently excellent output, tireless touring and necessary live show.

                                          These 3 live tracks, being their first official live release, encapsulates what is so magnetic about the duo - nimble yet mushrooming euphoria in each composition. The A-side single, Decent, is a chugging, arpeggiated and absolutely contagious live sing-along that can also be heard on their 2017 LP Odd Hours on highly respected NYC indie Infl ated Records.

                                          Cadillac Blindside

                                          The Allegory Of Death And Fame

                                          Cadillac Blindside, on a first listen may resemble an early Get Up Kids when they were rocking and less heart broken and this new six song EP is full of good songs delivered with an energy and assurance that leaves you a-raving!

                                          Caesars

                                          Fun And Games

                                          The lead track is ripped from the Velvets "Oh Sweet Nuthin" so naturally it's fantastic. Elsewhere there's new wave power pop and a lovely echo-soaked slowie called "Since You've Been Gone".

                                          Names like Arthur Russell or Beck get cited often as influences, but it is rare that upon listening to a modern artist you feel the genre-fusing depth of either of these legends. New Jersey’s Caged Animals are the exception to the rule. Smudged round the edges, shrouded in shadows and fog, but full to bursting with heart and soul, Vincent Cacchione offers swoon-some pop, unafraid to deal with the depths of emotion, or to put the song at the forefront of his pursuit for the ultimate organic-electronic hybrid, even more so than current innovators Atlas Sound, or Animal Collective.

                                          “If Alan Vega was 40 years younger, he'd be doing this. Or if they remade Blue Velvet, this could work as the soundtrack” - The Guardian



                                          FORMAT INFORMATION

                                          Ltd LP Info: The gatefold vinyl LP features an MP3 access code
                                          which includes 5 additional bonus tracks not on
                                          the digipack CD or digital versions.

                                          Caged Animals is Vincent Cacchione, a New Jersey-born Italian living in Brooklyn. Known previously for the nearly noir folk-rock of his former band, Soft Black, Cacchione carries a strong songwriting gene in his Caged Animals brand of glitch-friendly pop - as inspired by the classicism of Jeff Magnum or John Lennon's solo material, as the melancholic R&B twist of James Blake or Frank Ocean, or the perfect fusion of Chad Van Gaalen's raw & pop qualities.

                                          In The Land Of Giants is a record about family, faith and hope and its’ recording became an opportunity to do everything that Cacchione does best in one audio space - marrying the sonic experimentation of his love for electronica with the undeniable penchant for lyrical and emotional resonance he developed in Soft Black, a band he formed with (Zachary) Cole Smith of DIIV.

                                          This is an intimate yet grand Pop record from an artist that is not afraid of stirring emotions amidst a mountain of melody, and certainly not afraid to risk being seen as uncool in order to deliver something genuine. Cacchione himself states “This is the most spiritual record I've made. It necessitated a huge shift in my worldview and a concentrated effort to distill all of my strengths into a focused idea. For me, this album was about making something emotional, direct and human within the context of computer-made, electronic music. My previous recordings dealt heavily with some serious issues from my past. On 'In The Land Of Giants', I'm seeing the clouds part and trying to describe the beauty of my first view of the sky". How cool is that?

                                          John Cage, David Tudor & Christian Wolff

                                          San Francisco Museum Of Art, January 16th, 1965

                                            Recorded live by KPFA Radio in the halls of the sculpture court of the San Francisco Museum of Art on January 16, 1965, the day of 39th birthday of fellow pianist and longtime associate David Tudor, this historic concert with John Cage opens with a duet for Cymbal with contact microphones agitated by a wide gamut of objects and concludes with Variations IV in which loudspeakers outside the performance space interacted with speakers next to the audience. First release on vinyl for a very important piece in the history of minimalist music.

                                            FORMAT INFORMATION

                                            Ltd LP Info: Limited edition 180 gram 2LP.

                                            Lucien Caine is a singer, songwriter and composer based in Manchester. His songs are dark, lustful, haunting and cinematic and his music is already being compared to artists such as Serge Gainsbourg, John Barry and Elliott Smith. EP1 is the first of four EPs to be released over the next 12 months. It begins with "The Only Man That Matters" mixed by Andy Green who has produced albums for Keane and KT Tunstall. Then the intricate string arrangements and haunting vocals of "Advice From Strangers" a downtempo gem. "Black Widow", track three, is a pounding, noirish elegy of seduction and murder, and the EP closes with the "Those Days Are Gone". 'I wanted to create and develop a sound and a mood... I like it to sound dark and romantic. I want the songs to flirt with the listener, and then deliver!' Lucien Caine

                                            Lucien Caine is a singer, songwriter and composer based in Manchester. NOW STOP, have no preconceptions do not picture Badly Drawn Boy do not imagine another Stephen Fretwell, get acoustic troubadour out of your head. Lucien Caine is none of the above! His sound is more John Barry than Nick Drake. His songs of love, obsession and excess are more Leonard Cohen than Bob Dylan. The attitude is all Scott Walker and Serge Gainsbourg transported from the sixties to now. In the summer of 2008 a plan was hatched to release four EP's; EP1, EP2, EP3, EP4 in 12 months to showcase Luciens songs. EP2 continues where the first left off. The first track (again mixed by Andy Green producer of Keane, KT Tunstall, to name but a few) is the lushly romantic "The Beat That My Heart Skipped", imagine driving along the winding coastal roads of the French Riviera in a vintage Italian sports car with the top down, this is the soundtrack that would be playing in your head. The second track is the very dark and lustful "Internal Affairs". "Let Us Be The Rumour" is a beautifully crafted and intense lament on a private relationship that becomes public. And finally "She Loves To Lose" a gorgeous seductive and intense duet sang with the Icelandic chanteuse Heidrun Bjornsdottir (formerly of GusGus and Gloss).

                                            FORMAT INFORMATION

                                            Ltd CDS Info: Limited to 250 hand numbered and signed copies.

                                            If you've never heard the music of Lucien Caine till now don't worry. To listen to his next release EP3 as an introduction is a good place to join the story. Lucien Caine (aka Glyn Thomas /formerly Alpinestars ), with the work of John Barry , Serge Gainsbourg, Scott Walker and Leonard Cohen forming the primary influence on his pallet and taking some of the electronic influences from his first band has written some of the most distinct , accomplished and beautiful music being recorded anywhere.


                                            Playing with other artists over the years, Emmett Kelly has exhibited an encompassing approach to music which lends flexibility to The Cairo Gang’s song-style. He’s a harmony singer of supreme skill, bringing not only a sweet and supple voice but also a tremendous sympathy to the singing of it (as anyone who’s caught Cairo onstage with Bonnie ‘Prince’ Billy will ever know). Now a couple of albums and tapes and singles and things into it he’s making streamlined music for the ears, constructing with a heavy hand in order to have a heavy impact with more than just sounds but songs and beaming them in on bright bolts of sunshine.

                                            ‘Gone Missing’ isn’t just an awesome, awesome-sounding record of guitar pop that rocks, of songs sweetly hung with candified hooks; also it’s a new report from the side of the road. The Cairo Gang have made tracks and travelled distances from their former states of mind, their former hooded selves.

                                            The Cairo Gang have found themselves - their most perfect alignment to date, taking a more intuitive path to the song, letting go of the sense of design, letting it write itself, as it will in the right hands.

                                            ‘Gone Missing’ was written in between places, on the run, recorded in a variety of rooms. Lines appear to have been straightened - yet still, blood beats sidewise inside Cairo’s temples, their rebel heart is drunk on the outskirts of town. The impulse to dig underneath the bittersweet heart, to invert meaning, shapes the songs of ‘Goes Missing’.

                                            Bahnsteig bang the box once again with a super-sick six shooter from Toulouse head Caissard DJ. Taking a whole lot of inspiration from worm-based, sand-psych sci fi dynasty Dune, Caissard slices and dices his way through pagan futurism, minimal wave, fourth world abstraction, dub cosmic, EBM and taiko drumming. "Bright Dance" opens the set with fluttering synth tones and fusion funk bass, summoning just enough proto house percussion programming to create the perfect New Age groover. Next up "Market Anthem" turns out tapey drum boxes, DIY synth keys and New Order style bass, marrying all the ingredients necessary to create bedsit pop at its finest. The side closes with the fourth world art punk of "La X5", a metallic blast of white funk which could easily pass for Byrne & Eno or Material. Sticking to the Bahnsteig 23 manifesto, things get absolutely bonkers on the flip, starting with the midtempo synth chug of "Arrakis (Melange Dub)". As seriously wiggy fx wrap you in their disorienting swirl, proggy synth lines, robotic percussion and low tempo thrusters work their machine magic. The dark wired vibe continues with "Demo-cracy", a warped out fusion of wailing psych vocals (think Grace Slick impersonating Cosey Fanni Tuti) and sleazy EBM that should melt minds in the witching hour. "The God Emporer" closes the set with the rhythmic intensity of a South East Asian ceremony, treating us to the occasional snatch of spoken vocal over taiko drumming and incessant chimes.

                                            STAFF COMMENTS

                                            Patrick says: Bahnsteig 23's unflinching commitment to club weirdness continues in earnest here with a six tracker from France's Caissard DJ. Hypnogogic dream dance, tape wave, fourth world experiments, churning EBM and one whacko rhythm tool lie in wait for the intrepid audio explorer.

                                            BBE kick off a new 7" series featuring some of the most iconic house tracks of all time and selected by DJ Spinna and Kai Alce. Part one of this ‘Foundations’ series celebrates Chicago producer Cajmere’s early masterpiece "Brighter Days". Best known in recent years by his Green Velvet moniker, Curtis Jones has been blazing a trail through house and techno since launching his Cajual imprint back in ’91. Reaching #2 on Billboard’s dance chart in 1992, "Brighter Days" was Cajmere’s breakthrough hit and continues to educate and inspire producers, DJs and dancers to this day.

                                            With artwork lovingly adapted from the original 12”, the record’s 'North Side' features a deft Kai Alce edit of the monstrous 10 minute Masters At Work remix. Introducing those distinctive skipping, syncopated rhythms later adopted by UK garage pioneers, Louie’s MAW mix has lost none of its dancefloor impact over the last 25 years. Lurking on the ‘South Side’ you can find the raw, potent ‘Underground Goodies Mix’, a production credited by Rashad and other pioneers as the catalyst for Chicago’s ‘footwork’ movement.




                                            STAFF COMMENTS

                                            Matt says: Takin you back to a time when 'crusty man' walked the North, when happy hardcore adverts graced national TV and white dog poo was not uncommon; this optimistic offering was just the ray of light the charts needed. And has now become solidfied into 'classic house' territory.

                                            Major Problems is well on its way to achieving cult status in the so called underground. Fearlessly releasing brand new music that's often hard to categorize, often with little fanfare and by artists with no online presence or marketing, it's everything I want in a label and more. Delivering the kinda tracks that you'll discover yourself, not through some hype-machine, and cherish them as personal finds and lesser known bombs to use out in the field. Calcium Club's latest addition to the catalogue is no exception: "Cosmic Creeper" sees trend-eschewing warehouse beats and rubber band electro for nightclub mutants and cybernetic b-boys alike while "Columba" delivers a scintillating, late night bliss-cloud of Sheffield bleep melodies, proto-house rhythms and spine-tingling, embrace-all chord progressions. So good! 

                                            Alex Calder / Homeshake

                                            Nankhatai / Stuck Inside

                                              THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                              Split 7” by Homeshake & Alex Calder.

                                              All Proceeds go to the International Refugee Assistance Project.

                                              Montreal bedroom pop artists Homeshake and Alex Calder dig into their vaults of unreleased music for a good cause.

                                              Homeshake — the project of Peter Sagar — contributed the unreleased Fresh Air outtake titled ‘Nankhatai’, while Calder offers up a new cut called ‘Stuck Inside’.

                                              “‘Nankhatai,’ Homeshake’s contribution is named for a delicious Indian biscuit, though the track itself has a vintage and spectral sadness. Calder’s ‘Stuck Inside’ is about earworms you can’t stop listening to, and the song’s addictive, spiralling noisiness might make it another track that gets stuck on repeat” - The Fader

                                              Limited Edition of 500 Copies.

                                              There must be something in the water of Edmonton, Canada that’s gifting the songwriters there with the ability to write sweet and snug pop melodies. After putting in time with fellow Edmontonian Mac DeMarco in Makeout Videotape, Alex Calder packed away his drums to perfect his song writing. Moving back to his mother’s house, he was able to write and record his first solo effort in 2013 with the ‘Time’ EP.

                                              Alex Calder’s sophomore release with Captured Tracks is as familiar as it is foreign - bringing together infectious melodies and texture to create tidy, acid-induced pop sequences.

                                              ‘Strange Dreams’ takes a confident step forward from Calder’s previous release and brings the focus and ambition of Alex’s songwriting to all aspects of his music. The record delivers, while still maintaining the youthful humour that has become his trademark.

                                              Tight rhythms tie down whirling guitars, sparkling textures bounce off of timeless melodies and ambition beyond humble means are realized on Alex Calder’s latest album. Ghostly vibes find their way into his songs that possess a certain sense of urgency, as is unmistakably evident on his lead single, title track ‘Strange Dreams’.

                                              A strong love for classic 60s/70s guitar pop (Beach Boys, Beatles) as well as soft spots for Prince and Hall & Oates display his self proclaimed 'fascination with pop music'. While his influences certainly shape his work, it is his natural ear for melody and movement which make Calder's work both fluid and engaging.

                                              His knack and ambition both in his song writing and production provide a solid foundation for Calder's music to drift in an out of psychy realms. There are no over drenched chorus or walls of sound, instead leaving space for melody and texture to beneatly co-existent. Alex has found the sweet spot between slacker-pop jangle and snug rhymtic production to create reassurance his songs are going somewhere. Intimate handclaps and shakers make it easy for one to visualize the living from which it came as Calder's questions what to do with his time both literally and existentially.

                                              This unique collaboration was originally released in 1971 and saw Cale (fresh from his ground-breaking work as a member of the Velvet Underground and now finding his feet as a solo artist) and Riley (noted for his highly influential works “In C” and “A Rainbow in Curved Air”) create a work of atmosphere and uniqueness. All instrumental, with the exception of the song “The Soul of Patrick Lee”, “Church of Anthrax” was the perfect melding of the experimental genius of two unique musicians. Hard to catagorise, the album was recorded a year prior to its release by Columbia in February 1971 and actually preceded Cale’s first solo album.

                                              Cale Sextons debut LP Melondrama off Butter Sessions is here and is here to make some noise. Last seen on the imprint with his club-minded EP East Link in 2016, Melondrama accumulates over 12 months work writing in studio.

                                              Having taken a step back from live performance, the album is a marination of Sexton's musicianship, flexing his abilities as a bass-man, and incorporating live instrumentation and drenched arrangements to tell a vivid story. With the new found freedom of playing for himself, his inspired creations span electro-synth, deep milky way ambience and mutant drum machine funk. Produced as a solo act from the bass up, he's only accompanied on Previous Employee, with drums, synth and fx from Maryouss. His zonked imagination is brought to clarity by Corey Kikos' final mix, further animated via Ben Jones' sleeve design.

                                              Full of emotion and adventure, the nine patiently durational earworms on Melondrama are a welcome antidote to the deluge of modern electronica that's designed for speed listening. Find a comfortable seat and let the mind travel.


                                              John Cale

                                              Sun Blindness Music

                                              These pieces derive their origin from reel to reel Recordings made in the 1960's on the Lower East Side in New York's bohemian artist communes. The 43 minute title track is heavily influenced by Terry Riley's solo organ improvisational minimalism (Cale and Riley would later collaborate on "Church of Anthrax"). The eleven minute "Summer Heat" is an opressive guitar track and the final track is pure electronic sound.

                                              Calendar Crowd was the duo of Alan Heaton and Terence Tiernan who met in their hometown of Widnes, Cheshire as schoolboys and played together in various bands in the ‘70s. In the ‘80s they formed a 6-piece band called Room For Humans and recorded one single “Telephone Telephone / Girlfriend”. When the band split and Alan and Terence continued as Calendar Crowd in a more experimental direction. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Eno, PIL, and Joy Division. In 1982 they released their debut single “Perfect Hideaway / Perfect Hideaway Dub” on 7”. Guitarist David Knowles joined them as they toured the UK and recorded and released their follow up EP “Listen in to the Heart” in 1985.

                                              A reviewer at the time called Calendar Crowd 'A Moody Merseyside trio with strong atmospheric tunes and haunting lyrics.' For this reissue Dark Entries compiled both singles on one EP featuring all four songs. "Perfect Hideway" is evocative and dreamy, the music escorts you on a tour of icy landscapes, with Terrance’s squally, vocals guiding the way through volatile synthscapes accented by bright brass stabs. Meanwhile the dub strips back the vocals, adds delayed samples and heart beat pounding drums. On the B-side “Listen in to the Heart” and “Questions Answers” are darker electronic rhythm tracks with layers of ethereal keyboards and guitar melodies. Another synth classic given a new lease of life from the good folks at Dark Entries. 


                                              For the better part of two decades, the acclaimed band Calexico has crossed musical barriers, embracing a multitude of styles, variety in instrumentation, and well-cultivated signature sounds. With 'Edge of the Sun' they take inspiration from a trip to a place surprisingly unexplored by the band before in Mexico City, and with the benefit of many friends and comrades to help guide the way.

                                              Encouraged by the experience, the guest list grew to include Ben Bridwell (Band of Horses), Nick Urata (Devotchka), Carla Morrison, Gaby Moreno, Amparo Sanchez, multi-instrumentalists from the Greek band Takim, and Neko Case. Burnsʼ brother John Burns lent a hand to some lyrics and songwriting, and the bandʼs keyboardist, Sergio Mendoza, stepped up to co-write and arrange certain songs, ultimately co-producing the album along with Burns, John Convertino, and longtime associate Craig Schumacher.

                                              STAFF COMMENTS

                                              Laura says: Calexico have been honing their Latin-American infused dusty desert blues for the best part of 20 years, and here, they've got it bang on.

                                              FORMAT INFORMATION

                                              LP includes MP3 Download Code.

                                              In 2000 the Tucson band released their second album proper and further refined their desert noir soundscapes. On this album Calexico opted for a more intimate form of expression, for a stylish, sombre, bleak ballad style that is often drenched in psychedelic reverbs and accented by jazz instruments.

                                              Then again it does contain their first forays into the semi pop song with The Ballad Of Cable Hogue and eventually it was reissued with a version of "Crystal Frontier" that had quickly become a live favourite and went on to become their first pan European radio hit and calling card.

                                              Calexico

                                              Live From Austin, TX

                                                Influenced by everything from Portuguese fado, 50s jazz, gypsy music, 60s surf to spaghetti western epics, over the past decade Calexico have been creating an eclectic sound that evokes images of sunscorched rocks and windswept deserts, pulling a few surprises out of their musical bag to fill those dusty, empty landscapes with a big, big sound. This show from Austin City Limits on September 13, 2006 also sees them joined by friend and collaborator Sam Beam aka Iron & Wine (and his sister, Sarah).

                                                Calexico

                                                The Black Light - 20th Anniversary Edition

                                                An album about crossing physical and metaphorical borders that has never been timelier: Calexico’s classic album “The Black Light“ turns 20. This limited celebratory anniversary edition includes all new artwork by Victor Gastelum, extensive linernotes, and 11 bonus tracks.

                                                What was surprising about The Black Light (and what set its architects apart from their indie rock peers) was the album’s unusual willingness to wade into the rapids of American and Mexican culture, fully immersing itself midstream. From the outset, with ‘Gypsy’s Curse’, the record combines guitar twang and flamenco flourishes; and by its end, almost an hour later, it’s contrived a skillful and instinctive union of smoky bar room jazz, arthouse indie rock, and compelling mariachi brass in ‘Frontera’. If Calexico falls short as a name, it’s only in the fact that - alongside their mining of Mexico’s fertile musical past - Joey Burns and John Convertino weren’t just digging into California’s songbook...they were unearthing America’s too.


                                                STAFF COMMENTS

                                                Barry says: Calexico's uniquely Calexican second outing gets a twenty year reissue (20 years!!), including outtakes, special mixes and heaps of their Americana-lite acoustic fusion. A fitting testament to a band at the peak of their game, and certainly one that's held it's own over time.

                                                FORMAT INFORMATION

                                                2xColoured LP Info: 180g clear vinyl, packaged in a gatefold cover with an embossed silver logo and a large format 8-page booklet.

                                                2xColoured LP includes MP3 Download Code.

                                                2xLP Info: 180g black vinyl, packaged in a gatefold cover with an embossed silver logo and a large format 8-page booklet.

                                                2xLP includes MP3 Download Code.

                                                The ninth studio album from Calexico, The Thread That Keeps Us is a timely snapshot of the Arizona-bred band: a family portrait capturing their stylistic variety and unpredictability while still finding solace in limitless creativity. In bringing the album to life, vocalist/guitarist Joey Burns and drummer John Convertino found a spiritual home in unusual surroundings—not in Arizona, but on the Northern California coast in a home-turned-studio called the Panoramic House. Built from debris and shipyard-salvaged timber—and dubbed “The Phantom Ship” by the band—the grandiose house and its edgeof-the-world-like ambience soon made their way into the songs.

                                                The specter of California also had a powerful effect: as both dream state and nightmare, its infinite duality is mirrored in the music, giving Calexico a new direction and new edge. With less polish and more grit than ever before, The Thread That Keeps Us both honors enduring traditions and reveals Calexico’s confidence in songwriting, ultimately setting a whole new standard for the band.

                                                FORMAT INFORMATION

                                                2xDeluxe LP Info: Limited edition double LP with 7 bonus songs. Initial copies come with a rather lovely pack of 10 postcards with artwork based on the album cover.

                                                LP Info: Initial copies come with a rather lovely pack of 10 postcards with artwork based on the album cover.

                                                2xDeluxe CD Info: Limited edition double CD with 7 bonus songs. Initial copies come with a rather lovely pack of 10 postcards with artwork based on the album cover.

                                                Dani Cali / Alain Maclean

                                                Hard Road / Talking Judgement Day Blues

                                                  This limited 7" from Dani Cali and Alain Maclean comes through UK dance music legend Andrew Weatherall's label Moine Dubh. The releases focus on "emerging folk and pop acts".

                                                  Calibre

                                                  Grow

                                                    Calibre’s "Grow" was also the name of his last album. However the track "Glow" never actually appeared on it! His long player for Craig Richard's amazing The Nothing Special saw focus on the more free-form, experimental fringes of techno and electronica, it gave Calibre a chance to really explore a deep, more technoid side to his work and present tracks he had never played publicly before. "Glow" epitomizes this period perfectly, an accessible but head turning cut which pumps softly as angelic washes collide with a seriously anthemic vocal chorus. Timed correctly, mixed after a blistering techno session, I reckon this track could unite a thousand dancefloors. Unashamedly beautiful, but with enough electronic prowess to keep it firmly rooted in the club. "Lost" and "Strange Are The Days" sees Calibre explore beyond the 4/4, or even the dance. Two abstract, languid electro-jazz-pop offerings which should garner radio and headphone play in equal measure. Top stuff!



                                                    Cult Italian combo Calibro 35 celebrate ten years of bumping jazz grooves and mellow moochers with their 6th studio album "Decade". Their first album recorded with an enlarged orchestral-inspired line-up that features horns, strings and percussions. Mixed and recorded by Calibro's usual suspect and Grammy Award winner Tommaso Colliva, on the album all the influences collected by the band during their last ten years' journey like music, collaborations, movies, gigs, books find their space. "DECADE" is Calibro 35's "time capsule" and is as rare and complex as a timeless work.
                                                    Musically Calibro 35's inner influences like Ennio Morricone, listen for instance to the epic journey of the album's end credits "Travelers", Luis Bacalov and David Axelrod are still there but are now mixed with elements from afrobeat or cosmic jazz. "Psycheground" sounds like Tony Allen involved in writing a score for a vintage Hollywood production while Sun Ra lurks on "Modo". Everything is mixed up with new influences from modern musical languages. References to Jaga Jazzist, Budos Band or Alternative Jazz and Alternative Hip Hop new acts such as Makaya McCraven, Yussef Kamaal, Oddisee can all be found on the album. In tracks such as "Modulor "you realize that Decade is certainly not a point of arrival and expresses the ambition of the band to look further and evolve. All classic Calibro's vintage instruments such as clavinet, eco, analog synths, fuzz guitars are now supported by new ones such as Dan Bau, Balafon and Waterphone ("Polymeri") in the band's new wall of sound. Thanks to the enlarged line-up and the orchestrated parts involved, which pushed the band to experiment new methods of composition, Calibro 35 on "Decade" sound strong, full and tight as never before.

                                                    STAFF COMMENTS

                                                    Patrick says: Skipping between forward thinking jazz, textured funk and cinematic symphonies, Calibro 35's latest LP is a must have for fans of Morricone, Axelrod, Go Go Penguin or Penguin Cafe.

                                                    ‘Stitches’, the new album from Califone, touches on all permutable definitions of the word - sewing together, loops, yarn, abdominal pain. Archetypes and mythological figures rub shoulders with bruised civilians throughout this odyssey.

                                                    Intimate timbres - garage sale drum machines, slack guitar strings, hushed vocals - offset the album’s cinematic inclinations. The listener moves through a landscape of Old Testament blood and guts, spaghetti Western deserts and south western horizons, zeroing in on emotions and images that cannot be glanced over.

                                                    California X

                                                    Nights In The Dark

                                                      Two years after their self-titled debut on Don Giovanni Records, California X delivers Nights in the Dark, once again bearing the imprint of sound engineer Justin Pizzoferrato (Dinosaur Jr, Speedy Ortiz). Amongst songs furnished with prominent guitar leads and power pop hooks, California X offers a moodier, more textured, but instinctively catchy experience. Nights shows off a musical and lyrical maturity for the band, exploring ideas of darkness and longing.

                                                      California X draws on influences from 70s rock to 90s alternative, but applies this pallet with intention. The product is a distinctive record, maneuvering seamlessly from fuzzed-out rock to conceptual ballad


                                                      The "Utopia EP" is Mira Calix’s first release on Warp in a decade. A decade in which mixed media installation and exhibition work, with a focus on classical instrumentation, has been the main focus of her practice. Her most recent project was a sound installation that featured an ambitious choral work, performance artists and a unique speaker diffusion system. Part of Beyond the Deepening shadow at the Tower of London, it ran from 4-11 November and saw over 300,000 visitors, creating an international media storm.
                                                      The basis for the new EP title and lead track - rightclick - was Utopia, a Random Acts film written and directed by internationally acclaimed novelist Adam Thirlwell (released on 6 December 2018). In the short film starring Lily Cole and Lily McMenamy, a girl tries to set up a commune in a tiny apartment and finds her ideals of utopian living tested and expanded as an alternate version of Calix’s fragmented track acts as the bedrock throughout.
                                                      Calix’s return to electronic instrumentation and the laid-back dance floor, is routed in the physical landscape. By creating these frameworks and parameters she uses found sound, off cuts of existing sonic material from her personal library, taking a collage approach to music. Exploring this fragmented approach further, she deploys her own voice as an instrument, a cut up that refractures and recontextualizes the material in order to conceive a sound that is directly influenced by sight.
                                                      "Rightclick" was made specifically for the film, the subsequent 3 tracks followed on and were very much conceived as an EP in graphic form, a sonic découpé if you will. The concepts behind the individual tracks’ riffs stem from the role of the muse, the male gaze, nostalgia vs modernity and the distribution and categorisation of art and the utopian idyll: "Upper Ups" references the muses of some of the world’s most famous artists, "Bite Me", a podcast discourse on art, while "Just Go Along" explores escape, obsession and the male gaze.
                                                      Calix has always created drawings and graphic material as part of composition process - visible on her Calix Portal - where she has been releasing material old and new from installation-based work over the past 18 months.


                                                      STAFF COMMENTS

                                                      Matt says: What's going on here then?! An assured return of glitch / micro-house flavors for the new year? Sign me up boss! Essential listening for fans of Burnt Friedman, Marionette, Jan Jelynek, Vladislav Delay etc.

                                                      Call And Response

                                                      Winds Take No Shape

                                                      Call And Response are a musical ensemble formed in 1998 when Simone Rubi (keyboards, vocals) and Daniel Judd (guitar), who shared a love of obscure pop music, film soundtracks, and synthesizers, decided to collaborate on a musical project in the Bay Area, California. The music they compose has elements of classic pop, spacey jazz, film soundtracks, folk and soul music - only some of the musical inspirations drawn upon by the group. With this record, the band innovates a sound that is impressionistic, mystical, and beautiful. All ten songs on the album were recorded and produced in San Francisco by Dylan Magierek (Mark Kozelek, Low, Erlend Oye).

                                                      FORMAT INFORMATION

                                                      LP Info: Beautifully packaged vinyl comes in an embossed screen printed sleeve.

                                                      Call Me Lightning deliver the follow up to their 2004 debut on their new label / home Frenchkiss Records. This Milwaukee three-piece play a frenetic post punk informed by the Talking Heads' quirky pop and the Jesus Lizard's rambunctious absurdism. Recorded in 2006 at Albini's 'Electrical Audio' studio, this is an eleven song blast of youthful energy, wicked riffery and unapologetic fun.

                                                      Glacial is a stunning record written by Adam Lipman and sung by Allen Callaci (lead singer Refrigerator), recorded over the course of two days in Claremont by Steve Folta, mostly as a trio made up of Callaci, Lipman on guitar (and some vocals) and Jason Martin on keyboard and piano. The album is a cohesive work by two artists whose sole prior collaboration consists of vocal overdubs Callaci had done for the forthcoming Lipman full-length record (due out in early 2014 on Shrimper). Lipman, upon hearing the finished back-up vocals, had joked that he was going to force Callaci to record his entire songbook. Those sessions, which comprise the follow-up to Lipman’s From Your Mouth to God’s Ears, were the last in which Callaci took part before suffering from serious health issues that ultimately led to a successful heart transplant.

                                                      After recovering, it made sense that Glacial is Callaci’s first new recording. The record was cut live with Lipman serving as both a producer of sorts as well as player on these versions of his songs with minor overdubs. Augmenting the trio is Aaron Alcala, who contributes guitar on a number of tracks, as well as Callaci’s brother on backup vocals, whose subtle and stately readings offer variances to Lipman’s original versions. A quiet, slow-paced record, Glacial rewards the attuned ear with each listen.

                                                      Simon Joyner, who over the course of thirteen albums has released a unique and influential body of work on a myriad of independent labels, and Dennis Callaci, who has recorded nearly as many records with his band Refrigerator and runs one of those said labels, present their second record together. Their first collaborative release was a one-sided vinyl-only release on Catsup Plate Records a decade back entitled Stranger Blues, a direct-to-one-track live recording of the two playing together and sharing one mic.

                                                      Though recorded in the same spot (i.e. the living room of the Callaci home), New Secrets is a different record altogether - a call and response exercise of sorts, with a Joyner song answering the plea to the preceding Callaci dirge. Recorded and mixed live by Jarvis Taveniere (noted for his Rearhouse recordings and as a member of Woods) over the course of three days, the duo was backed up by Joyner's band from the Ghosts record of last year. Augmenting the album's eleven tracks are guest appearances by Franklin Bruno (Human Hearts, Nothing Painted Blue) and Kevin Morby (The Babies). Reuniting the original cast from the first release, noted artist Rob Carmichael designed the cover art around Callaci's drawings. 

                                                      All new music from Simon Joyner and Dennis Callaci (Refrigerator) 
                                                      Follow-up to 2003 Stranger Blues EP
                                                      Recorded and mixed by Jarvis Tavernier (Rearhouse, Woods) and Joyner's full backing band, guest spots by Franklin Bruno and Kevin Morby (The Babies).

                                                      Essentially an ensemble recorded live in the studio, Bill Callahan’s "Apocalypse" is the corpus delecti. Something happened here. If tape is like meat, this record is the whole hog - no cuts.

                                                      Callahan, riding on the back of his band, corrals them all and guides them single-handedly with love and ferocity.

                                                      Bill Callahan is a recording studio guru, a tastefully rampant singer-songwriter, a heartthrob, a visual artist, a statesman for the times and an author. His songs have been featured in films such as "High Fidelity", "Dead Man’s Shoes", and "Youth In Revolt". Artists as diverse as Gil Scott-Heron, Flaming Lips and Cat Power have recorded his songs.

                                                      In the song world of Bill Callahan, the present realities tumble ecstatically like cloth in the wind - sheets and flags and clothes. These things borne aloft are not simply physical details in the landscape, but the contours of an emotional one as well. Bill’s a cartographer way out there, tracing the coastlines, telling the tales he has discovered along the way. Some seen in life and others in mind’s eye, they float down ‘Dream River’ with humble eminence.

                                                      The river that was once deemed not too much to love, that once freed convicts and their guard in a still and silent moment, is now a ‘Dream River’, fished in a variety of depths, viewed in panorama. This is a waterway that winds across the landmass, a ribbon that touches and changes and feeds and gives to and takes from many lives as it rolls to the ocean.

                                                      Dialed into the mindset, the ‘Dream River’ instrumental crew man a hovercraft that bears the songs along, humming deeply with bass and percolating with the abiding resonance of hands drumming on skins, the lively popping of claves. Guitar strums fan into blooms of smoke, sliced through by other guitars taking other forms - shards of mirrors, plumes of ignition, telephone wires, snakes and ladders plunging through the depths of the sky. The musical modes are exquisite, aquatic; shifting in delicate but deliberate undetectable time as Bill’s lyrics wander from yard to yard.

                                                      ‘Dream River’ is the fourth studio album from Bill Callahan, following the sweet devastation of ‘Apocalypse’.

                                                      STAFF COMMENTS

                                                      Patrick says: It's easy to paint Bill Callahan as a world weary traveller. After all, he's fourteen albums into a twenty year career, deadpans with the best of them and has been known to dwell on death and destruction more than a Scandinavian drama. His last offering, 2011's ‘Apocalypse’ sees two protagonists meet their maker before side-B is through, amongst a general discourse on devastation and despair. But if ‘Apocalypse’ was the storm sent to purge the earth, then ‘Dream River’ is the verdant calm that follows. Bill has always explored natural themes, even back in his days as a lo-fi auteur, and on this album they abound. As ever water is the most prominent motif, whether it be a river, ocean or rain, with Bill's warm baritone deep enough to drown in. Elsewhere, flight is the focus as arrows, javelins and seagulls all soar through clear skies adding to the lightness of what is certainly Callahan's most uplifting album to date. But what is most striking about ‘Dream River’ is the happy marriage of Callahan's trademark Americana with soul. Aside from the lyrical nod to Marvin Gaye and Bill's Callier register, the congas and claves of Thor Harris lend a temperate groove to proceedings, while Beth Galiger's flute doffs it's beret towards Brian Jackson, inspired by Gil Scott-Heron covering ‘I'm New Here’. Once again the excellent Matt Kinsey returns to add his psychedelic guitar to the record, magnifying the transportative qualities of "Summer Painter" and "Javelin Unlanding". ‘Dream River’ sees a mature Callahan at his best casting a musical spell that only breaks when the needle hits the centre.

                                                      Dub is a spiritual, abstract, visceral, mystical thing. Finite and infinite at the same time. Deeply rooted in the earth and embracing outer space. Don’t be fooled by names, dub has come and gone. Dub is a ghost, a duppy.

                                                      Here you will find versions of the ‘Dream River’ songs that have been killed and resurrected, spilling tales of the other side of life in a language conceivable only if you let yourself be taken there.

                                                      Introducing a worldwide audience to the bumpin’ and rollin’ new sound of Bill Callahan.

                                                      STAFF COMMENTS

                                                      Andy says: If you loved last year's parent album as much as we did at Piccadilly, you'll think you've died and gone to heaven when you hear this blissed-out dub version. Totally gorgeous!

                                                      Unfolding like a first view of paradise, then a slightly less ecstatic second view of paradise, and then finally a glance back over your shoulder at that ridiculous notion of paradise, "Sometimes I Wish We Were An Eagle" is awfully pretty — something's clearly making Bill Callahan feel like a natural man. And high in the saddle, with nine sweet new tunes in tow, he's riding herd over a diverse bunch of sounds by top-notch players. Arranger Brian Beattie brought some old friends back into the picture: violins and French horns. Plus, recording in the big state of Texas has given Bill Callahan a panoramic soundscreen, filled with verdant and sparkling sounds, all of which allow him access to the depths of expression, allowing a gentle and stirring view of that which we call 'soul'. Singing as personally as ever while still spinning wild yarns and melodic guitar fictions, Bill Callahan's on an idyll we hope won't ever end.

                                                      Tracklisting
                                                      1. Jim Cain
                                                      2. Eid Ma Clack Shaw
                                                      3. The Wind And The Dove
                                                      4. Rococo Zephyr
                                                      5. Too Many Birds
                                                      6. My Friend
                                                      7. All Thoughts Are Prey To Some Beast
                                                      8. Invocation Of Ratiocination
                                                      9. Faith/Void


                                                      next 100

                                                      Latest Pre-Sales

                                                      237 NEW ITEMS

                                                      The new self titled album from @LadytronMusic is out today. It’s their first album in seven years on Ladytron Music… https://t.co/8kbjEmO9hd
                                                      Fri 15th - 4:37
                                                      .@DavidBowieReal fans. His 1983 album Let’s Dance has been reissued/remastered. Out today on @parlophonehttps://t.co/45eM108QJy
                                                      Fri 15th - 1:35
                                                      Hollow Earth is the new album out today from @PyeCornerAudio aka Martin Jenkins, his third for Ghost Box. It’s conc… https://t.co/USB9oQ9yrj
                                                      Fri 15th - 12:14
                                                      .@dinkededition No 5 has landed 🙌🏻 @HOOMESHAAKE album ‘Helium’ available on “fruit punch” coloured vinyl, hand nu… https://t.co/hLkc9AvkLC
                                                      Fri 15th - 11:43
                                                      The brand new banners are up on this glorious #newmusicfriday here in Manchester. Today they are representing… https://t.co/4sPp6jtjAX
                                                      Fri 15th - 11:12
                                                      E-newsletter —
                                                      Sign up
                                                      Back to top