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BACK CATALOGUE - C

Candy Bowman

I Wanna Feel Your Love / Since I Found You (Love Is Better Than Ever) (RSD19 EDITION)

THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Candy Bowman's one and only solo 12" from back in '81, housing a funk flavoured, dancefloor disco triumph and a slice of mid tempo R&B smoothness. Remastered

Chas & Dave

Margate

    THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

    Exclusively for Record Store Day 2019 Demon Records revisits Chas & Dave’s classic ode to the Kent seaside town of Margate. This 7” shaped picture disc revisits the classic postcard design of the 1982 single and expands on the original tracklist with the additions of ‘That’s What I Like’, and the previously unreleased Only Fools & Horses Jolly Boys’ Outing version of Margate. Previously only heard as the end credits to the Classic Only Fools & Horses episode ‘The Jolly Boys’ Outing’ and features vocal appearances from Del Boy & Rodney.

    Chic

    Le Freak (Oliver Helden Remix)

      THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      Le Freak was Chic’s third single and their first single to hit #1 on the Billboard Top 100 in the US. It went on to become Atlantic Records' biggest selling single. It also garnered international success charting at #1 in Australia, Canada, New Zealand & South Africa. And in the top #10 in Austria, Belgium, France, Germany, Italy, Netherlands, Norway, Sweden, Switzerland and the United Kingdom. To celebrate the 40th anniversary year we will release a 12” featuring the 2018 Oliver Helden Remix (on vinyl for the first time) and the 1978 original 12” vocal mix. On standard 12” black vinyl, in an Atlantic sleeve.

      Cloud One

      Spaced Out: The Very Best Of Cloud One

        THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

        Produced by the legendary Patrick Adams, the studio-bound disco unit Cloud One made its debut in 1975 with the spectacular Atmosphere Strut and throughout the seventies, became the centerpiece for P&P, Queen Constance, Golden Flamingo, Heavenly Star, and Sound of New York, all labels ran by Peter Brown & Patricia Gilyard. At a time when most music was recorded with a full army of studio musicians, Cloud One records were mostly played, arranged and mixed in their entirety by Patrick Adams himself!!! The ability to "work on his own" allowed the music to feel more experimental than the work he did on major labels at the time. While there’s been other compilations, this is the first official P&P collection dedicated to the work of Patrick Adams as Cloud One. Spaced Out compiles the best of Cloud One’s output with songs from their Atmosphere Strut LP, their Funky Disco Tracks EP and a number of known 12“ singles as well as some hard-to-find titles like "Patti Duke", “Don't Let My Rainbow Pass Me By”, and “Flying High”. Spread accros 2LPs, Spaced Out is not only a good addtion to fans of the P&P Catalog, but also the perfect introduction to the work of Legendary Disco Producer Patrick Adams. Side A Jump, Jump, Jump (10:28), Atmosphere Strut Remix (8:00). Side B Stomp Your Feet And Dance (10:25), Spaced Out (6:35). Side C Disco Juice (7:03) Don't Let My Rainbow Pass Me By (4:41), Patty Duke (5:30). Side D Happy Music (12:30), Doin' It All Night (3:48), Flying High (6:26)

        Crispy Ambulance

        The Plateau Phase (RSD19 EDITION)

          THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

          Factory Benelux presents a remastered edition of The Plateau Phase, the debut by Manchester postpunk group Crispy Ambulance. Originally issued by Factory Benelux in March 1982, the album is now reissued in a strictly limited edition of 500 copies in clear vinyl for Record Store Day on 13 April 2019. (NON-RETURNABLE) Recorded at Strawberry 2 with producer Chris Nagle, the album captured Crispy Ambulance at the peak of their creative powers.   “When we started discussing the track selection for this new vinyl edition,” says singer Alan Hempsall, “it struck me that the songs which made the cut were all written and recorded within a very short space of time. July 1980 to September 1981 marked an intensive period of creativity informed by the new music we were being exposed to, and films we’d seen around that time: Eraserhead, Scorpio Rising, Apocalypse Now, Warhol’s Dracula and Argento’s Suspiria all played a part. We became curious about what would result from a partial breaking away from traditional song structures and experimenting with the concept of soundtrack and incidental music. Film music looking for a film, so to speak.” Bonus tracks on the second disc include lauded 12” single The Presence and Concorde Square, produced by the legendary Martin Hannett at Pink Floyd’s Britannia Row studio, as well as the group’s powerful John Peel session from January 1981. Sleeve art by Benoit Hennebert. Inner gatefold portrait by Harry Papadopoulos. New liner notes by Alan Hempsall. Tracklist: A1. Are You Ready? A2. Travel Time A3. The Force and the Wisdom A4. The Wind Season A5. Death From Above B1. We Move Through the Plateau Phase B2. Bardo Plane B3. Chill B4. Federation B5. Simon’s Ghost C1. The Presence C2. Concorde Square D1. Come On D2. Drug User-Drug Pusher D3. October 31st D4. Egypt

          CSNY

          4 Way Street (Expanded Edition)

            THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

            Crosby, Stills, Nash & Young’s second album (as CSNY – or third as CSN) and first live album. Featuring live recordings from their 1970 US tour, including legendary shows recorded at the Fillmore East (New York), The Forum (LA) and the Auditorium Theatre (Chicago). Plus four bonus tracks; “King Midas In Reverse” (Nash, Clarke, Hicks), “Laughing” (Crosby), “Black Queen” (Stills), “Medley: The Loner / Cinnamon Girl / Down by the River” (Young). Bonus tracks, will appear here on vinyl for the very first time (previously released on CD in 1993), newly cut by Chris Bellman at Bernie Grundman’s LA mastering studio.

            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.

            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.

              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

              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.


              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.

              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.

                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.

                  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.

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

                  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.

                  Christophe Beck

                  Ant-Man & The Wasp - OST

                    Award-winning composer Christophe Beck re-teamed with the Marvel Cinematic Universe to score Ant-Man & The Wasp, the sequel to 2015's Ant-Man, one of the most kinetic and musically inventive chapters in the on-going series.

                    The closing credits theme, "It Ain't Over 'Til The Wasp Lady Stings," is sequenced at the beginning of the album to properly prepare you for the brilliant work of what Beck is doing in this film and for these characters. Bouncing between themes epic in scope, emotionally powerful ("Ghost in the Machine"), action-packed ("Hot Wheels") and light on its feet ("World's Greatest Grandma"), his work here is musically lush and multi -layered, absolutely begging for repeat listens. This is one of the MCU's most dynamic and entertaining soundtracks. 


                    FORMAT INFORMATION

                    2xLP Info: 2 x 180g vinyl.

                    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.

                    Charles Brackeen

                    Rhythm X - The Music Of Charles Brackeen

                    On this record, the little-known Charles Brackeen brings his saxophone to a party with most of Ornette Coleman's band. As might be expected, while Brackeen certainly holds his own, it's Ornette's boys who bring the thunder, playing around Brackeen's muscular alto as if they were a gang jumping on a new member. Haden's bass playing provides the frantic pulse, here and there ceding the stage to Blackwell's flexible drumming and dropping out to provide rolling sheets of sound by bowing his instrument. Brackeen and Cherry wrestle across this solid bedrock, with results that are often surprising and never short of beautiful.


                    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!

                    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.

                      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.


                      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.

                          Chico Buarque’s tenth LP, released in 1976, is considered one of his best efforts.

                          It features Milton Nascimento delivering the vocals on the sublime duet “O Que Sera,” as well as other great MPB musicians such as Arthur Verocai, Antonio Adolfo and Perinho Albuquerque, among others.

                          The second of two classy Buarque albums to be reissued via Elemental this week - Brazilian music lovers can rejoice! 


                          FORMAT INFORMATION

                          Ltd LP Info: Collector’s Reissue - 180 gram vinyl - Original Artwork - Limited Edition.

                          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


                            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".

                              C Cat Trance

                              Screaming Ghosts

                                In an international merger certain to send the stock market into a headspin, Emotional Rescue and Malka Tuti join forces to bring us a collection of the mind blowing music of C Cat Trance. Drawing on the rhythms and melodies of Africa and the Middle East, the Nottingham outfit brought an outernational style to the post punk dancefloor. In their ten year lifespan the group released 6 EPs and 4 LPs, the best moments or which are drawn together for this a special double LP compilation. From the legendary "Shake The Mind" to the percussive, ethno-club cuts "Sudaniyya" and the previously unreleased "Some Day Soon", the album highlights a project that stood out from the post-punk haze with striking scales and time signatures to develop a unique sound.
                                Formed by world music fan and multi-instrumentalist John Rees Lewis upon leaving post post-funk pioneers Medium Medium, the group retained the intensity of the former, but in a considerable new direction. Teaming up with fellow ex-band member Nigel Kingston Stone, together they formed the backbone of the band around a continual stream of guest players.
                                Exotic, dense, tribal rhythms propel a mixture of club, pop and world music, creating an atmospheric fusion that can be heard across the 12 pieces. The alt-industrial feel of "She Steals Cars" and "Screaming (To Be With You)" is countered by avant-percussive "Dalbouka" and "I Looked At You" or the Balearic vibes of "Take Me To The Beach" and "They Made Them Up".

                                Together they perfectly showcase a dark and moody world music with a shamanic spiritual underbelly that has gained admirers from collectors and latter-day producers. In that spirit a set of re-edits, remixes and reversions from latter day heads including Red Axes, Prins Thomas, JD Twitch, Khidja, Die Orangen, Jamie Paton and more will follow.

                                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.Y.M. is the collaboration between British producer and DJ Mike Greene (otherwise known as Fort Romeau) and LA-based American musician Chris Baio, who releases music as Baio in addition to playing bass in the acclaimed band Vampire Weekend. Their debut, self-titled EP arrives on Phantasy as an elegant pean to the infinite possibilities of kosmische music, driven by a motorik strain of psychedelia. The foundations of a wider project, C.Y.M. speaks not for analogue nostalgia, but a subtle and modern update on imagined futures that are still open to interpretation.

                                  "Capra" immediately establishes the duo’s masterful if unsurprising grip on rhythm, a man-machine stomp that persists as the track takes myriad turns, from post-punk guitar licks and processed vocals, through bubbling modular synthesis and culminating in a soaring, cathartic melody. On "Far Gone" C.Y.M. turn their studio inward for a more brooding and intimate interpretation of their sound, a balearic amalgam of intriguing vocals, feedback soaked riffs and no-wave inspired movement. The bliss beneath the waves of noise that crash across C.Y.M’s music emerges fully on the driving conclusion, "Super-Cannes". A hypnotic tempo and blistering drums intertwine with whirling organs, and shimmering keys, providing a wistful and warm finale.


                                  STAFF COMMENTS

                                  Matt says: More nuggets for left-of-center dancefloors this week as Fort Romeau joins forces with Vampire Weekend's bassist for a spacey-balearic-punk-funk jam that most are gonna struggle not to enjoy. Favourite track for me is the hypnotic bouyance of "Far Gone". TIP!

                                  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

                                    1974-76

                                      A selection of material recorded by Cabaret Voltaire during the earlier and formative years of their existence. All of the recordings were done in an attic 10 feet by 6, on a domestic reel to reel tape recorder. A number of the recordings here were part of those which made up the now legendary limited edition cassette released by the band in 1976.

                                      Features all original Cabaret Voltaire members – Richard H Kirk, Stephen Mallinder, Chris Watson.


                                      FORMAT INFORMATION

                                      2xColoured LP Info: Limited edition transparent orange vinyl in gatefold sleeve.

                                      2xColoured LP includes MP3 Download Code.

                                      Cabaret Voltaire

                                      Archive #828285 Live

                                        The Intone label was originally founded back in 1992 as a vehicle for Richard H Kirks Sandoz project, initially a series of three 12” singles. Richard H Kirk is perhaps better known as co founder and now sole member of the hugely influencial Cabaret Voltaire.

                                        The Intone label is now relaunched with a 3 CD Box Set of Cabaret Voltaire live recordings from 1982 and 1985.Live in Liverpool(1982),live in Sheffield(1982) and Live in Toronto(1985) . Now distributed by cargo,further releases are planned for 2014,including a new album by Kirk and also a 3CD box set of previously unreleased Kirk recordings from the mid nineties.
                                        Cabaret Voltaire circa 1982 was kind of post Rough Trade,pre Some Bizarre/Virgin.Following on from and with the same line up as the successful dates in Japan(Tokyo,Osaka),resulting in the live album Hai, the 2 live recordings from 1982 on these CDs come from what was refered to as the “2x45”tour.

                                        The performances here are unique in that they show Cabaret Voltaire in a period of transition,following the departure of co founder Chris Watson, and had more studio recordings been made of this phase (see record 2 of “2x45”) it could have well developed into something very different to the subsequent albums made during the Some Bizarre/Virgin period of 1983-1985. The recording from Toronto was the next to last date of a North American tour from April/May 1985.

                                        The Cabaret Voltaire live concerts of the 83-85period were much more anarchic than the studio recordings and arguably just as interesting in their own way,like some kind of soundclash going on in realtime..this release will be a good primer for the forthcoming Cabaret Voltaire box set,#8385(collected works 1983-1985) out on mute records in November.

                                        Cabaret Voltaire

                                        Chance Versus Causality

                                          Chance versus Causality is a previously Previously unreleased soundtrack by industrial electronic pioneers Cabaret Voltaire, to 16mm film For Two Projectors by Babeth Mondini from 1979.

                                          Features all original Cabaret Voltaire members – Richard H Kirk, Stephen Mallinder, Chris Watson.


                                          FORMAT INFORMATION

                                          2xColoured LP Info: Limited edition transparent green vinyl in gatefold sleeve.

                                          Cabaret Voltaire

                                          Methodology '74 / '78 Attic Tapes

                                            This vinyl box set charts the development of Cabaret Voltaire, starting from their early experimental period of '74/'75. Included on the release are the original recordings of classics such as 'Nag NagNag', 'No Escape', 'The Set Up', 'BaaderMeinhof', 'Here She Comes Now' and 'Do The Mussolini (Headkick)', all later re-recorded with new equipment and released by Rough Trade in the late '70s.

                                            Cabaret Voltaire were at the forefront of the UK Electronic Movement throughout the ‘70s. Initially a three piece, Richard H. Kirk, Stephen Mallinder and Chris Watson began by playing around with recorded sounds manipulated by basic reel-to-reel tape recorders in Sheffield in 1973. Way ahead of their time, these ideas cumulated in 1975, when the three staged their first performance of these sound experiments and assumed the name Cabaret Voltaire, taken from the name of the club started in Zürich by the principals of the Dada art movement during the First World War. As part of the confrontational energy of punk, and inspired by the Dada and Situationist art movements, these early recordings have lost none of their power in the intervening years, especially when the relatively primitive equipment used at that time is considered.


                                            STAFF COMMENTS

                                            Barry says: Cabaret Voltaire were known for having an incredibly diffuse and brilliantly esoteric output, and the Attic Tapes only goes to show that there is so much more unbelievable material hidden out there somewhere. Outsider electronics, clanging industrial and bunker techno all sit wonderfully together in this huge 7LP box.

                                            FORMAT INFORMATION

                                            LP Box Set Info: 7LP box set. Clear vinyl + signed art print. Limited to 500 copies.

                                            FREE SHIPPING This item has FREE UK shipping!

                                            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

                                            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".

                                              Cage The Elephant

                                              Social Cues

                                                On their fifth album, UK based, Kentucky band Cage The Elephant have taken their garage rock roots and thrown in a heavy dose of Bowie-esque glam as they deal with the double header of classic rock’n’roll subject matter: the price of fame and heartbreak.

                                                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.

                                                  'I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.' - John Cage 1937. Although John Cage occasionally worked in large, sophisticated studios - for example, when he composed Fontana Mix in 1958 - his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc. He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits, and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century.

                                                  Langham Research Centre works within the tradition firmly established by Cage, using resources that would have been available to him. For the realisation of Cartridge Music, moving iron phonograph pickups were sourced and restored. These have a knurled screw designed to hold a steel phonograph needle and, in the piece, other objects are inserted and amplified: pieces of wire, toothpicks, paperclips, etc. The realisation of Fontana Mix includes the individual mono tracks from Cage's original tapes created in 1958. These are played using open-reel tape machines. These practices ensure we work within the limitations that Cage experienced and enable us to get close to the soundworld he inhabited. (Robert Worby, LRC).

                                                  Cagework

                                                  Cagework

                                                    Cagework is a new project fronted by Sam Bedford. A three-piece formed in South-West England, they draw inspiration from odd lo-fi indie, post-hardcore, early emo and smatterings of avant-garde folk. The band have been together less than a year, playing shows in South London and beyond, releasing one single. And now... Coming in at 16 minutes, the self-titled debut album is as direct as it is vibrant. Dissonant, atonal, yet somehow hook-driven, its confidence and self-assuredness demonstrative of a band long into the game, not a group only beginning so recently. As Bedford explains, “It seems strange to want to draw a line under such a short period of time, considering we’ve been a band for less than a year,” says Bedford. “But we were looking ahead and really wanted to have these songs documented, with so many more being written all the time.” Cagework were spotted by Justin Lockey (Mastersystem / Minor Victories) who was immediately keen to produce and release the album on Physical Education, a label he co-runs.

                                                    Evidently, the production on the album has been left as abrasive and raw as Bedford intended: all big drums and Albini influenced discord. Cagework released first single Simmer in April 2018, receiving praise and support from the likes of So Young, Clash and Rough Trade, with repeated spins from Huw Stephens, Gideon Coe and Amy Lamé. But what about since then? “We played through the initial excitement around the release of Simmer, which was really encouraging,” says Bedford. This period included some touring and some support slots alongside The Districts, Yuck and Hembree. The album was intended to be a self-release in early 2019, but through fate and good fortune, the home recordings found their way to Physical Education Recordings. The band travelled up to Phys Ed founder Justin Lockey’s South Yorkshire studio. Just before the session, the band threw a wildcard down; Wilson – a track which was to become the first single from the record. “That song is about someone who is lonely, isolated and how it’s probably because of their values, or certainly how stubbornly they’re sticking to those values,” Bedford says. “It’s about accepting that sometimes you need to change how you think about yourself and recognise when the choices you’re making are making you unhappy.” This album reflects the familiar, pervasive malaise of 2018 and, by the looks of things, 2019. It also responds with a message on the need to reflect, a process the band have spent enough time on to be a relative authority on the issue. Another theme of the record is boredom and how people respond to it, particularly in a time where there are infinite distractions.

                                                    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.


                                                    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.

                                                    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. 


                                                    Calexico and Iron & Wine first made an artistic connection with In the Reins, the 2005 EP that brought Sam Beam, Joey Burns and John Convertino together. The acclaimed collaboration introduced both acts to wider audiences and broadened Beam’s artistic horizons, but it was the shared experience of touring together in the tradition of Bob Dylan’s “Rolling Thunder Revue” that cemented the bond. Their metaphorical roads diverged in the years that followed, but they kept in touch and cross-pollinated where they could. Although they often talked about rekindling their collaboration in the studio and on stage, it wasn’t until last year that their schedules aligned.

                                                    Years to Burn can’t help but be different from In the Reins. Back then, Calexico entered the studio with a long list of previous collaborations (first in Giant Sand, then backing the likes of Victoria Williams and Richard Buckner) and the knowledge that they loved Sam’s voice and his songs, but wondered if his material was so complete and self-contained that it lacked a way in, so hushed and delicate that it might be overwhelmed. For his part, Beam had been intimidated by their virtuosic playing and their deep comfort in an encyclopedic array of styles. “In my mind, I was a guy who knew three chords and recorded in a closet,” Sam says. “They were playing big stages and were superb musicians.”

                                                    Those fears were dispelled quickly. Calexico was bowled over by Beam’s many talents: “The arranging, the writing, his sense of rhythm, the quality of his vocals—and then there’s the experimental side of Sam,” Joey says. “They were the perfect band at the perfect time for me,” Sam adds. “I loved all their different sounds. They’re musical anthropologists, not regurgitating but absorbing what they discover.” Nearly 15 years on, “coming back to the project has to do with acknowledging how much impact the first record had for me in my life.”

                                                    Years to Burn was recorded in Nashville with noted producer Matt Ross-Spang over the course of five days at Sound Emporium, a fabled studio founded in the sixties by Cowboy Jack Clement and the site of countless landmark sessions in country and rock over the ensuing decades. It features contributions from veteran Calexico trumpet player Jacob Valenzuela and Paul Niehaus on pedal steel, along with frequent Beam cohorts Rob Burger (Tin Hat Trio) on piano and Sebastian Steinberg (Soul Coughing, Fiona Apple) on bass.

                                                    Years to Burn features ten new original compositions. While Beam wrote all the songs for In the Reins, this recording features contributions from both Beam and Burns as well as from Convertino and those featured on the record. While the two may have taken differing approaches to songwriting, the spirit of collaboration was alive and well in the studio; Sam shared demos ahead of time and was ready for the others to con-tribute with arrangement ideas and instrumental parts, while Joey spontaneous as ev-er, came in with concepts and an eagerness to improvise.

                                                    “Life is hard. Awesome. And scary as shit. But it can lift you up if you let it,” Sam offers. “These are the things Joey and I write about now. And the title can encapsulate a lot of things. ‘Years to Burn’ could mean you’re cocky, you’ve got it made. Or, our life is ours to burn, to be inspired. Or you’re burned by life, brutalized. It’s an ambiguous title, because life is complicated. Let’s not talk like teenagers about love, desire, pain, ‘cause we’re not teenagers. And that’s not a bad thing.”

                                                    “This project had to find the right time,” Joey concludes. “We’re all different people than we were in 2004, and music helps to bridge some of the gaps. For all the things going on in our world and in each of our lives, this connection, this friendship, this love that we have—this album is a vehicle for that bond. It’s a chance to see where we’re at, take stock and be there for our friends.”


                                                    STAFF COMMENTS

                                                    Barry says: There couldn't really be any more of a dream pairing than Calexico and Iron & Wine, with both artists firmly rooted in the upper echelons of indie folk royalty, and both complimenting the others style perfectly. Swooning slide guitars and skilfully plucked acoustic form into a shimmering cascade of instrumental bliss beneath the contrasting vocals of Beam & Valenzuela.

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Limited edition turquoise 180 gram vinyl.

                                                    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

                                                    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.

                                                    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 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.

                                                    Italian cult combo CALIBRO 35 release their highly anticipated 7th studio album "MOMENTUM" on January 24th 2020. "Momentum" follows "DECADE" their previous studio album released in 2018 that had marked 10 years of Calibro 35 and it stands out as a new starting point for the project. In the last 10 years Calibro 35 have dug the golden age of soundtracks and they had been to the future with "S.P.A.C.E.", "Momentum", as the band stated: "represents a look at nowadays and a reflection about making music right in the time that we're living".

                                                    Inspired by the work of artists such as Tortoise, Jagajazzist, Dj Shadow, Budos Band, Stelvio Cipriani, Ennio Morricone, Sandro Brugnolini, White Noise, Comet is Coming, JPEGMafia and DJ Signify, compared to the previous Calibro 35's full lengths on the 10 tracks that make up the new album, band's instruments and sounds have increased in number and complexity as well as reality. The music palette is further extended by incorporating even more synths and electronic sounds, but keeping everything true and 100% real, with all the instruments played live and with no presets or programming. The two featurings on the album serve the cause as well. On the first single "Stan Lee", they collaborated with rapper, producer and songwriter Illa J a former member of super group Slum Village and younger brother of the late legendary hip hop producer and rapper J Dilla. On "Black Moon", the combo from Milan provided the groove for London-based artist MEI. "If Decade was the sum of everything that the band had felt in the previous ten years", Calibro 35 says, "Momentum is the prequel of what you will hear in the next ten".

                                                    To mark the new beginning and come full circle, the recordings took place under the expert hands of usual suspect Tommaso Colliva, in the same studio where Calibro released their self titled debut album twelve years ago.

                                                    ‘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


                                                      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.

                                                      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

                                                      Whereas the last (Smog) LP was steeped in lo-fi country, Bill Callahan steps out from that beloved moniker to deliver his most accessible record yet. An aesthetic shift is apparent with the polished sophistication of "Diamond Dancer", an irresistible groove featuring funk basslines and raggedy fiddle floating above a gospel chorus of female backing vocalists. Callahan's unmistakable voice and poetic lyrics are as unique as ever, tracing the timeless connections between romance and sense of place like only he can. However, whilst the R'n'B rhythms and Motown string arrangements glitter on this album, Callahan hasn't abandoned his love of country, as evinced by "A Man Needs A Woman Or A Man To Be A Man". Evoking the maverick spirit of both Neil Young and now Paul Simon, Callahan confidently stretches the canvas of his already colourful tapestry.

                                                      Bill Callahan

                                                      Live At Third Man Records

                                                        Bill Callahan, fka Smog, is simultaneously a staple of strange American country, lo-fi, folk and independent music. His lyricism comes across as challenging and deeply autobiographical, equal parts "poetry leaning on true-to-life darkness" and "three chords and the truth."

                                                        So, it is fitting that Callahan’s live set would command the same sense of friendliness-with-difficulty that the recorded songs do. With brief, candid, and charming interludes between older and newer material, an outsider can hear that this performance was obviously a full-bodied (and multi-era) engagement, no space left for distraction.

                                                        The full album is an experience; make it one you look after. 

                                                        Bill Callahan

                                                        Shepherd In A Sheepskin Vest

                                                        As you listen to Shepherd In a Sheepskin Vest, a feeling of totality, of completeness, steals over you, like a thief in broad daylight. Of course it does – you’re listening to a new Bill Callahan record! The first one in almost six years! What more do you need to complete you?

                                                        Or perhaps, after all the time, the obvious needs to be made just a little more explicit?

                                                        First, it’s a different kind of record. Bill’s now writing from somewhere beyond his Eagle-Apocalypse-River headspace, and Shepherd In a Sheepskin Vest is very much its own beast. The songs are, by and large, shorter, and there are more of them. It took almost all of the previous three albums to add up to that many. Plus, twenty’s a lot of songs! But again, it goes a lot deeper than that.

                                                        After Dream River, Bill’s life went through some changes. Good changes – marriage and a kid - but afterwards, it was suddenly harder for him to find the place where the songs came, to make him and these new experiences over again into something to sing. His songs have always been elusive, landing lightly between character study and autobiography, as the singer-songwriter often does. This felt different, though. After 20 years of putting music first, he wasn’t prepared to go away from it completely. Or was he? The lives of a newlywed, a new parent, they have so much in them – but writing and singing, it was his old friend that had helped him along to this place where he’d so happily arrived. Was there room for everybody? While sorting it all out, he worked on songs every day – which meant that for a while, there were lots of days simply confronting the void, as he measured this new life against the ones he’d previously known.

                                                        It informed the shape of the album. Moving gradually from reflections upon the old days in “Ballad of The Hulk” and “Young Icarus” to the immediacy of the present moment in “Watching Me Get Married” and “Son of the Sea”, Bill traces the different life lines, casually unwinding knotty contradictions and ambiguities with an arresting stillness. The sense of a life thunderstruck by change infuses Shepherd In a Sheepskin Vest– the songs wander from expressions of newfound joy and great contentment to other snapshots, considerations of the not-joy that we all know. Unsettling dream-images and mythic recollections are patiently received; the undertow of the past is resisted, pulling against it instead into the present, accepting revolutions of time and the unconscious as a natural flow.

                                                        These transcendent expressions are wedded translucently to the music. Acknowledging the uncertainty in which the songs were assembled, Bill went to the studio alone, unsure if he could find what he was looking for with a band riding along – because who knew how long it would take? This allowed the fluidity of his song-thoughts to be laid down with the right feeling. Once there was guitar and vocals, the other parts came. Matt Kinsey’s guitar partnership is an essential relationship within the music, as is Brian Beattie’s acoustic bass – but also, Bill found himself overdubbing parts himself for the first time in many years, which lent the songs an episodic drift, as if he’s passing through rooms while singing.

                                                        In it’s final mix, Shepherd In a Sheepskin Vest glows incandescent – an entirely acoustic arrangement, sounds and stories shifting seamlessly, almost like one big song made of a bunch of new stories – the kind that only Bill Callahan thinks to sing.

                                                        It’s a joy to hear from this old friend – informing all the lives that we’ve led in the hearing. Good listeners and tired dancers, sing along.

                                                        STAFF COMMENTS

                                                        Barry says: Say what you will about Bill, but he sure knows how to keep writing the tunes doesn't he? A beautiful mix of brittle jazzy progressions, flickering percussion and swooning syncopated (but never jarring) melodic counterpoint show exactly why big Billy is still so present in our record collections and our hearts.

                                                        The Callas is a noisepop band/art collective formed by the artists and brothers Lakis and Aris Ionas. Through the past years they have playfully mixed different disciplines including music, art, performance and film. In 2013 they recorded the new album produced by Jim Sclavunos (Sonic Youth, The Cramps, Lydia Lunch, Grinderman, Nick Cave & The Bad Seeds).

                                                        They have performed at major festivals and venues such as The Great Escape Festival (UK), Indietracks Festival (UK), Taktfrei Festival (Berlin), Artrocker Magazine (UK), Old Blue Last (UK), Brixton Windmill (UK), The Fly (UK), Club Fandango at The Monarch (UK), Barfly (UK), Sala Apolo (Barcelona) and with bands such as Grinderman, Au Revoir Simone, You Say Party! We Say Die!, The Wedding Present, Television Personalities, Stereo Total, The Victorian English Gentlemen’s Club.

                                                        The band The Callas is the tip of an artistic enterprise that has seen the brothers invited to exhibit their artwork and perform live at Palais de Tokyo (Paris, France), Family Business gallery (NY, USA), Dakis Joannou DESTE foundation, Faggionato Fine Art (London, UK), Athens Biennial, AMP gallery, Yinka Shonibare Space(London, UK), The Breeder gallery, ATOPOS cvc etc.

                                                        Callen & Moor

                                                        Downtime

                                                        Callen & Moor are half of Stockport band The Spinning Fields. Thier debut CD, "Downtime", as the name suggests, was recorded in the 'downtime' from their commitments to The Spinning Fields and other projects such as Vermin and Theme Park. Initially very lo-fi in approach, recordings became more sophisticated with the arrival of sound engineer and multi-instrumentalist The Bonsai Whale, aka Matt Crawford, who is now a permanent fixture in the Callen & Moor live setup. Musically ranging through bouncy alt country, punky blues and sheer experimentalism, "Downtime" veers from quirky lyrical observation to what John Moor terms 'serious walks on the dark side'. Additional keyboards, guitar, sax and vocals on the album were provided by the Spinning Fields' Dominic Kearney.

                                                        Terry Callier

                                                        What Color Is Love - 180g Vinyl Edition

                                                        Terry Callier's 'What Color Is Love' (1973) is an essential soul-jazz album that should belong in anyone's record collection. This record was produced by Charles Stepney, whose work with Cadet / Chess records, Rotary Connection and Earth, Wind & Fire earned him popular acclaim. Filled with soul, funk, rock, folk, jazz, and even classical influences, vocalist Callier can be heard on this album to the most intriguing heights.

                                                        "Dancing Girl" opens the album with Stepney's majestic orchestration. Songs like "What Color Is Love" and "Ho Tsing Mee", an elegant anti-war prayer of confusion, somehow avoid clichés or take them to another level.

                                                        Callier's passionate voice captures the sweeping drama of the human condition. A lost romantic amid "concrete frond yards," this album is a must-have for any music connoisseur.

                                                        STAFF COMMENTS

                                                        David says: It's blue Terry, everyone knows that...

                                                        Callow Youth

                                                        Rough

                                                          Callow Youth are a new gang of Manchester indie teens, bursting with potential and creating a buzz around town and further afield. The Vibe Demos EP (AKA “Rough”) is a self-released 3 track CD in a limited edition hand numbered digipack with sleeve artwork by guitarist Tom Hilton. The band formed just over a year ago in April 2017, these tracks are from their first studio session at Manchester’s Vibe Studios in Jan 2018. There’s lots more to come from these youngsters

                                                          The first set of remixes of Calm’s By Your Side got plenty of props for sound quality as well as their ability to get people grooving. Now the label serves up some more remixes, this time from legendary figures Mark Barrott (international Feel) and My Friend Dario.

                                                          Up first is Barrott, the long time slow motion master whose downtempo, ambient, new age and electronic fusions very much set out the Balearic template way back in the nineties. ‘Space Is My Place’ (Mark’s Re<>Imagination to the Sacred Heart Center) is an enchanting and tropical reworking with exotic percussion and liquid drums that gentle sway to and fro like a raft at sea. It’s another escapist, transportive track from Barrott that takes you to the other side of the world.

                                                          My Friend Dario returns to Hell Yeah after his exquisite Calamari Fritti EP late last year with more of his worldly infused sounds. His Etna Vision of ‘Shadows and Lights’ is a glistening affair with loosely jumbled drums and romantic keys that ring out into a balmy night sky. It’s musical and blissful as always with this artist.

                                                          Once again here Hell Yeah have come through with your most essential summer sounds.

                                                          STAFF COMMENTS

                                                          Patrick says: Piccadilly's Balearic LP of 2018 continues to extend its ecstasy with a second volume of remix joy. This time round Mark Barrott of International Feel fame cooks up a cosmic chugger with all manner of chakra aligning idents and trippy blips, while My Friend Dario (best name in music?) goes deep and dreamy with an expansive house mix which shifts gears through nuanced congas, meditative breakdowns and energetic acid.

                                                          Calm

                                                          By Your Side - Remixes Pt. 1 - Inc. Calm / Mind Fair Remixes

                                                          After teasing us all summer long with sunset plays from the best Balearic names in the game, Hell Yeah finally floored us with the release of Calm's stunning "By Your Side" in the autumn. Delicate, dreamy and filled with cosmic charm, the LP sounded just as good in the winter as it had in the summer, making its mark on plenty of end of year charts.
                                                          Now the label revisit the album with a series of special remixes, certain to keep us smiling all summer long. Part 1 sees the Japanese artist revisit one track himself, while Mind Fair also step up with fresh new version of album favourite "My Home Town". 
                                                          So, Calm kicks the package off, reworking his own "Mellow Mellow Sadness" into "Mellow Mellow Acid", a sweet and subtle deep house blend with jazzy Rhodes chords, precise percussion and a gentle acid line emerging from the tumbling drums. Warm and breezy, this is midday music for beach bars, boat parties and Mediterranean excursions. 
                                                          Golf Channel and International Feel disco duo Mind Fair step up to flip ‘My Home Town’ into a long legged and gorgeously hazy downtempo disco bomb. The chords shimmer and shine, retaining every bit of Japanese romanticism, while that relaxed rhythm will have people swaying for days, eyes closed, hearts open and full of love. 
                                                          Two beautiful originals, reworked with passion, pride and respect - don't be surprised if this 12" becomes the soundtrack of your summer.

                                                          STAFF COMMENTS

                                                          Patrick says: After that brilliant bonus 7" from Kito Jempere last week, Hell Yeah keep it coastal with this superb remix 12" of Calm's stunning "By Your Side" LP. On the A-side the Japanese producer takes on his own track, upping the acid and transforming 'Mellow Mellow Sadness' into a sunkissed slice of deep house, while Mind Fair flip "My Home Town" on the flip, delivering a proper Balearic disco dreamboat.

                                                          Hunter, the third album from Anna Calvi, is the embodiment of the feeling of truly letting go. For the art-rock singer-songwriter it was a catharsis, and an opportunity to be more truthful than she ever had been been before. Revered in the British music industry since she emerged in 2011 (BRIT Award and twice Mercury Prize nominated), she has teamed up with esteemed producer Nick Launay (Nick Cave, Grinderman), Adrian Utley (Portishead) and Martyn Casey (The Bad Seeds) to bring this galvanising record to life.

                                                          Hunter is an album of visceral guitars and vocals, exploring sexualityand breaking the laws of gender conformity. Passionate subject matter calls for passionate delivery, and on Hunter, Calvi pushes the limits of her guitar and her voice beyond anything she’s recorded before. It was important to Calvi that the record was as vulnerable as it is strong; as beautiful as it is ugly. To be the hunter and the hunted.


                                                          STAFF COMMENTS

                                                          Barry says: Calvi is at once arresting and mesmerising, mixing evocative gothic symphonics and soaring melodic waves with a brittle undercurrent, flipping from shimmering synth pop to dark bubbling ambient in the blink of an eye. As immediately appreciable musically as it is conceptually exceptional.

                                                          Camarão

                                                          The Imaginary Soundtrack To A Brazilian Western Movie 1964 - 1974

                                                          One of the greatest accordionists in Northeast Brazil, Reginaldo Alves Ferreira, better known as Camarao(Shrimp) or Maestro Camarao, was born in Fazenda Velha, Brejo da Madre de Deus, Pernambuco, on 23 June 1940. He learned to play accordion by watching the movements of his father, the accordionist Antonio Neto, who took him to parties where he played. After that, according to him, he perfected his skills by listening to Luiz Gonzaga and studying the method of Mario Mascarenhas.

                                                          He played at the region’s fairs, raffles and patron festivals. He developed his artistic career in the city of Caruaru. The title of ‘Maestro’is not from his education, but rather given to him by broadcasters. At the age of 18, he met Luiz Gonzaga, whom he considers his master despite not forgetting his father’s teachings. He was a great friend and partner of the ‘rei do bai o’(‘King of Bai o’- Luiz Gonzaga’s nickname), with whom he participated in 28 recordings, including LPs, 78rpms and CDs.


                                                          Guitarist Ken Camden returns for his third solo album, continuing his explorations to seek out new techniques and sounds from the electric guitar. By utilizing both a steel slide and e-bow technique, Camden has moved into micro-tonal territory to bridge the textural gap between guitar and synthesizer while examining their inherent differences.

                                                          The palette is further broadened by introducing an organic vocal sampling machine described as a Vocaltron. Much like a Mellotron, vocal samples (contributed by Emily Elhaj and Angel Olsen) are chromatically organized in half steps from the lowest note to the highest possible. Each set is specific to the contributor's range and each note is unedited to keep all original characteristics of that particular individual's voice. This organized organic information adds a contrast to the electric guitar and synthesizer arrangements on the album.

                                                          The development of all of these systems gives Dream Memory a diversity throughout its tracks while maintaining an atmospheric bond that weaves the ideas into a thematic whole. 

                                                          Camel

                                                          Moonmadness

                                                          Following up an instrumental concept album ("The Snow Goose") Camel returned to a more song based release with their 1976 album "Moonmadness". Producer Rhett Davies gave them a punchier sound and the album was their biggest seller in America thus far. Now remastered with five extra tracks and new sleevenotes.

                                                          Camera Obscura

                                                          Desire Lines

                                                            ‘Desire Lines’ - an album born of life and experience; a record with something to prove. This time Camera Obscura decamped to Portland, Oregon to work with producer Tucker Martine, who has added so much to the music of R.E.M., The Decemberists and Sufjan Stevens previously. The band also brought in Neko Case and Jim James from My Morning Jacket to contribute vocals. The result is a big, gorgeous pop record that sounds like it means it.

                                                            FORMAT INFORMATION

                                                            Vinyl comes with CD version of the album enclosed.

                                                            You'd be hard-pushed to find an album with as many well-crafted, supremely catchy pop songs as this. Original yet soothingly familiar, these tunes manage to break your heart and take you to the top in equal measure. They're written and sung by Tracyanne Campbell and there can't be a sweeter, more believable voice in pop right now. It's like she's your best friend, singing in your ear, but what she's singing is the pages of her diary! This is actually Camera Obscura’s 4th album, but the others just led up to this one; this is the one where they’ve distilled their thing. The production’s perfect too: Concrete’s producer Jari Haapalainen perfectly capturing the old-school indie classicist vibe. Every song's a gem, there's not one duffer, but the gorgeous slowie "James" and the euphoric, horn-driven "Honey In The Sun" deserve a special mention. Mancunian legend Paul Morley's a massive fan too: that's good enough for me!


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