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Elastica

BBC Sessions

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

    The BBC sessions have never been available on vinyl before. Strange Fruit released the Radio One sessions on CD back in 2001 but this is the first artist curated release. Combining tracks recorded for John Peel, Steve Lamacq & Mark Radcliff, it’s a must for every Elastica fan. Record Store Day exclusive.

    First Time On Vinyl - White Vinyl plus poster.

    Emerson

    If You Need Me, Call Me

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

      Grail time! Kalita are honoured to release for the first time Emerson's mythical 1988 unreleased boogie masterpiece 'If You Need Me, Call Me', accompanied by extensive interview-based liner notes and never-before-seen photos. The album includes both the issue and demo versions of Emerson's sought-after single 'Sending All My Love Out', privately released originally in 1988 in a run of just 500 copies on LAS Records. The musical product of the visionary couple Emerson and Leora Sandidge, 'If You Need Me, Call Me' is a personal collection of synthesizer and drum-machine-led boogie of the highest quality. Released on black vinyl, with printed inner sleeve detailing Emerson's life and musical career.

      Edy Star

      Sweet Edy

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

        Edys Star's debut LP, "Sweet Edy" (1974), is one of the key cult albums from 1970s Brazil, never reissued on vinyl until now. Featuring glam rock, funk, samba jazz and songs written by the best composers of the time, anyone looking for a Brazilian take on Marc Bolan, David Bowie, Roxy Music... will love this stunning record. Presented in facsimile artwork and pressed on 180g vinyl.

        What is "Sool"? How is "Sool"? "Sool" is everything, everyone and no-one – "Sool" is a phantasm, a creation, which reflects the album's atmosphere, and also Ellen Allien as a person. Opening with the slowling building atmopheric street / cafe recording of "Einsteigen", the scene is set for a series of minimal electronic tracks, either techno, or more intricate electronica. Featuring precise programming and the subtlest layers of keyboard and synth work, "Sool" is a sparse but beautiful outing for Berlin's BPitch Controller.

        Eric Bachmann

        No Recover

          There was something sinister about Crooked Fingers, both the name of the project and the music that Eric Bachmann wrote at the helm of its ever-shifting lineups over 15 years. He retired the moniker a couple of years ago, but with his third album under his own name, the transformation feels gorgeous and final and irreversible: No Recover. The drunken louts and red devil dawns are a thing of the past now, monuments to a different time. Bachmann, husband and recent father, has some new lenses through which to view the world. But while No Recover is decidedly mellow and reflective, do not mistake it for the work of a relaxed, satisfied songwriter, sitting on some Georgia porch with a stalk of wheat between his lips, gently rocking a cradle with his foot and whistling an old tune.

          No, the Eric Bachmann of 2018 seems to view life with a sort of disgruntled maturity and righteous resignation. No Recover is both harrowing and beautiful, and its mellowness can be deceiving. The album is mostly just him, a classical guitar, some treated rhythm tracks, and otherworldly drop-ins from singer Avery Leigh Draut and guitarist Eric Johnson, Bachmann's old pal from their Archers of Loaf days. He's got a lot on his mind, only some of it pretty. The sunset on the album’s cover might be the end of a cruel world for the duo in “Jaded Lover, Shady Drifter,” who introduce No Recover; they feel like flip-side lovers, both sonically and lyrically, of the couple at the center of Bring On the Snakes’ “The Rotting Strip.” But that dark sentiment is quickly reversed with “Daylight,” one of Bachmann’s most stunning vocal performances ever: For a guy who earned his stripes by shredding his vocal cords in the ’90s, he sure can croon.

          And though the words cast some shadows—“fight for your life,” he implores—ultimately there is hope. “If you try, you can be loved.” Same goes, to a less direct degree, for “Waylaid,” the record’s jauntiest song, and a meditation on failure and love that leaves room for Johnson’s bright-but-mournful electric guitar to take center stage. But leave it to Bachmann to save the best for last: No Recover ends with one song for his wife and another for his son.

          Awesome 1997 debut album from Philadelphia's neo soul queen Erykah Badu. After several years of mainstream pop R&B the main output from the soul scene, her more organic boho soul-jazz vibes and Billie Holidayesque vocals came as a breath of fresh air. Includes such classic tracks such as "On & On", "Certainly (Flipped It)" and "Next Lifetime". Essential!

          FORMAT INFORMATION

          2xLtd LP Info: 180g vinyl.

          Erykah Badu

          Mama's Gun

          'Mama's Gun' is the second studio album by neo soul singer Erykah Badu, released in 2000. Recorded at Electric Lady Studios in New York City, the album incorporates funk, soul and jazz styles. Covering themes of insecurity, social issues and personal relationships, Badu delivered a highly intimate and personal album that reached Platinum two months after its release. 'Mama's Gun' features substantial contributions from several members of the Soulquarians outfit, of which Badu was a member. It also features guests such as soul singer Betty Wright and trumpeter Roy Hargrove.

          The album contains the single "Bag Lady" which, with its colorful, artsy music video, shot to #1 on the R&B charts, and also into the Top 10 on the billboard charts. "Bag Lady" was nominated for the Grammy Award for Best Female R&B Vocal Performance and for Best R&B Song. Also the song "Didn't Cha Know?" was nominated for Best R&B Song.

          Rolling Stone magazine applauded her for taking "chances the way Stevie Wonder or Nina Simone did in their prime" and went on to say "she has taken her art to the next level." Entertainment Weekly called the album a "'70s soul homage featuring live musicians and a smooth-funk sound that wouldn't be out of place on a CTI record."



          FORMAT INFORMATION

          2xLP Info: • 180 gram audiophile vinyl
          • Gatefold sleeve

          Recorded live to tape at Toerag Studios, London in January 2015.

          The Toerag Sessions is a collection of solo versions of my songs, recorded live to 2-track tape at Toerag Studios in London with grammy-winning producer Liam Watson (The White Stripes - Elephant).

          Over the last few years, in between touring with my bands The Red Clay Halo and Vena Portae, I've played lots of solo shows. Often people will come up to me at the end of those shows and ask if there is any way to get hold of recordings of the songs as they've just heard them - just me, my guitar and my harmonica.

          Up until now, that hasn't been possible, but with The Red Clay Halo currently on hiatus after their final tour last year, I took the opportunity to go in to the studio to record this selection of songs from my back catalogue. Many of these songs are the ones I usually choose to play at solo shows, with a few additions. The songs go right back to my first UK band the-low-country, through all my albums with The Red Clay Halo, and including a brand new song, 'Anywhere Away', written last year as the theme to the forthcoming British movie Hec McAdam (starring Peter Mullan and Keith Allen).

          FORMAT INFORMATION

          2xCD/DVD Info: Comes in "casebound" book package with bonus DVD containing film of all the songs from The Toerag Sessions, plus exclusive behind-the-scenes footage and interviews.

          Sweet Kind of Blue is her first full studio album since 2013's critically lauded Dear River and marks a new sound for Barker as she returns to the soul and blues influences that first inspired her to become a songwriter and musician.

          Emily Barker's new album was recorded at Sam Phillips Recording Service in Memphis with Grammy winning producer Matt Ross-Spang (Jason Isbell, Margo Price) and an allstar cast of Memphis session players.

          Emily Barker is best known as the writer and performer of the award-winning theme to BBC crime drama Wallander starring Kenneth Branagh. She has released music as a solo artist as well as with various bands including The Red Clay Halo, Vena Portae and Applewood Road. In 2015 she composed her first full feature film soundtrack for Jake Gavin's Hector, which won a Scottish BAFTA for its lead actor, Peter Mullan.

          FORMAT INFORMATION

          Coloured LP Info: Indies exclusive blue vinyl.

          LP Info: 180g audiophile black vinyl.

          Ernest Berk

          Electronic Music For Two Ballets

          Extraordinary unreleased homemade electronics from the late 1960s made by a pioneering ballet dancer and musician. With possibly the best name ever.

          There are very few Ernest Berk recordings. As a pioneering ballet dancer, instructor and electronic music artist he was surprisingly prolific. He made music for all sorts of uses – he even made library music – and of course this very album of his music for two of his ballets.

          Towards the end of his life Ernest Berk gifted his entire collection of works, tapes, documents and all to the Historical Archive Of The City Of Cologne. Tragically, in 2009, a large part of the archive collapsed (due to the construction of an underground railway) destroying 90% of the everything. Berk’s tapes have tragically never been recovered. They are assumed lost forever.

          So these two recording – issued privately circa 1970 – remain precious to say the least. There were no masters, this new pressing was simply transferred from the original copy held by his family. We have done our best to restore the sound. I have also reproduced the original notes, and from what I can gather this album may well have been pressed and given away as promotion for the Dance Theatre Commune.

          Ernest Berk was born in Cologne, Germany and cams to England just before the war. He started a dance company in London and wanted a sound especially suited to his experimental dance style. This he found in electronic music.

          Berk feels that electronic music is able to express the feelings of contemporary society in a more potent and communicative way than conventional forms of music. This is not to say he disregards traditional forms of music, rather, he blends the best elements of both, creating a new and exciting sound.

          Over the years he has gained an international reputation as a composer of electronic music. His works have been heard in Berlin, Cologne, Florence, Edinburgh, United States, to name a few. He has scored a number of films, plays and ballets. Ernest and his wife, Ailsa, opened a new studio at 52 Dorset St, W1, in April, 1970 where they give tuition in modern dance, electronic music and percussion. They also teach at the Guildhall School Of Music And Drama and at ILEA Institute (Stanhope). The studio is headquarters of the Dance Theatre Commune which the Berks created in order to combine their work in dance and music with those already working in similar spheres. 


          Esnard Boisdur

          Mizik Bel - Inc. Africaine 808

          "You don’t need to be a fan of Gwoka or even Antillean music in general to fall in love with the deep, expressive voices of the singers of the genre. Artists like Cosack, Anzala and Esnard Boisdur have fascinated music lovers around the globe for decades. It’s not only the drumming style accompanied by their beautiful melodic intonation, but also the revolutionary spirit of these songs that make them a unique and powerful document of the culture and the history of the Antilles and the Caribbean.
          I remember the first time I listened to this type of drumming and signing, live at the re-enactment of the slave riots, and being completely emotionally overwhelmed by it. Some of my record collector/DJ colleagues and friends – first and foremost Hugo Mendez and Émile Omar – shared the same fascination for the genre and kept inspiring me, and countless others, by their DJ sets at Tropical Discoteq in Paris, where I have had the pleasure to be one of the residents for five years and counting. At one of those nights, I met my friend Pascal Rioux from Favorite Recordings and told him about an amazing unreleased track I received months before, on a home-burned CD, from Esnard Boisdur. Among other beautiful songs, it contained one outstanding track, a mix of modern Gwoka and Zouk called “Mizik Bel”.

          When I started playing that track out, there were fierce reactions on both ends. The crowds loved it and after a while you could hear people cheer when they heard the first notes. Many DJs and labels wanted it, demanded it, and would even go as far as to block or unfriend me if I refused to comply. It became clear to me that the track had to be released on vinyl for the first time and made accessible to people who wanted to play it, while giving the original artist full credit. At the same time, I knew a remix version of the track that would pay respect to the original could only be created by getting the original stems, and not by editing the main track and pressing it into an “electronic dance corset.” Pascal agreed to the idea and started the licensing work and the search for the stems, which resulted in an ongoing three-year quest that was crowned by the finding of the ADAT containing the original tracks.
          As AFRICAINE 808, Dirk Leyers and I spent considerable time trying to re-create the composition of the original, respectfully slicing and re-arranging it, adding new instrumentation, and recording additional percussion and talking drum with our percussionist Eric Owusu (Pat Thomas/Ebo Taylor). We stretched it, adding a krauty synth part without losing the focus of Esnard’s beautiful voice and lyrics, describing Caribbean music in all its diversity and beauty.
          With this in mind, I hope you can now enjoy the beauty of “Mizik Bel” as much as we have so far.” – (DJ NOMAD, June 2019)

          STAFF COMMENTS

          Sil says: Plenty of African soul on this one with some heavy drums supporting the powerful vocals and playful keys. The remix is dubby and more psychedelic in its own way.

          Elk Edits is a highly coveted club release of the unearthed gem by Elkie Brookes – The Rising Cost Of Love

          The release features a tour de force 10 min diskomiks by the legendary Prins Thomas on the A Side.

          On the B there is a heavyweight club edit by Percolate residents and Persies edits head honchos Krywald & Farrer.

          The release has been doing the rounds amongst AAA djs for the last 6 months gaining support from the likes of Hunee, Ben UFO, Soul Clap, Chaos In The CBD and Prosumer amongst many others.

          Trad dub cuts here in that authentic stylee from the High Note and Gay Feet labels .A selection of rocking rhythms from The Revolutionaries masterminded by Jamaica's finest female record producer, Mrs Sonia Pottinger, and mixed by Duke Reid's nephew, Errol Brown, chief engineer at the legendary Treasure Isle studio. This is new to me, but sounding lush, dreamy and fully legit. It's definitely in tune with Tubby's original sound, full of squelchy delays, aggressive tape echoes and warbling flange plus that all important magical element - spacial ambience (summat I think the new school of dub producers need to remember when they're utilizing their endless digital multitracks and plug-ins...). Yep, really strong hear, surprised she's never crossed my radar. Get involved! 

          A haunting collection of experimental music by the celebrated electronic artist and sound designer, "Refraction" continues Caminiti’s exploratory path of deconstructed electronic sounds and structures as showcased on his last album (2017’s “Toxic City”), presenting four new pieces created on a Make Noise modular synthesizer with an emphasis on tranquil atmospheres and dub-influenced production.

          This Make Noise Records release was Mastered by Rafael Anton Irisarri at Black Knoll Studios.

          Pressed to 12" Clear (140gm) vinyl and inserted into a black inner dust sleeve and matte jacket featuring artwork by Sean Curtis Patrick.

          This release is pressed in an edition of 500.

          STAFF COMMENTS

          Matt says: Gotta love these Make Noise curated releases using the custom synthesizer. Arresting, dramatic and tension-wraught releases that sound like nothing else on the market.

          FORMAT INFORMATION

          Ltd 12" Info: Strictly limited clear vinyl press. 500 copies. Artwork by Sean Curtis Patrick

          Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. "Erasmo Carlos E Os Tremendões" (1970), "Carlos, ERASMO . . ." (1971) and "Sonhos E Memórias 1941-1972" (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience.

          "Sonhos E Memórias 1941-1972" is truly singular within Brazilian pop fusing rock, soul, jazz and singer-songwriter styles. It’s simultaneously rootsy, funky, modern and nostalgic. The lyrics are highly personal, searching for deeper meaning with lots of flower power imagery and language, while the music is tight, highly rhythmic, melodic and restrained in its delivery and effortless groove. Built around the future fusion trio Azymuth with keyboardist José Roberto Bertrami, drummer Ivan Conti aka “Mamão” and bassist Alex Malheiros, a majority of the album’s tunes make excellent use of this trio’s telepathic tightness, subtle funkiness, and melodic mastery. The album dabbles with a few different styles and rhythms, all telling Erasmo’s musical story be it Bossa Nova, Roots Rock, Hard Rock, ballads, and soulful grooves, but a certain sonic frequency or tempo alongside the autobiographical elements unite this masterwork.


          Eliza Carthy

          Anglicana

          The daughter of guitarist / vocalist Martin Carthy and vocalist Norma Waterson, Eliza Carthy has continued in her parents' footsteps and has become one of the leading lights of the new generation to carry on the folk tradition. She has almost assumed the mantle of Sandy Denny on her brilliant new album "Anglicana", her work again showcasing her ability to breathe new life into England's folk music. Eliza Carthy is one of the few people who can take this wonderful music and perform it in a totally convincing contemporary style - both true to its sources and firmly relevant to today's values. This is what traditional music in the twenty-first century is all about. A true triumph.

          Eva Cassidy

          Eva By Heart

          This album, released shortly after her death in 1996 is a poignant reminder of what a talent was lost. "Eva By Heart" is a demonstration of her versatlity and the depth and range of her vocal skills, some simply wonderful tracks.

          Eva Cassidy

          Live At Blues Alley

          At times this is the blusiest and rockiest thing Eva Cassidy recorded. "She could sing anything and make it sound like the only music that mattered", according to the Washington Post and on hearing this live set you can see why her reputation has continued to grow even after her early death at just 33 years of age.

          Eva Cassidy

          Method Actor

          Eva Cassidy recorded her first tracks as part of a 'scratch' rock band called Method Actor, who recorded songs written by a friend of hers, David Christopher, whose project it was. Since her death and the phenomenon around sales of her few recorded works this album has become much sought after since it only had a limited release on LP and cassette in 1998. Eva sings lead vocals on eight original songs as well as contributing the artwork for the album. It's in a very different rock / pop style to her later work. Original copies of this album have reached up to $500 on e-bay hence the CD reissue.

          Eva Cassidy

          Songbird

          A compilation of tracks from her various albums. For those unfamiliar with her work Eva Cassidy had "one of the greatest voices of her generation" according to the Guardian and these are tuneful, melodic songs fusing folk, americana and contemporary pop effortlessly. She died aged 33.

          Eva Cassidy

          Time After Time

          Eva Cassidy had a wonderful voice and she chose songs to cover that perfectly suited her moody, yearning style - a fusion of folk and country but with rock leanings. On this release songs by Joni Mitchell, Paul Simon, Bill Withers and Cyndi Lauper rub shoulders with traditional arrangements most comfortably. Her early death was a genuine tragedy.

          This is Erlon Chaves e Orquestra Saint Moritz - "Procura-se uma Virgem" OST (1971), supposedly one of the most sought after Erlon Chaves LP. This OST was recorded to a Brazilian soft porn movie with killer organ funk instrumental tracks and several funky, erotic & modal tracks, arranged and directed by maestro Erlon Chaves. Original copies fetch big, big bucks 2nd hand, but burgeoning Brazilian reissue cartel, Mad About, have repressed this elusive epic beautifully for your listening pleasure.

          'Oh my gosh one of the true holy grails of brazil I’ve after this for too long… just the correct side of lounge thank you for re-releasing this gem'.
          - Gilles Peterson.


          FORMAT INFORMATION

          Ltd LP Info: Deluxe reissue in super nice thick carton cover + OBI.

          Eric Chenaux

          Slowly Paradise

            Eric Chenaux makes conceptual music that’s not meant to sound conceptual. He operates among various ‘traditions’ but perhaps most broadly, Chenaux’s records grapple with the relationship between improvisation and structure in very particular, unique, idiosyncratic ways – and quite without irony or cynicism, through love. Because fundamentally, Chenaux writes love songs, which he sings in a voice honeyed and clear, while his guitar gently bends, frazzes, chortles, diverges and decomposes.

            This juxtaposition of his mellow, dexterous crooning and his highly experimental (and equally dexterous) guitar explorations, explodes even unconventional notions of singing and accompaniment, of tonal and timbral interplay between guitar and voice. As a solo artist, Chenaux’s improvisation methods are in certain literal ways solipsistic: as a singer-songwriter, he plays his guitar around and against his voice, challenging easy notions of harmony/harmoniousness, improvising ‘with himself’ in pursuit of surprising himself (and his listeners) as he unfurls ribbons of voice and instrument often to the point of seeming independence, all the better to capture – and be captured by – unforeseen, intimate moments of interdependence: a definition of freedom, as a profoundly intentional state of openness, presence and play.

            Even within avant-garde currents of folk and jazz balladry, Eric Chenaux feels like an outlier. Yet his music remains wonderfully warm, generous and fundamentally accessible in spite of its irrefutable iconoclasm. Slowly Paradise is Eric Chenaux’s new solo record. It is a lovely collection of mostly long songs guided by soothing, buttery singing and bent, fried fretwork. It is arguably Chenaux’s most assured and essential solo work, building on the critical acclaim his previous releases Guitar & Voice and Skullsplitter have rightly garnered. 

            Eric Chenaux

            Warm Weather With Ryan Driver

            Eric Chenaux is one of Toronto's most prolific and respected musical iconoclasts, an experimental guitar virtuoso with over two decades of dedicated and diverse service to an artistic community that encompasses post-punk, lo-fi, folk, multimedia composition and performance (chiefly in collaboration with modern dance) and free and improvised music.

            "Warm Weather" With Ryan Driver is Eric's third album for Constellation, which has been the conduit for his primary song-oriented solo work since 2006. Building on his fruitful collaboration with piano/synth/melodica player Ryan Driver - whose key role on the new album is signalled by his inclusion in its very title - the new record is without doubt Chenaux's most accomplished and focused work of forward-looking, contemporary balladry.

            The album is available on CD and 180g LP in 100% recycled paperboard jackets.

            New album from the ever prolific Euros Childs following on from his Summer Special album last year on his own National Elf label. This isn't a million miles away from its pop predecessor – it has its fair share of sing-a-long-choruses – but this time the subject matter is much darker. On this one the former Gorky's Zygotic Mynci frontman tackles such topics as: second home ownership (Second Home Blues), serial killer envy (Brides In The Bath), depressed cosmetic saleswomen (Avon Lady) the commodification of the self through the medium of advertising (Ooh La Oona), depressed singer songwriters (Holiday From Myself) Kidnapping (Daddy's Girl) and cyber sex (Good Time Baby). Naturally. Each song is a short story , told though the voice of a different character.

            The album was recorded in Bristol at Toybox studios with Stephen Black aka Sweet Baboo on bass & brass, Laura J Martin on flute, Stuart Kidd on drums and Marco Rea on guitar, a line up that had never played before going into the studio so the backing tracks were recorded live.

            Euros sites the following influences on this album, but does not promise they will be evident listening to the record. Randy Newman, John Prine, Dick Clement & Ian La Frenais, Godley and Creme/ 10CC (well alright), Judee Sill, Penguin Cafe Orchestra, The Roches, Barbara Woodhouse and Bert Jansch.

            Recorded earlier this year at Gus' Dungeon Studio in Cardiff by Stephen Black (aka Sweet Baboo) - House Arrest sees Euros' flair for melody and gift for story telling undiminshed on this his thirteenth album. ''All the characters in the songs are imprisoned by their thoughts and circumstances '' says Euros ''I'm probably in there somewhere but hopefully not too close to the surface''. . Euros sees inspiration far and wide on House Arrest, tackling subjects such as cannibals dining at an all you can eat restaurant (Crystal and Misty), a man throwing himself into coma to escape everyday drudgery (Happy Coma), a songwriter who's stuck in a jar whilst trying to write a song about life in a Jar (Life in a Jar), a celebrity looking back on his life whilst taking a shower (Shower) directions to a whist drive (Whist Drive) and a man who falls in love with a kitchen implement (My Colander). House Arrest is a solo album in every sense of the word, with Euros doing all the singing as well as playing all the instruments.

            "I think around 12 or so keyboards were used in the end. Mostly brought in carboot sales and charity shops over the years. One was found in a skip. They'd been hanging round the house for a long time, it was good to put them to use."

            Edwyn Collins, Carwyn Ellis & Sebastian Lewsley

            The Possibilities Are Endless

            The Possibilities Are Endless is a film, a hymn to happiness about Edwyn Collins. About finding his way back to music, to life, to understanding. Due for release by Pulse Films in UK cinemas on 7th November 2014 ‘The Possibilities. . .’ is the third feature from directing talents Edward Lovelace and James Hall. The film received its world premiere at South by Southwest earlier this year.

            "The thing about the film is....Ed and James listened and listened to me. We talked in my studio and they gave me time to develop my thoughts. It was quiet and peaceful. I knew I could trust them." - Edwyn

            "I called the film a hymn to happiness. The whole thing began with two young men discovering Edwyn's music, then his story and now look at what they've done." - Grace


            "Home Again" is Edwyn's 6th solo long player. Work began on the album at West Heath, Edwyn's North West London studio in late 2004 / early 2005 but was halted as Edwyn was struck down with a serious illness. Work to complete the album was resumed earlier this year following a long period of rehabilitation which sees Edwyn happily back creating music again. Edwyn formed his first band, The Nu-Sonics in Glasgow in 1976 and was later to form Orange Juice and the hugely influential Postcard Records on which they released a string of acclaimed singles including "Falling And Laughing" and "Simply Thrilled Honey" in the late 1970s. They went on to record four ambitious albums which fused the rhythm and drive of Chic and Stax with an edge and attitude born out of their post-punk roots; such a sound was, at the time, completely unique and their influence on subsequent waves of British guitar bands cannot be underestimated. Orange Juice disbanded in 1985 and Edwyn has subsequently enjoyed a successful solo career (his 1994 single "A Girl Like You" was a worldwide hit) and has produced a number of albums, including The Cribs 2004 long player "The New Fellas". He has released five solo albums since his debut, "Hope And Despair" in 1989.

            The 11-track album was self-produced with his long time studio partner Seb Lewsley and recorded at West Heath Studios in London during the 2nd half of 2012, except for a couple of earlier recordings.

            All songs were written by Edwyn, except Love’s Been Good To Me, a Rod McKuen cover and the album features the musicians Barrie Cadogan (Little Barrie, Primal Scream), James Walbourne (The Pretenders, Ray Davies, Pernice Brothers, Dead Flamingoes), Carwyn Ellis (Colorama, The Pretenders), Sean Read (The Rockingbirds, Dexys), David Ruffy (The Ruts, Dexys) & Paul Cook (The Sex Pistols).

            The last 12 months have seen Edwyn concentrate on running his AED record label, produce records for Vic Godard, Colorama, Charlie Boyer & The Voyeurs, Linden and London Mississippi with Seb Lewsley and begin work on a film about his life and music titled In Your Voice, In Your Heart with filmmakers Edward Lovelace & James Hall.

            STAFF COMMENTS

            Laura says: Edwyn croons his way through a selection of gorgeous slowies and floor filling soul stompers, and as ever his songwriting is second to none. Great stuff.

            Having released his last album, Understated in March 2013, Badbea is Edwyn Collins first release since moving both home and studio to Helmsdale on the North East coast of Scotland in 2014.

            Building a new studio from scratch, the impressive Clashnarrow Studios which sits on the hills overlooking Helmsdale, Collins completed work on Badbea with co-producer Sean Read (Dexys, The Rockingbirds) and long-term musical cohorts Carwyn Ellis (Colorama) & James Walbourne (The Pretenders / The Rails).

            In part inspired by his return to the village where his grandfather lived, and somewhere Edwyn spent time over the years, the album title itself, and title track, are taken from and inspired by Badbea (pronounced badbay), a dramatically located abandoned village on a cliff top five miles north of Helmsdale with a history defined by the Highland Clearances of the 18th and 19th centuries.

            Elsewhere on the album there are poignant moments of reflection, northern soul ‘stompers’ in the classic Edwyn Collins tradition, tracks remembering past times with Orange Juice and lyrics inspired by the discovery of over 30 old pre-illness lyric books unearthed while ‘de-cluttering’ before the move back to Scotland.

            His fourth long-player completed since 2005 when he suffered two strokes (it follows Home Again 2007, Losing Sleep 2010 & Understated 2013), Badbea is an eloquent and contemplative document of his remarkable and on-going rehabilitation.

            “It’s all about looking forward, I guess,” Edwyn reflects. “I’m happy. Content with life.”

            STAFF COMMENTS

            Barry says: A beautifully warm collection from Collins, showing how this legendary artist has managed to maintain his impactful sound whilst showing a more nuanced outlook, with folky songs like 'Beauty' perfectly balancing the fuller pieces, resulting in a rounded and momentous journey through a wide variety of sounds.

            Erland Cooper

            Sule Skerry

              Sule Skerry is the second album by Erland Cooper in a triptych shaped by his homeland, Orkney, and in particular by the air, sea and land as it was celebrated by Orcadian poet George Mackay Brown. His debut album, Solan Goose (an album of the year at 6Music, The Quietus, Music OHM and more) portrayed the air, and on Sule Skerry, the multi-instrumentalist turns his attention to the sea. Erland Cooper explains, “It’s a record about the sea, our relationship with the outside world, forces outside of our control but it’s also about creating a nest within that, nurturing and protecting our own sea havens, those sheltered bays, those safe places, as we step in and out, always returning back in some form”

              STAFF COMMENTS

              Matt says: Enchanted, ambroisial electro-folk meanderings here as Cooper follows up a flurry of albums over the last couple of years. Obviously a man with a lot to say, now that we're listening expect a steady stream of musical conciousness from this skilled artist!

              Eric Copeland

              Courtesy, Professionalism, Respect

              Copeland brings the (schizoid, neon, frenetic) noise for his newest LP on L.I.E.S. Kicking things off with the juddering lo-fi stomp of 'Convoy', pushing hi-passed snares and delayed synth squeals through the mincer and ending up with some mechanically recovered heat, slavered liberally atop a solid foundation of mealy kicks and shuffled hats. 'Qualified' continues where we left off where vox are concerned, taking the mean voice of a hundred robots and gating them with some brutal sample & hold abstractions. In case this wasn't enough of thematic giveaway, bit-crushed synths fire off like lasers into the neon-lit heavens, turning the casual romp through the dystopian wilderness into a climactic white-knuckle boss-fight. 
              Moving further along, and 'Doggy' presents the first indication of rhythmic convention, with lithe bass fragents flickering over a classic four-to-the-floor percussive backdrop before pulling out the flicker-machine once again to heavily treat the melodic overtones into a brittle amalgam of crystalline pulses and terse filter cuts. 
              'Ultimo' veers into lite grime territory with sqelchy digital synths weaving their way around the cut-up vocal snippets and tinny flanged cymbals (it would sound great blaring out of a nokia speaker on the back of the 168). Brilliantly futuristic but with nods to everything that has secured its passage up to this point. Copeland has always pushed the boundaries, and this is no different, it just so happens that his boundary pushing has veered squarely into the wonky lo-fi house/techno/misc zone I find so appealing. RIYL Opal Tapes / Cloudface / SNES.  

              STAFF COMMENTS

              Barry says: Brilliantly eccentric soundtrack to futuristic mishaps, last-life white-knuckle gaming and dusty sampler glitches. Superb.

              After the success of last year’s ‘Mixbone’ EP, DFA once again invite four dance music experimentalists to remix Eric Copeland. Where 2017’s ‘Goofballs’ was the first album recorded in its entirety in Eric’s current home of Palma de Mallorca, Spain and the result of countless hours spent working in the studio, last fall’s ‘Trogg Modal Vol. 1’ pushed his ‘Freakbeat 4/4’ agenda even further, with a sense of humour that bubbles over and out through the speakers. Rife with chunky percussive layers and tweaked loopy vocals, these frenzied, self-described ‘rippers’ are practically designed to be remixed.

              Parris (Trilogy Tapes, Hemlock) and RAMZi (RVNG, 12th Isle) both take on the singsongy rhythms of ‘Heads’. Parris’ take pares down the track, giving it room to glisten and expand, while RAMZi’s paddles along in a characteristically murky, laid-back manner.
              Lokier (Days Of Being Wild, Spirits) goes in for the jugular with an acidic rework of ‘321 Contact’, repurposing vocal samples as spooky EBM.
              Closing out the record is Gerry Read (Aus, Accidental Jnr), who pits the heavy stomp of ‘Electric Mud’ against whizzing frequencies. Newfangled interpretations of tracks that were already out there to begin with.


              STAFF COMMENTS

              Matt says: Upfront crew of remix action tackles Eric Copeland's wild mind. Hard to pic a favourite, squiggly acid, sloppy digi-funk and smudges house are all flavour of the day...

              I've never met him, but I'm fairly certain Eric Copeland is a total lunatic. Don't get me wrong, he dealt in the deranged during his time in Black Dice, but since going solo on our ass, the NYC musician has disappeared through the looking glass. Wrong speed brain mulch, queasy tape loops, jacking perx, all brought together with the same narcotic glee you find at the heart of the darkweb.
              This time out Eric delivers "Trogg Modal Vol. 2" pushing his 'Freakbeat 4/4' envelope further than ever before. Self-described as “late Night Flight proto tekno,” the tracks pulse with thick layers of percussion, melodic fever dreams, and riffs wrung through a taffy puller.
              Opener "Beat It" is less a reference to a lately disgraced child molesting popstar, and instead a slamming combo of girthy bass and kick, red lining hats and overlapping synth work - generally as demented as it is danceable. "High Score Zed" scoots down the coin slot of a Jamaican arcade game, blasting out a high speed hybrid of digi-dancehall and 8-bit funk, while "United Banana" slides a morbidly obese bass sound under dreamy pads and crashing cymbals for some unorthodox house bizz. A-side closer "Pay Off" is optimistic, off kilter and kinda nonsensical in the best way possible - play this and put your lampshade on your head. Over on the flipside "BS Dropout" stomps and squelches like Krang in a washing machine, "Light Fantastic" flips e-funk and new wave into a new form of drug addled wrongness (Super intense!) and "Blazin" sounds like Mr Fingers after 7 bottles of cough syrup. Last but not least "Falo" picks up the videogame vibe, recreating a Sonic in the labyrinth ambiance but with way more bitrate. Top notch weirdshit from my favourite experimentalist.


              Eric Copeland is a founding member of New York's Black Dice. "Alien In A Garbage Dump" represents almost two years of basement jamming and collecting. At the same time he was immersed in two Black Dice albums. Consequently, there are obvious parallels in the results; an uncompromised sonic landscape. But alone, Copeland has found places one can only find alone: small inner dialogues and isolated mind caves where the idea may only last a moment, but he captures and tweaks it into a fragment of many memories. "Alien" proves to be a strangely curated time capsule of OUR time right NOW; music where birds beat-box with car-stereo subwoofers and the neighbours' espanol sings on top the Sabbath siren. With all this going on, Copeland sometimes disappears into the anonymity, playing a 'behind-the-scenes' role, pushing cords and pulling buttons, laughing because the batteries are dying. The result is a collection of songs at once uniquely urban but still strangely universal in language. Fifteen years strong in the game and somehow it's easier to see where his music is going as opposed to where it's been. The first seven songs of this release appeared as a vinyl EP by the same name put out by Paw Tracks last year. The last six songs appear as a vinyl EP named "Al Anon" put out by Catsup Plate.

              Elvis Costello and The Roots have announced a collaborative album entitled Wise Up Ghost which is exclusively released.

              The existence of the record was first revealed by ?uestlove as an aside during an interview with Billboard Magazine in January and a small number of test pressings were distributed as white labels on Record Store Day on the 20th of April. Most of the sessions took place in secret at Feliz Habitat Studios in the dead of night, while others were in plain sight at Costello’s Hookery Crookery Studios.

              Elvis described the record as “the shortest distance between here and there” and containing “both rhythm and what is read”. Ahmir says, “It's a moody, brooding affair, cathartic rhythms and dissonant lullabies. I went stark and dark on the music, Elvis went HAM on some ole Ezra Pound shit.”

              Elvis Costello And The Imposters

              Look Now

                Elvis Costello and The Imposters – Steve Nieve (keyboards), Davey Faragher (bass), Pete Thomas (drums) – have made a sensational new album that ranks alongside the best work this singularly great artist has ever produced.

                Recorded in Hollywood, New York City and Vancouver, British Columbia, ‘Look Now’ is beautiful in its simplicity, reflective in its lyrical vision, surrounded by melodies and orchestrations that are nothing short of heavenly. It’s the first album Costello has made with The Imposters since the 2008 release of ‘Momofuku’ and his first new album since the acclaimed 2013 Roots collaboration, ‘Wise Up Ghost’.

                Anyone anywhere in the world who has seen Elvis Costello and The Imposters live can testify to their unmitigated swagger. Costello’s suspicion that it was time to return to the studio was confirmed while on the ‘Imperial Bedroom & Other Chambers’ tour of the USA, last summer and he realized the power and sheer musicality of The Imposters had never really been fully captured on one record.

                Emanuele De Raymondi & Marco Messina

                SARO (Original Soundtrack)

                  SARO (soundtrack of the film by Enrico Maria Artale) is the latest work by Marco Messina and Emanuele de Raymondi, two of the rising stars, respectively, in ambient electronic and contemporary classical scenes in Italy. The result of their collaboration is an elegantly crafted musical journey, between minimalistic string arrangements and textural modular synths, perfectly integrated to enhance the imagery of the film. SARO, as the name of film director’s father, it is both an intimate road-movie and a documentary that tells the journey through the evocative landscapes of Sicily in search of a father never known.

                  Emanuele de Raymondi is an Italian composer and sound artist. A graduate of the Berklee College of Music in Boston, his work is based on digital processing techniques combined with traditional compositional structures. He has composed numerous soundtracks, including Arianna by Carlo Lavagna (awarded at BAFTA and Venice Film Festival), and in December 2016 he released the electronic music single "EXUL EP" (ZEROKILLED). 

                  Marco Messina is a musician, producer and sound designer. He was born and lives in Naples, where in the 90s he founded 99 Posse and Mousikelab Studio. He has scored numerous films, including creating soundtracks for of all of Pietro Marcello films, among the others The line Passage, Beautiful and Lost, The Mouth of the Wolf, (awarded at Berlinale film festival and Davide di Donatello).

                  Brought to you by the label responsible for Whitest Boy Alive, Jens Lekman and The Tough Alliance, "Secrets Adrfift" is the new album from Erik de Vahl. Erik is from the abandoned industrial town Kramfors, located in the middle of the majestic nature scenery of the north part of Sweden, which shines through in his mystic work. Here he has prepared a shimmering mini-universe of his own, for you to peep in to. It seems like he built it from the broken pieces and leftovers from conventional song writing. Listening to the anti-structured pop fragments that are "Secrets Adrift" feels like a new friend whispering secrets in your ear.

                  One of Brazil’s most prolific artists, Eumir Deodato has participated in the creation of over 450 albums, racked up 16 platinum records, won a Grammy (and received two more nominations), and sold over 250 million records in the USA alone. Over the course of his career, he has written for, arranged music by and played with artists including Frank Sinatra, Tom Jobim, Kool & The Gang, Earth, Wind & Fire, Marcos Valle, Aretha Franklin and Bjork, among others.

                  At the height of Deodato’s productivity in the early 70s, Os Catedraticos 73 was recorded between Rio de Janeiro and New York, featuring a Brazilian rhythm section comprising Azymuth drummer Ivan ‘Mamao’ Conti, percussion master Orlandivo, and Sergio Barroso on bass, while the horn section features some of the big apple’s top players from the CTI in-house brass.

                  A firm favourite with rare-groove enthusiasts and fans of Latin jazz alike, Deodato melds the musical sensibility of post-bossa nova Brazilian jazz with North American soul & funk, and the explosive Latin influences of ‘70s New York. Os Catedraticos 73 certainly swings harder than some of Deodato’s earlier releases and opening track ‘Arranha Ceu’ (Skyscrapers) is a euphoric dance floor classic, which has been lighting up clubs for years.

                  FORMAT INFORMATION

                  LP includes MP3 Download Code.

                  E-Unity unleashes a batch of endorphin loaded club nuggets for FTD.

                  Following up much lauded EP’s for Oscilla Sound and Intramuros, the French producer takes his signature leftfield dalliances several steps elsewhere, to jubilant club-centric heights.

                  “What came before you is why you’re here now,” declares the man born Eric Brandon Pulido. “So embrace both the past and the present.”

                  The current frontman of Texan legends Midlake embraces both past and present times for his glorious debut solo album, To Each His Own, under his new enigmatic alias E.B. The Younger. It’s a deeply personal record, rooted in Pulido’s love of warm, glowing rock, folk and country hues that came of age in the 1970s woven with contemporary recalibrations: guitars ripple, sigh and sizzle alongside gliding keyboards over crisp, choppy and becalmed rhythms. Pulido’s lyrics equally look back and forth, philosophising about his place in the world, the choices he’s made, and where they have taken him.

                  Or, as he describes To Each His Own, “an eleven-song journey through the life and times of a wayward Midlaker seeking to find purpose in an uncharted land. Will he find his way? Listen, and ye shall find.”

                  Pulido’s “wayward” phase began in 2014 with a break from Midlake, “to invest time in kids and musical projects less physically demanding”, he says. His first project was the transatlantic collective BNQT, a self-described ‘poor man’s Travelling Wilburys’ featuring Pulido, Ben Bridwell (Band of Horses), Fran Healy (Travis), Jason Lytle (Granddaddy) and Alex Kapranos (Franz Ferdinand) who recorded the 2017 album BNQT – Volume 1. But To Each His Own is all Pulido – or rather, E.B. The Younger.

                  “It’s an antiquated way of naming a younger member of a family,” he explains. “I’m expressing, simply, that something greater came before me. It’s countering the idea in today’s culture that everything revolves around ourselves, that we’re the most important thing in the world. I feel that humility is a lost virtue – you only have to look at America’s current leader - which I want this record to represent. Honesty, empathy, love.”

                  In this case, honesty begins at home. Solo debutantes typically distance themselves from their musical past, but Pulido freely acknowledges Midlake’s presence on To Each His Own, from the three Midlakers in his backing band to an album title that stems from his memories of band discussions.

                  Says Pulido: “It’s very common in bands to have artistic differences, and we were no exception. Saying ‘To each his own’ was almost a way to collectively acquiesce and move forward when differences would arise. It’s OK that we feel differently, because both opinions are valid. The phrase is also about me doing something on my own, a statement that it’s OK to define who you are outside of what has defined you before.”

                  With Pulido on lead vocals and acoustic guitar, he drafted in Midlakers (and BNQT contributors) Joey McClellan (electric guitar), McKenzie Smith (drums) and Jesse Chandler (flute), who dovetail with Scott Lee (bass), Daniel Creamer (keyboards) and Beau Bedford (keyboards) from local country-funksters The Texas Gentlemen to form an empathic ‘alt.Wrecking Crew’ of session

                  players. Bedford is also the album’s principal producer, while studio engineer and Centromatic drummer Matt Pence acted as the overarching producer, alongside Pulido, as well as adding percussion and occasional drums.

                  As Pulido explains, “Midlake self-produced and recorded everything, but as with BNQT, I wanted to embrace collaboration. I’d present songs with just voice and acoustic guitar and ask the musicians where they heard things going, and so we built the songs up organically.”

                  Within that organic build, Pulido still had specific ideas in mind. He singles out the late, great Harry Nilsson as a key influence. “Midlake songs were often cerebral and minor-key and I wanted some of mine to be more playful and buoyant and major key, which Harry did so well, while still making deep, thoughtful music.”

                  Pulido also hears traces of The Eagles, Cat Stevens, Joni Mitchell, Wings and CS&N in To Each His Own, plus an “eighties vibe” to the record’s freewheeling lead single ‘Used To Be’, inspired by The Last Waltz, the film documentary about Pulido’s all-time favourites, The Band. As he recalls, “The guys are sitting backstage playing ‘Old Time Religion’, and Robbie Robertson says, ‘It’s not like it used to be!’, which has always stuck with me. But it’s OK by me that it’s not like it used to be. Embrace where you’re at, and look forward. Be both the old and the young.”

                  The Old and The Young is a familiar concept to Midlake fans, as a songtitle from the band’s last album Antiphon. In one sense, ‘The Young’ are also represented here by Conrad Lee Pulido, Eric’s three-year-old son, whose uninhibited dancing to calypso rhythms (from Harry Belafonte and Nilsson tracks) inspires the carefree Tropicália of ‘CLP’. A similarly summery vibe energises ‘On An Island’, inspired by an artist retreat (on the island of Nantucket) where Pulido, “focused on, and finished, several of the songs for the album.” But again Pulido finds a double meaning: “To be an island means you don’t live or march to the beat of anyone else’s drum.”

                  Self-determination also defines the sumptuous, soft-rocking “When The Time Comes” where Pulido gently mocks himself as the so-called ‘artist’ who chose to “follow the dream” but without any guarantee of job security or a pension. Moreover, the exquisite ‘Hope Arrives’ recognises that making art typically involves self-doubt, as Midlake experienced. As Pulido recalls, “I felt that fear controlled the obstacles that existed for the band. But when hope arrives, fear will disappear, and peace will come.”

                  Midlake also figure in the acoustic, sparse ‘Monterey’, named after the Californian idyll where the band played their last show to date, after which Pulido suggested a break would benefit all: to step off the merry-go-round for a while after riding it together for 15 years. “I said, we’ll pick things back up if and when it makes sense to everyone, trust me,” he recalls. “And I was at peace with our decision.”

                  The closing title track emanates a palpable sense of peace while crystalising Pulido’s past-present/old-young mindset: “I’ve been about all alone / I’ve never felt so good before… And what we did before / No I do not ignore”. With a new BNQT album in the works and, if all goes to plan, a Midlake album to follow, Pulido is already looking forward. But his present is E.B The Younger, and his effortlessly melodic, gorgeous songs invested with honesty, empathy and love. Listen, and ye shall find.


                  STAFF COMMENTS

                  Barry says: Half way between poppy Americana and folky Indie, Pulido is more than capable of penning an effective tune, with richly textured acoustic instrumental backdrops forming the perfect base layer for his unmistakeable vocal talents. Warm, rich and beautifully immersive.

                  E.C. Illa

                  Grade School Dropout

                  Nice slice of Chicago rap history here with a limited white vinyl release of E.C. Illa's Kanye produced cutz "Strugglin'" and "Mask and Pump". Produced by none other than trainer mogul and celebrated political thinker Kanye West, just before he hit it big with the College Dropout LP on Jay-Z's Rocc-A-Fella. As you'd expect from '02 Kanye, we're in peak Chipmunk Soul territory, all smooth grooves given that sweet MPC bump to compliment Illa's flow and lyrical dexterity.

                  STAFF COMMENTS

                  Millie says: Limited seven-inch Grade School Dropout hits all the right spots, the production from legendary Kanye West is woven in with Dilla-esque beats. Brought back from the depths of 2008 this is what you need to be listening to!

                  E.m.m.a

                  Mindmaze / Pumpkin Emoji

                  Following a series of standout releases on stateside imprint, Astral Plane, E.M.M.A returns to Coyote Records for the first time proper with new 12”, ‘Mindmaze / Pumpkin Emoji’. Having first provided a remix on Spokes’ inaugural EP (‘Green Eyes’) for the label back in 2015, E.M.M.A has since kick-started her Angel Food radio show on NTS alongside Aimee Cliff, and also established Producer Girls - a nationwide workshop initiative aimed at helping aspiring women get into music production.

                  On ‘Mindmaze’, described by E.M.M.A. herself as ‘medieval funky’ and originally made as a special for Mumdance on Rinse FM, she pokes fun at the club, going in sample-heavy and re-fixing anthemic Windows 95-era melodies over a stampeding, heavyset 4x4 beat. “This tune is a homage to the Encarta 95 CD ROM”, she explains. On the flip meanwhile, ‘Pumpkin Emoji’ references the glossy, crystalline textures and lo-slung 808 bass of early E.M.M.A. gems like 2014’s ‘Light Years’; a potent reminder of why she remains one of the UK’s most innovative and quietly rebellious club producers. 

                  E&D

                  Not Enough / Runaway - Inc. Mall Grab & Ali Berger Remixes

                  UKG-vocal-tech hybrids here from new project E&D who drop two OGs for FCR.

                  "Not Enough" is anthemic enough to be heard across the mainstream Radio networks whilst being delicious enough to rock your local dance. A typical stylistic vocal is chopped n pitched before being coupled with a flapping sub bass line and shoulder dropped beats. The track is remixed by new school rinser Mall Grab who puts emphasis on a Balihu-styled woodblock rhythm adds some peppery breaks and generally takes the track into subliminal territories.


                  "Runaway" graces the flip, a UKG effort with killer vocal and tight arrangement, rocketing through a verse-chorus structure with a hook to die for. Ali Berger get busy on the remix, taking it proper deep and heady, perfect for extended sessions at Barbarellas, Space or any of the holiday house destinations over party season. Recommended!


                  Polish septet EABS apply an innovative approach to jazz, distilling it through the prism of hip-hop, blending it with elements of soul, funk and electronic music. ‘Slavic Spirits’ was 2 years in the making and contains 100% original material. They are joined by 22a head-honcho Tenderlonious who lends his exceptional soprano saxophone and flute playing to all seven tracks.

                  After their very well-received 2017 debut album ‘Repetitions (Letters to Krzysztof Komeda)’, focusing on the lesser-known works of the legendary Polish composer, the Wroclaw-based EABS decided to further expand this lead and released two more vinyl records, ‘Live At Jazz Club Hipnoza (Katowice)’ and ‘Kraksa / Svantetic’, the latter recorded directly on tape and released via 22a, which crowned the “Komeda triptych”. The astounding reception of these releases built up loyal following outside of their native Poland and whet listeners’ appetite for completely new recordings. For this LP the musicians turned to Slavic mythology and Polish demonology, while pondering upon the contemporary spiritual condition of Poles. The enigmatic “Slavic melancholy” remains the main inspiration, as the band tried to extract it from their own DNA. ‘Slavic Spirits’ is an endeavour to get in touch with the world of a long and brutally llost culture which, due to lack of sources, will never be thoroughly explored.

                  STAFF COMMENTS

                  Millie says: EABS continue to impress with their unique jazz sound on the 22a label, paving the way on the nu jazz era.

                  Long awaited new full length album from Sonic Boom, and it's packed full of atonal wonder.

                  FORMAT INFORMATION

                  CD Info: Limited edition (500 copies) available in triple colour neon case.

                  Karl Lukas Pettersson has searched through his vaults of DAT tapes to create a personal album of lost projects, ideas and forgotten gems. The album includes a remastered version of Professor Laphroaigh originally included on his Dr Lindh – Sounds Interesting EP for SCSI-AV

                  Limited to 300 copies

                  Earl Brutus

                  Tonight You Are The Special One (Expanded Edition)

                    Earl Brutus achieved notoriety and cult status with the release of their debut album Your Majesty… We Are Here. Their attention grabbing interviews and gigs attracted wider interest and they sign to Island Records via Fruition. They released a second long player, Tonight You Are The Special One, and several singles including The SAS And The Glam That Goes With It and Come Taste My Mind (“masterful examples of raging techno-pop” - Select ) and Larky.

                    The band continued to play chaotic shows and the last ever gig is at Hammersmith Working Men’s Club on 7th April 2004 and the last track from that gig, Teenage Taliban, is included on the 2CD edition along with a demo recorded in William Reid’s (Jesus And Mary Chain) front room. Other bonus tracks include all the single b-sides sequenced by the band.

                    The art direction on this re-issue has been done by Scott King who realised the concepts for the original release and singles. The album sleeve is included in Q magazine’s 100 Best Album Sleeves Of All Time in 2001.

                    FORMAT INFORMATION

                    2xCD Info: The 2CD set is packaged in a tri-fold digipack and comes with a 16 page booklet with sleevenotes by Ian Harrison.

                    Earl Brutus

                    Your Majesty...We Are Here (Expanded Edition)

                      Earl Brutus are Nick Sanderson (Clock DVA, Jesus And Mary Chain, World Of Twist), Gordon King and Jim Fry (World Of Twist), Rob Marche (JoBoxers, Subway Sect) with Shins and Stuart Boreman.

                      Earl Brutus formed in 1993 and release a handful of singles before their debut album Your Majesty… We Are Here on Deceptive Records in 1996. They are chaotic, glam-rock, glitter-stomp British Pop. They think Bowie, T-Rex, Kraftwerk and The Fall. Their chaotic live shows became folklore and their reviews and interviews were always impressive. Your Majesty… featured in Q Magazine’s Top 50 Albums of the Year in 1996 and in 1000 Albums To Hear Before You Die.

                      Your Majesty… has been long unavailable and is now re-issued.

                      The two CD edition also includes all the b-sides sequenced by the band and an unreleased David Arnold remix of Life’s Too Long, the rare Alan Vega (Suicide) version of On Me Not In Me and Earl Brutus Display Purchasing Power, both commercially available for the first time.

                      FORMAT INFORMATION

                      2xCD Info: The 2CD set is housed in a tri-fold digipack sleeve with a 16 page booklet, all designed by artist, Scott King, and contains sleevenotes by Ian Harrison

                      Earl Sweatshirt

                      Doris

                      'Doris' is the debut studio album by Odd Future member Earl Sweatshirt. Doris features guest appearances from Odd Future members Domo Genesis, Frank Ocean, Casey Veggies, Tyler, the Creator, along with Vince Staples, RZA and Mac Miller. Production was primarily handled by Sweatshirt under the pseudonym randomblackdude and production duo Christian Rich. Additional production was provided by Matt Martians, The Neptunes, RZA, Samiyam, BadBadNotGood, Frank Ocean, and Tyler, The Creator.

                      Upon its release, 'Doris' was met with universal critical acclaim from music critics, including perfect scores by The Guardian and Los Angeles Times, which praised Sweatshirt's rhyme schemes and lyrics along with the gritty underground production.

                      FORMAT INFORMATION

                      LP includes MP3 Download Code.

                      Earl Sweatshirt

                      I Don't Like S**t, I Don't Go Outside

                      Odd Future rap collective member Earl Sweatshirt returns with his sophomore long player. From the album title onwards 'I Don’t Like S**t, I Don't Go Outside' in another introspective set of rhymes from Sweatshirt (Thebe Neruda Kgositsile to his mum) which eschew the wide scope of Kendrick or bombast of Kanye in favour of something smaller, more intimate. His mainly self-produced beats are pitched down and sludgy, lifted from the gloom by light-fingered jazzy keyboards here and there, while his vocal flow tongue-twists around the rhythms like a verbal dexterity veteran. At just 30 minutes in length the album doesn't have room for the usual look-who-I-know roll call of guest MCs, with just a handful of cameos from A$AP Mob’s Dash, Ratking’s Wiki, Cutthroat Boyz member Vince Staples and skateboarder Na’kel, leaving Sweatshirt to provide the lion's share of raps - a good thing in our book. A record that will leave you wanting more.

                      FORMAT INFORMATION

                      LP includes MP3 Download Code.

                      "Some Rap Songs" is the follow-up to 2015’s critically acclaimed "I Don’t Like Shit, I Don’t Go Outside". In the New Year of 2018, Earl promised the release of new music on Twitter, which would bring an end to his close to 4 year absence from the rap game.

                      After performing multiple unreleased tracks during live shows, and following a personally rough year for the rapper, including the death of his father, Keorapetse Kgositsile, Earl indicated on social media that new music was imminent as we neared the closure of 2018.

                      During the first week of November, Earl’s social media pages released three daily videos, each featuring complex visuals and snippets of forthcoming audio, strongly believed to be linked to the forthcoming album, with the final video confirming an upcoming single titled “Nowhere2go.”

                      The album was finally announced on Earl’s Instagram account, after having released the second single for the album, “The Mint.” Fans will not be disappointed: his distinctive, effortless drawl winding through suffocated, sweltering beats; taking cues from the stop-start, cut-n-paste ethic of Madlib and with a similar, trunk-boppin' weight in the low end. Infact, it's this attention to the low end that I guess sets it apart from the two albums which precede it, which tended to be lo-fi in nature and somewhat tailored towards headphone listening. This new album is gonna BANG in the jeep or the club, while his lyrical content is as on point and as poignant as ever; immediately introspective, cryptic and littered with observation. In short, there's no one quite like Earl, and "Some Rap Songs" sees the troubled rapper working through his trials and tribulations with an honest, analytical and at times heartfelt methodology. A masterpiece!


                      Steve Earle & The Del McCoury Band

                      The Mountain

                        Originally released in 1999 and widely regarded as one of the best albums of that year, New West is proud to reissue one of Steve Earle's finest works. Released in 1999, The Mountain marks a radical departure from Steve Earle's previous works as it was his first wholly bluegrass album. He later revealed that he had made the album as a tribute to the founder of bluegrass music the legendary Bill Monroe, who had died in 1996. In order to help flesh out the songs he had written for the album, Steve Earle called upon the famous bluegrass band of Del McCoury; widely regarded as one of the finest bluegrass bands on the planet who at that point. The album was a critical success and yielded Earle's 7th Grammy nomination when it was nominated for 'Best Bluegrass Album' in 2000.

                        FORMAT INFORMATION

                        2xLP Info: Available for the first time ever on heavy duty 180g vinyl.

                        ‘The Saint Of Lost Causes’ is the eighth album from American roots troubadour Justin Townes Earle. Earle’s latest album finds a songwriter and artist who is unflinching and unequivocal in his truth.

                        When writing this album, Earle focused on a different America - the disenfranchised and the downtrodden, the oppressed and the oppressors, the hopeful and the hopeless. There’s the drugstore-cowboy-turnedcop- killer praying for forgiveness (‘Appalachian Nightmare’) and the common Michiganders persevering through economic and industrial devastation (‘Flint City Shake It’); the stuck mother dreaming of a better life on the right side of the California tracks (‘Over Alameda’) and the Cuban man in New York City weighed down by a world of regret (‘Ahi Esta Mi Nina’); the ‘used up’ soul desperate to get to New Orleans (‘Ain’t Got No Money’) and the ‘sons of bitches’ in West Virginia poisoning the land and sea (‘Don’t Drink The Water’). These are individuals and communities in every corner of the country, struggling through the ordinary - and sometimes extraordinary - circumstances of everyday life.

                        Stacey Earle And Mark Stuart

                        Never Gonna Let You Go

                        Husband and wife team who have both enjoyed previous success in their own right as well as together. Stacey's endearingly evocative style was first heard in 1990 in duet with her older brother, country renegade Steve Earle. "Never Gonna Let You Go" is their second album, built around the couple's obvious chemistry together.

                        The Earlies

                        Gone For The Most Part

                          The final piece of the Five-Part 10" series that completes the vinyl version of the fantastic album "The Enemy Chorus". These three songs show the band at their most cinematic… soaring above the high rise buildings and into the clouds then collapsing into a monster funk jam before descending into the angular dark prog of "Bad Is As Bad Does".

                          FORMAT INFORMATION

                          Ltd 10" Info: Ltd edition of 500 copies only – this 10" is packaged in a very nice box with room to house all five 10"s from this series. ONE PER PERSON!

                          The Earlies follow their critically adored 2004 debut "These Were The Earlies", with the release of their second album, "The Enemy Chorus". Produced by The Earlies and Tom Knott and recorded in Texas, Manchester and Burnley, "The Enemy Chorus" builds on the approach of "These Were The Earlies" with a rich and expansive sound, textured with an original progressive edge. Standout tracks such as "Burn The Liars", "Foundation And Earth", "Enemy Chorus" and "When The Wind Blows" evoke elements of The Flaming Lips, Spiritualized, Brian Wilson and Sigur Ros, yet the Texan/Mancunian quartet remain resolutely individual. The sound here is deep, lush and with a tasty, more electronic bottom-end (Warp Records?) this feels like a more modern record than their debut. The layers and attention to detail are staggering; it's shaping up to be a proper headphone masterpiece, an album to go on a journey with and another mysterious chapter for one of our most trusted bands. They're magicians!

                          Earl

                          What Are You Waitin' For?

                          "What Are You Waitin' For?" is a provocative and instantly engaging electro-pop offering, with heavy bass lines, scratchy guitars and a melody so catchy you'll be stuck with it for weeks.

                          Early Day Miners

                          The Treatment

                            The Early Day Miners new album, "The Treatment", speaks to the powers of reinvention in more than one way. After years of building gorgeous and sprawling guitar rock epics, Early Day Miners have trimmed their sound into shorter, tighter songs with a decidedly pop edge to them. They have also slimmed their line up down from as many as eight members to the lean four-piece outfit of Dan Burton (guitar, vocals, keys), John Dawson (guitar), Marty Sprowles (drums) and Johnny 'Yuma' Richardson (bass). Even in the album's lyrics, the yearning allure of reinvention is ever present.

                            Early Mammal

                            Take A Lover

                              Early Mammal are a 3-piece based in the home of South London Sludge, Dropout Studios. Formed in 2012

                              Early Mammal are: Rob Herian - guitar, drone box & vocals, Ben Davis - drums & Ben Tat - bass & baritone guitars

                              The band released two albums in 2013 and received strong reviews. Debut album 'Horror at Pleasure' was released in April of that year on Devouter. Denis Belindir provided cosmos expanding synth on this brooding dark invitation through the woods of the mind. The album, as with all to date was recorded live at Drop out over the course of 3 days. The LP streams continuously combining raw power and claustrophobic psyche blues, coaxing and sometimes dragging the listener through its journey. Influences of Captain Beefheart, Aphrodite's Child, White Hills, Hawkwind and Uncle Acid and The Deadbeats can be heard:

                              Less than half a year later the band released 'My Fire' on Convoy records. This album found Dan Davies (Wolf people) joining to record a more experimental late night driving experience through psych-rock, Denis Belindir's distinctive Turkish tinged synth really taking the trip to different levels.

                              ‘I have been blown away by this promo twice today! Think Pink Floyd soundtrack work circa 1970 and Irmin Schmidt's incredible 3 album run of 'filmmusik' + 'Toy Planet' 1980-81. Yes THAT good! Eurorock pulses; a bit of SanFranjam; driving around mainland Europe in the early 70's in a lorry left over from the war, worried about the last generation's involvement...easily the best recording I've yet heard from them but, once again, nothing like their tremendous live show, Valve amps wall of cabs- everyone dies overdrive...but the grooves are still tight’ TOBY MEARING RADIO SHOW

                              Two well received albums on Devouter and Convoy lead to the band supporting Bong, and Baba Yaga’s Hut gigs around London, including the Raw Power Festival 2014

                              Third album, 'Take a Lover' is proudly released September 2015 through Riot Season records. After the sudden departure of Denis Belindir on synth, the band regrouped with a reinvigorated sound. Taking the experimentation of My Fire, the narcotic muscularity of Horror at Pleasure, this album represents a new chapter out of the woods and showing greater depth. With the arrival of Ben Tat on bass and baritone guitars, the band shares two common ancestors now: Elks and 85bears. The upcoming release reflects the sound of a lineup finding order through the entropy of extended jams and developing their sound. Recorded at Dropout studios by the band. Take a Lover is live and captures a stream of single takes from two days of winter, December 2014. It has become the catalyst to yet again prolific recording and sets the tone for where Early Mammal are going next.

                              FORMAT INFORMATION

                              LP includes MP3 Download Code.

                              George Earnest & Der Opium Queen

                              Time Heals All Wounds

                              Echovolt have proven themselves excellent exponents of high grade house music. Through some expertly timed re-issues and ingenious originals they've become a fully established tour de force on the modern landscape.

                              "Time Heals All Wounds" is a new EP from George Earnest & Der Opium Queen containing three tracks that perfectly encapsulate the deep, epic and euphoric sides of house music that seem to epitomize Echovolt's ethos.

                              "Ultralush" kicks off with swirling pads, ascending arps and evocative bird song; it's that hi-def deep house sound with rainforest inflections that we go absolutely ape shit for here at Picc HQ.

                              "Rainy Day" blends wistful pad lines, dewy-eyed keys and beautifully formulated sfx with a smooth and simple broken beat for a moment of dreamlike relaxation with just enough thrust for you to bob your head to it.

                              Finally, "Time Heals All Wounds" ends the journey on a heavenly high note, a meandering organ part highlighting all that is good in the world as it travels through shuffled house drums, woozy synth riffs and a raise-your-sprits-to-the-sky chord progression. Add that impeccably timed, incredibly evocative spoken word vocal part (that appears just at the right time) and you have, my friends, a slice of deep house perfection few will rival all year! Form an orderly queue please!




                              STAFF COMMENTS

                              Matt says: The title track, "Time Heals All Wounds" is a beautiful and blissful house track that's gonna be in my box all Summer and probably all Autumn. I suggest you check it out!

                              Earth Girl Helen Brown

                              Four Satelittes Vol. 1

                                The Earth Girl Helen Brown Center For Planetary Intelligence Band (E.G.H.B.C.F.P.I.B.) is pleased to join forces with In the Red Records and Empty Cellar Records, presenting the first vinyl release of their protolanetary series Four Satelittes Vol. 1. Double gate-folded LP (three sides + etching), the release is a collection of songs and information from the band’s 2017 consumer recycled cassette series: Spring: Mercury: Fire, Summer: Mars: War, Fall: Saturn: Communication, and Winter: Venus: Love.

                                The band, related media artists and technicians includes: Heidi Alexander, Jamie Barron, Jamin Barton, Eric Bauer, Aylin Beyce, Emilee Booher, Ryan Browne, Tim Cohen, Grace Cooper, Dave Cousin, Brad Caulkins, Mikal Cronin, Bart Davenport, Brigid Dawson, John Dwyer, Chris Fallon, Lars Finberg, James Finch Jr., Davin Givhan, Dylan Hadley, Dustin Hamman, Kiran Harlow, Wilder Harlow, Graeme Gibson, Tahlia Harbour, Anna Hillburg, Douglas Hilsinger, Warren Huegel, Emmett Kelly, Nora Keys, Shannon Lay, Raven Mahon, Rusty Miller, Charlie Moonheart, Jack Name, Ethan Novikoff, Tim Presley, Ty Segall, Dave Sitek, Sean Smith, Sonny Smith, Kelley Stoltz, Enrique Tena, Alica Vanden Heuvel, Lida Vanden Heuvel and Mikey Young.

                                FORMAT INFORMATION

                                2xLP includes MP3 Download Code.

                                Earth The Californian Love Dream

                                Porn Star

                                Following on from their limited edition 7" only release "In The Garden", and fresh from being one of the most talked about bands at this years SXSW festival, Nottingham's Earth The Californian Love Dream return with another short blast of riffy, rock'n'roll. There's a touch of Queens Of The Stoneage about it with it's heavy chugging guitar and drums, but with a more youthful, punchy arrogance, and weighing in at under 90 seconds, it leaves you wanting more....

                                FORMAT INFORMATION

                                7" Info: The 7" is limited to 500 copies.

                                CDS Info: The CD single is limited to 200 copies only.

                                The label Ziemia (Polish for earth) is centred around a growing group of friends from Poland. Administered by Bartosz Kruczyński (Earth Trax), Adam Brocki and Jan Wójcicki (Private Press), it is a natural extension of a studio in the heart of Warsaw, where the majority of their music is being created. Ambient sounds and club vibes make the foundation layers of this collaboration, and you can see this theme evolving in some of their first releases on labels such as Growing Bin, Shall Not Fade, Indigo Aera, Phonica Records and Dopeness Galore. Ziemia's focus positions itself between club music and ethereal with an Eastern European background.

                                The first release encaptures a moment when all three label founders started to utilise dub techniques in their club sound. Private Press explore an ethereal side of techno, which is in contrast to the duoís previous releases. A1 and A3 are essentially beatless and meditative, while B2 plunges into reggae sounds with a pulsating kick drum, strong bassline and plucking synthesizers emerging from an echo chamber. Earth Trax expresses a darker sound, all with biting stabs, deep sub and frenzied pads on A2. As we flip to B1 (when heís teaming up with Newborn Jr. again) the release develops an ambient house feel (as featured on a couple of previous records) with a slightly more experimental approach.

                                STAFF COMMENTS

                                Sil says: Clean and spacey sounds emerging from the new breed of Polish techno producers - the Basic Channel, Chain Reaction, Maurizio and Moritz Von Oswald inspiration is difficult to hide but that's never a bad thing when done this well!

                                Earth, Wind & Fire

                                The Best Of Vol. 1 - Picture Disc Edition

                                  Some of the era's most needed, heeded messages ran deep and sweet atop Verdine White's bass grooves (front and centre on "Getaway"), brother and leader Maurice's drum and percussion tracks honed over years with Chess Records' rhythm section Louis Satterfield's horn section scrambling through jazz-rock mazes every track, and Phillip Bailey's high, clear falsetto on "After The Love Has Gone," the prom dance standard "Reasons," the soaring chorus of "September," and the elegant "Fantasy".

                                  FORMAT INFORMATION

                                  Coloured LP Info: *ONE COPY FOUND!*

                                  It’s rare to come across a debut album that delights and surprises in equal measure, but that’s exactly what you can expect from Human Call, the first full-length excursion from daydreaming dancefloor fusionists Earthboogie.

                                  The East London-based duo of Izaak Gray and Nicola Robinson has previous form when it comes to creating beautiful, funk-fuelled fusions of soundsystem-ready rhythms, humid instrumentation and intergalactic audio explorations. To date, they’ve released a pair of fine EPs on Leng, both of which did a splendid job in showcasing their unique musical vision.

                                  Even so, this vision has never been clearer than it is on Human Call, a vibrant eight-track missive that fixes the sticky tropical cheeriness of African and South American dance music – be it Afro-disco, Afro-funk or samba – with a wide range of complimentary sounds, styles and influences, from spacey analogue electronics, sun-kissed Balearica and hazy West Coast jazz-rock, to chunky dub disco, snappy retro-futurist house and bouncy, dub-fuelled club workouts.

                                  Throughout, Gray and Robinson showcase an impressive level of musicianship, variously combining crunchy drum machine hits and dusty old synthesizers with razor-sharp electric and acoustic guitars, rich bass, cascading saxophone solos and hazy, life-affirming vocal harmonies.

                                  The result is a string of memorable highlights, from the sticky tropical-house-meets-dub disco futurism of “Human Call” and fuzzy disco-funk righteousness of opener “Overground”, to the post-punk disco jauntiness of “Stargazing” and samba-infused dancefloor bliss of Nina Miranda collaboration “Silken Moon”. Cheery, absorbing, imaginative and hugely entertaining, Human Call offers a perfect snapshot of Earthboogie’s distinctive musical world. 

                                  Earthen Sea

                                  Grass And Trees

                                    Jacob Long’s reductionist rhythmic ambient vessel, Earthen Sea, ebbs towards a more purely elemental state on his second excursion for Kranky, Grass and Trees.

                                    He describes the creative process as one of “simplifying things as much as possible,” designing uncluttered spaces traced in nothing but breath, field recordings, and “sounds that could be played by hand but weren’t.”
                                    The results feel decentralized but dynamic, low-lit evocations of ambiguous nocturnal environments – dub techno disassembled into stray pulses and spare parts. It’s a music both interior and infinite, languorous yet transformative, made in the outer boroughs of a metropolis but existing in its own liminal wilderness.

                                    Long’s vision is a grounding one, rooted in the physical body but attuned to larger currents: “In response to living in a fairly hectic city, and at a very hectic time for the world at large, creating something more drawn back and restrained felt appropriate.


                                    Earth

                                    Full Upon Her Burning Lips

                                      Commemorating thirty trips around the sun as one of metal’s most monolithic bands, Earth release their ninth studio album, Full Upon Her Burning Lips. A purge of the embellishment and panache from previous releases, Full Upon Her Burning Lips intimates Earth’s commitment to the minimalism of their primordial days.

                                      Deconstructing the tried-and-true dynamic consisting of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion, Full Upon Her Burning Lips taps into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world. In addition to scaling back the flourishes of their hulking, drone-driven opuses, Full Upon Her Burning Lips was composed sans narrative, relying instead on their collective subconscious to hone in on the overarching muse as the songs developed.

                                      The record was engineered, mixed, and mastered by long time associate Mell Dettmer at Studio Soli. Showcasing Carlson’s sepia-toned Bakersfield Sound guitars and Davies’ death knell drums, Full Upon Her Burning Lips mines for the expressive, nuanced, and tonally rich components of Earth’s arsenal of sound. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

                                      “I feel like this is the fullest expression and purest distillation of what Earth does since I re-started the band,” Carlson says in reflection of Full Upon Her Burning Lips. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

                                      Earthless

                                      From The West

                                        On the eve of the release of Black Heaven, their debut for Nuclear Blast Records, Earthless turned in this incredible live performance in San Francisco on March 1st, 2018, captured released on vinyl by Silver Current Records. Since their inception seventeen years ago, this band has become an icon of 21st century heavy music and a cult unto themselves.

                                        On From The West the band’s signature high-volume drive and unbridled horsepower create an almost mantra-like repetition as a framework for infinite improvisation. That, and beer-can crushing, fist-pumping riffs and solos delivered by an unstoppable rhythm section. This album is a complete, hypnotic, psychedelic experience in a way that remains totally unique to the band’s virtuosic expression. A live album that captures the band at peak powers and a quintessential fan piece from one of the best live rock bands in the world. Album tracks includes looser, rawer versions of Black Heaven favorites, a nearly twenty minute version of their instrumental titan “Uluru Rock,” and a blazing cover of Led Zeppelin’s “Communication Breakdown.” The album jacket is also a meticulous reproduction of the band’s favorite TMOQ (Trademark Of Quality) Zeppelin bootleg.

                                        Earthling Society

                                        Mo - The Demon

                                          ‘Mo - The Demon’ was recorded at Leeds college of music between November 2017 – February 2018. The basis of the album was to record an imaginary soundtrack to the Shaw Brothers bat shit psychedicrazy Kung Fu horror ‘The Boxer’s Omen’ aka MO or demon.

                                          The story is an everyday one.

                                          After a Hong Kong kick boxer is paralysed by a cheating Thai competitor, his mobster brother vows revenge and journeys to Thailand for a duel. Along the way, our hero is met by bizarre visions, entered into a Buddhist monastery, and begins a quest to save the soul of a deceased Monk (his twin brother in a past life) who died at the hands of a powerful black magician.

                                          We’ve all been there. However the movie descends into a kind of spiritual Jodorowsky mushroom fest that is completely deranged and is therefore one of those perfect midnight movies.

                                          So we got free studio time at LCM in November and just went ‘fuck it’ lets make an imaginary soundtrack in homage to such a great movie.

                                          Taking inspiration from all the things musical that have inspired us over the years. Berlin era Bowie, Prime Magazine circa ‘Correct Use Of Soap’, Electric Funk Miles, ‘Caravanserai’ Santana, Embryo and god knows what else (it doesn’t really matter as it all ends up Earthling Society), we think we’ve made a groovy as fuck concept.

                                          Then, Invited back in February we decided to record 2 stand alone pieces ‘Spring Snow’ and ‘Jetavina Grove’ and bring all our space rock elements and psych raga back into the fray. Throw in some super cool Korean vocals courtesy of Bomi Seo of Tirikiliatops and run the guitars through a harmonizer H910 (as used by Visconti on Low an Heroes) and its the perfect swansong to the last 14 years of playing live and recording together.


                                          FORMAT INFORMATION

                                          Coloured LP Info: Limited edition 400 only translucent violet coloured vinyl LP. Housed in a full colour outer sleeve with mind bending artwork and download code.

                                          East River Pipe

                                          The Gasoline Age (Reissue)

                                            Next in the Merge25 reissue series is East River Pipe’s 1999 classic The Gasoline Age.

                                            East River Pipe (AKA F.M. Cornog) signed to a major label that folded before he released a note. But he kept his advance money and moved out of his tiny apartment in Queens and bought a house in New Jersey and, apparently, a car. Whereas previous East River Pipe albums focus on a solitary man who only breaks his loner streak for the love of his good woman, The Gasoline Age takes to the highway in a “Shiny, Shiny Pimpmobile.” Sometimes it’s a “Cybercar” for a “Party Drive.” He hits the town with “Atlantic City (Gonna Make a Million Tonight).” Imagines where his car has been (“14th Street Boys Stolen Car Club”) and takes it onto the New Jersey highways where he drops “Tenafly,” “Hackensack” and Routes 26 and 22 like an experienced pro. The music is still recorded on his home recording unit while his ambitions remain Phil Spector high and deep. The keyboards bleed into the jangly guitars and the over-compressed reverbed vocals. For the first time, Cornog sounds excited and relieved, alive and glowing.

                                            FORMAT INFORMATION

                                            LP Info: 180 gram vinyl. First time available on vinyl. LP includes coupon for full album download plus 10 previously unreleased bonus tracks also via the download coupon.

                                            Richard Easter

                                            Cover Stories

                                              Would you like to find out…

                                              Where The Beatles' Dear Prudence went out to play?

                                              Who David Bowie's Major Tom really was, and how he became lost in space?

                                              Why The Rolling Stones' Devil needed Sympathy… And more to the point, did he deserve it?

                                              These and other musical questions are answered in Cover Stories, a literary collection that'll sit equally at home alongside your LPs as lined up with your books. These stories start with the original songs, then expand them into short stories, filling in details, explaining characters and revealing “what happened next” once the needle leaves the record.

                                              Richard Easter’s qualified to write about pop music. He's had a Top 5 single, performed on Top of The Pops three times and played drums for The Bee Gees. He’s co-presented shows on BBC Radio 1 and 2, written for the NME, got lost in Broadcasting House with George Michael, watched the KLF burn a wicker man on the Isle of Jura, was first to play the Manic Street Preachers on national daytime radio, and managed to track down Joy Division's actual synthesiser, bought it, then broke it. Not a high point.

                                              Cover Stories has been written in enhanced stereo, so please put on your literary headphones, set the pages to 33rpm and read. LOUD.

                                              Eastlink

                                              Angel Gun

                                              Eastlink is a section of freeway in the suburbs of Melbourne, Australia. Eastlink is also a band from Melbourne that delivers a blown-out, three-guitar assault, equal parts riff-fueled rock and noise-fucked psych. If it matters (and you know it does!), Eastlink features members of such notable Australian flag-bearers as Total Control, UV Race, Repairs, Lakes, Straightjacket Nation, Interzone, Teargas, etc. Really, they are just a f’n great band. Watch for their debut album in 2014 on In The Red!

                                              Founded in Manchester in 2013 by members: Theo Tobias, Ronan Clowes, Alex Howes and Thomas Short, Easy Kill refer to their music as Doom-Pop - a sort of melancholy made catchy.

                                              Following the success of lead single 'Samson' and follow-up ‘Not Even Lovers’ - which received airplay on 6 Music and BBC Radio 1 (the former was selected by Huw Stevens as his 'Tip of the Week’) - the Manchester quartet have released their stunning EP ‘Sermons’. Released digitally and on 12” vinyl on 26th February the four track collection has been described by DIY as “timeless storytelling” and by Goldflakepaint as “a rich, swooning thump of pop music”, drawing comparisons to The National, Wild Beasts and Future Islands along the way… 

                                              Easy Star All-Stars

                                              Dub Side Of The Moon

                                              Approaching a dub reggae version of Pink Floyd's "Dark Side Of THe Moon" might strike fear in the hearts of prog and reggae fans alike. If that's the case then you're in for a pleasant suprise as the Easy Star All-Stars "Dub Side Of The Moon" works. Not only does it compliment the Floyd, it's a rich and fascinating re-working that innovates as well as entertains, AND it still matches up perfectly with 'Wizard Of Oz'...!

                                              Following the quick fire sell out and widespread acclaim of the bands‘ second LP “Heavy Electrics“ in 2012, ELBL release their third full length via The GPS and Rocket Girl, just in time for Summer.

                                              Building on the bands’ trademark multi layered motorik groove, “Modular Living” adds a more organic, electronic approach in places. Where once, listening to Eat Lights might have focused perhaps on the adored kraut groove of Neu! / La Dusseldorf etc, “Modular Living“ seems to add the key ingredients of slow burning Popol Vuh and Cluster-esque pieces into the mix. Eternally building and evolving resulting in a far better balanced listen than the previous full lengths, arguably.

                                              The momentum attained with the last LP should build nicely here- rave reviews were pretty common spread via the likes of Stuart Maconie’s “Freak Zone”, Andrew Weatherall’s 6music show and Gideon Coe. Even a year on, tracks from “Heavy Electrics” are aired pretty regularly so the new full length comes at the perfect time for longterm devotees and the newcomer alike. Live shows are currently incredible- a real intense, dual drummer stage set up with these new tunes sounding just fabulous. The band play a number of shows in support of the album, including a slot at the always amazing Liverpool Festival of Psychedelia in September.

                                              Eat Skull return with a follow-up of sorts to last year's Siltbreeze released debut, "Sick To Death". Three new tracks, "Jerusalem Mall" is a newer Christmas time jingle for these hopeful times. Backed with two "Sick To Death" outtakes unavailable on vinyl till now. Limited edition pressing.

                                              STAFF COMMENTS

                                              Darryl says: An essential slab of distorted noise scuzz from this Portland, Oregan four piece.

                                              Eaters

                                              Eaters

                                                Eaters, the brainchild of multi-instrumentalist composer Bob Jones and recording engineer and sound designer Jonathan Schenke is an adventure in juxtaposition. On the duos self-titled debut sprawling synth swells are punctuated by driving motorik grooves and screaming leads, relentless rhythmic sequences melt into viola drones and otherworldly textures, while fractured pop is enveloped by washes of white noise and spat back out again. Lyrics about love and life processed to the edges of humanity.

                                                Such mercurial output is unexpected from two Brooklyn musicians with substantial indie-rock pedigrees. After all, Jones, a founding member of Eternal Tapestry, and Schenke, who has helmed records with Parquet Courts, Forest Fire, and Dirty Beaches, became friends while on tour with Frankie Rose. Jones' and Schenke's mutual love for early IDM, microtonal music and tape experimentation compelled them to eschew tradition and explore a no-expectations, process-oriented project that had less to do with being in a band and more to do with making new and interesting sounds. Casually sophisticated and deliberately humorous, the push and pull of Eaters' dynamic spread satiates the palette.

                                                Christopher Eatough writes and performs songs. His heartbreaking perspective on life has led people compare him to Ryan Adams, Rufus Wainwright, Neil Young and Sufjan Stevens. Over the past two years Christopher has played alongside Neal Casal, Lisa Mitchell, William Fitzsimmons, Rox, Starsailor and Mark Morriss, along with many others whilst attempting to recreate the tender atmosphere of his live performances on record. "A Creak in the Cold", his debut album, is the result of these efforts.

                                                In a world of music lined with acoustic troubadours from basement to bar and venue to vault, it takes something truly inspirational to stand out from the crowds. "A Creak in the Cold" is proof of Christopher Eatough’s startling talent and vindication of a voice that has been stirring up so many words of acclaim around the North West for the past year. This is a record that will speak to you and sooth you. This is a record that will soften the edges. This is a record for anyone who has a heart, no matter if it is barely beating through the aching weight upon your chest.

                                                “London electronica trio Eaux sound like Fuck Buttons on a comedown: all glacially moving synths and snowdrift vocals.” Q – '5 Songs You Must Hear'

                                                When Ben Crook - one third of spectral electronic trio Eaux - describes his group's songs as "never finished, just abandoned" he's describing a creative process that burrows its way down and down until each track has to be wrenched away from their originator's hands, given the sheer amount of avenues that the three-piece manage to open up during conception. However Eaux's debut LP Plastics, out on ATP Recordings, also has the feel of abandonment to it, in the sense that to listen to it is to come across some long-lost gem, an unknown discovery amidst a box of records, an electronic album where influences past and present cancel each other out in stasis to create an album that exists in a timeless era.

                                                Formed in London in early 2012, Crook, alongside Sian Ahern and Stephen Warrington, centre their foreboding towers of shadowed sound around the hypnotic release and repetition of techno; however, although Plastics does display minimalist tendencies, the group never allow their rhythmic patterns to become static, a heavily analogue approach to everything they do putting a very human face to this machine-made music.

                                                Much of Plastics has evolved from live jams, the group holing themselves up in a personal rehearsal and studio space so that ideas form and bounce off each other. Having all come from more orthodox band set-ups, they found a freedom in experimenting with comparatively unfamiliar electronic technology, their limited knowledge of their tools meaning they could approach them with very little baggage. Ahern's vocal is another key element to the group's sound, offering a softer-edged, higher range than much of the simmering murmurs and oscillations rising and falling below her. Though aerial, sweeping through the likes of the Broadcast-esque ‘Movers and Shakers' and flowering above the pulsating after-dark drone disco of ‘Peace Makes Plenty', her voice largely works as another layer amidst what's a darkened but rich tapestry, an ethos of equality driving the group, all roles on a level with each other.

                                                So it is that Eaux's music feels like it's trying to reach out from that clutter and acceleration of technology, tracks like ‘Evoke' pushing hard to find space away from their synthetic frequencies. Plastics, like its name suggests, is a collection of moulded, shaped forms; the result of collective electrical process. It's an album that takes in the bigger picture, with each component unable to do without any of the others.

                                                Delfonic stumbled upon the tracks that make up this release during a none-descript warehouse party around 2013. After founding out they were actually made in 2008, Oye Black hunted down the artist, Martin Georgi and signed two tracks off the original EP, and backed them up with a DJ friendly edit by Delfonic.

                                                The first track is a mid tempo, low-NRG MPC house jam - well constructed drums, an eyes down pad pattern and a catchy female vocal hook. It could easily be a lost Sound Signature jam, or, finds new alliances with Bastien Carrara and Eddie Danielle. The second unnamed track keeps the vibe flowing as organs, strings and picked guitar lines are gleefully chopped up and rearranged across the MPC's 16 pads. 


                                                Ebony & Ivory

                                                Blow Dem Away / Fraud

                                                Two nice young men dropped into the shop over the weekend with their UK garage (or whatever we're calling it these days!) white label, which I present to you here. Both sides feature rough digital beats with fat bassline punches, topped off by strong MCing by Ivory. Not to be confused with Paul McCartney and Stevie Wonder!

                                                Fans of the leftfield, footloose and frisky end of the disco, Balearic and house spectrum know the score with Eccentric Edits - all styles, speeds and flavours, all obscure, all reworked with superior class. Volume 3 is no exception to this rule, rocking into the Piccadilly shelves with four tracks of A-class musica. The crew kick us off with "Canoe Song", a loving extension of "Water Walker", an AOR / folk funk groover plucked from the soundtrack of a 1985 documentary short about a canoeist and his relationship with the great lakes - like I said, super obscure. It's not just the rarity rating which gets my muso meter twitching, this is an instant classic, and would have worked wonders at Nado on Easter Sunday. Next up, they house up Deux's "Everybody's Night", turning out a deep and pulsing club cut which reminds me a bit of that house mix of Flash & The Pan's "Walking In The Rain". Flip it for Spacetrick's "Why", a much needed extension and expansion on Fred Aucagos' "Pangua Zo Pile Moin", which you might recognise from one of the Beach Diggin' comps. Here the track is harder, better, faster and stronger, while retaining all the thick tropical funk charm of the original. Finally "Erotic Stiff" takes us on a trip to the Pyramid Suite, entirely electrifying a bit of soul glow boogie for peak time deployment in your next Social Service set - someone ask Randall Marsh for the ID!

                                                STAFF COMMENTS

                                                Patrick says: The Eccentrics crew do it again, bringing us a killer quartet of obscure upgrades, not least the majestic "Canoe Song", already my Balearic bomb of 2019. Chuck in housed up takes on Euro synth pop and big room boogie and a massive tropical funk roller and you've got my vote any day. Superior edits from the A-team.

                                                Cross-Pennine musical experimentalists The Eccentronic Research Council (Sheffield electronic musicians Dean Hohner - I Monster, and Adrian Flannagan - Kings Have Long Arms, and actress Maxine Peake) return with a fabulous fourth album, ‘Johnny Rocket, Narcissist & Music Machine… I’m Your Biggest Fan’, released on Fat White Family's Without Consent imprint. Written from the persuasive point of view of an obsessional fan of a (fictional?) local band - The Moonlandingz, who gig around the (fictional?) South Yorkshire district of Valhalla Dale. Musically we're treated to more analogue synth invention and twisted exotica, while Maxine Peake's increasingly dark, yet hilarious dialogue (written by Flannagan) is as spot on as previous ERC albums.

                                                The album sees The Eccentronic Research Council team up with Lias Saoudi and Saul Adamczewski of South London’s The Fat White Family, who ably play the role of The Moonlandingz.


                                                STAFF COMMENTS

                                                Barry says: It sounds a bit Radio 4, but this album is a story.. It is a rousing tale (no spoilers) of a woman and her struggles with her passion for music, and her love of a band. Through this we get to hear some back-story, and reasons behind her eccentricities. Sounds weird, right? Now add to that the fact that said woman is inspiringly voiced by Maxine Peake, and the fictional (but now real) band is two members of the Fat White Family, and you have an altogether more promising concept. It delivers wholeheartedly. Fantastically northern voice narrates her life atop a brilliantly written and performed (not to mention historically accurate) fuzzy indie backdrop. When listening as a whole, this is the full package, rousing, moving, rawkous and witty. Truly an experience.

                                                FORMAT INFORMATION

                                                2xLtd LP Info: Includes CD of the album and a limited edition Moonlandingz (Fat White Family) 12" EP. Limited to 1000 copies only.

                                                The collaborative reactions of Adrian Flannagan (Kings Have Long Arms), actress Maxine Peake (Shameless / Silk) and Dean Hohner (I Monster) - under the umbrella moniker The Eccentronic Research Council - take their collective experiences in theatre, music technology, television, pop cultural archiving and radio to reimagine a time and place, barren of authority and religious faith, where the unified working classes and alternative thinkers are mocked and persecuted at the hands of a flawed and paranoid government and monarchy.

                                                As The Eccentronic Research Council recognise, “Socially and politically things haven’t changed so much in 400 years, people are poor again and have to do bad things too eat, individuals who don't fit in are still beaten down with bats, and there are hypothetical witch hunts all around us.”
                                                Stylistically, The ERC opt for a vast array of mechanical music machines and synthesised effects to create this conceptual non-populist pop using analogue and acoustic equipment alongside tape manipulation, vocalisations and spoken word, remaining faithful to a pre-digital and unpredictable era taking cues from Mort Garson, Suzanne Ciani, Sorel Hayes, Joe Meek, Daphne Oram, JP Massiera and Delia Derbyshire amongst others.

                                                Conceived with the same ambitions and goals as an electronic Smithsonian Folkways record, ‘1612 Underture’ is a concept album that aims to reevaluate and positively recontextualise an important historical and cultural feminine incident, but also hopes to encourage listeners to rethink how they process modern folk and popular music 400 years after the events in the eye of this project’s unique subject matter.

                                                Released to coincide with the 400th anniversary of the Pendle Witch Trials, which should bring with it plenty of fanfare and live events. Check out this YouTube video: http://www.youtube.com/watch?v=Dxh6LrwET0U


                                                STAFF COMMENTS

                                                Philippa says: The collaborative reactions of Adrian Flannagan (Kings Have Long Arms), actress Maxine Peake (Shameless / Silk) and Dean Hohner (I Monster) - under the umbrella moniker The Eccentronic Research Council

                                                Echo & The Bunnymen

                                                It's All Live Now

                                                  One of the most acclaimed British rockers from the 1980’s, this legendary band formed in Liverpool in 1978 and were forefathers of the neo-psychedelic movement. Their line up consisted of vocalist Ian McCulloch, guitarist Will Sergeant, bass player Les Pattinson and drummer Pete de Freitas, eventually replacing the original drum machine.

                                                  The band’s cult status eventually waned with mainstream success in 1983 after they scored a UK top 10 hit with “The Cutter” and attendant album Porcupine which hit #2 in the UK. 1984’s album Ocean Rain is considered a landmark post-punk release, featuring the lead single “Killing Moon.”

                                                  The band split in 1988 but regrouped in 1997, releasing an album in 2014 that was their first UK Top 40 entry since 1999. The band’s popularity never quite made the same impact in the US as it did in Europe so they are ripe for rediscovery for anyone interested in bands such as Suede, Radiohead, Arcade Fire, Blur, Interpol and Oasis.

                                                  This brand new collection of their legendary live material recorded in Sweden in 1985 includes classic Rock-N-Roll covers of legendary tunes by the Doors, Rolling Stones, Velvet Underground, Television and more available on vinyl for the first time. Many of the tracks from Sweden were recorded live for Swedish National Radio at the Karen Club. Also included here is a legendary extended version of “Do It Clean” recorded live in concert at the Royal Albert Hall in 1983.


                                                  FORMAT INFORMATION

                                                  Ltd LP Info: 1-LP, 180g, black vinyl pressed at Record Industry comes in a single sleeve aqueous-gloss, old school tip-on Stoughton sleeve with brand new artwork and hard stock insert.
                                                  Never before seen photos of the band.
                                                  Liner notes by guitarist Will Sergeant.

                                                  Echo & The Bunnymen

                                                  Ocean Rain

                                                  Singer Mac, ever the self-publicist, took the mickey in May '84 declaring "Ocean Rain" to be 'The Greatest Album Of All Time', on all the posters and advertisements on its release. The thing is though; it is! OK, well it's one of them! There was only one song left with the weird, turbulent dynamic (the incredible "Thorn Of Crowns"), the rest was the lushest, most tuneful blend of acoustic guitars pure romanticism, sweeping orchestral arrangements and the sweetest happy / sad songs they ever laid down. Not one duff track, the whole thing flows, and "Killing Moon" is probably their greatest ever moment. This version includes the "Life At Brian's" 7" doublepack (remember them?) from July that year, and never before released live versions of "My Kingdom" and the title track, from their best ever live event, at St George's Hall in Liverpool, in May '84. Something very special is caught on this LP. It's dazzlingly imaginative, big hearted, beautiful pop music.

                                                  STAFF COMMENTS

                                                  Andy says: An absolutely incredible pop record which overflows with mystery, magic, romance and most importantly, massive tunes! This Liverpool band were already adored, but in 1984 nobody could have predicted the huge step up in song-writing and just the sheer overall magnificence on display here. It's that classic pop thing of being heartbreaking but simultaneously life-affirming, in every song and across the whole album. One of the best LP's ever made.

                                                  Echo & The Bunnymen

                                                  The John Peel Sessions 1979-1983

                                                    Echo & The Bunnymen - ‘The John Peel Sessions 1979-1983’ is a collection of all the Radio 1 John Peel sessions that they performed in the formative years of the band, and in celebration of these early recordings, a double black LP and a 1CD of this set will be released.

                                                    Significantly, this collection of 21 tracks are from the very beginning of the bands existence. With little money, the band used them to demo new material. Many of the songs were written due to the fact a Peel session had been booked, not because the show loved the new songs - demonstrating the level of trust, confidence and love they had for the band.According to Echo & The Bunnymen guitarist Will Sergeant, these recordings could quite simply be some of the most significant in the bands career - “Without John Peel sessions, Echo And The Bunnymen in my opinion, would not exist! It’s that simple. The band got so much support from him and John Walters (Peel’s producer). Recording a Peel session was essential to the development of our songwriting skills while at the same time giving us amazing exposure and self-belief.”


                                                    Echo & The Bunnymen

                                                    The Stars, The Oceans & The Moon

                                                    Bunnymen Classics Transformed & New Songs With Strings & Things Attached.

                                                    ‘I’m not doing this for anyone else. I’m doing it as it’s important to me to make the songs better. I have to do it.’ Ian McCulloch

                                                    This new studio album sees The Bunnymen, still lead by the indominable Ian McCulloch and Will Sergeant, revisit some of their greatest songs to rearrange and transform them with co producer Andy Wright…and strings and things. Also included is two brand new tracks to accompany the classics.

                                                    Echo & the Bunnymen's dark, swirling fusion of post-punk and The Doors/The Velvets-inspired pop psychedelia has brought the group twenty top 20 hits and nine top 20 albums in the UK so far in their 40 year career. The band have come a long way from the group's infamous first concert as a three-piece with a drum machine in 1979 at the legendary Erics club in Liverpool, The Bunnymen still perform sell-out concerts across the world today.

                                                    Their seminal albums 'Crocodiles', 'Heaven Up Here', 'Porcupine' and 'Ocean Rain' have been a major influence for acts such as Coldplay, The Killers and The Flaming Lips whilst later albums 'Evergreen' and 'What Are You Going To Do With Your Life?' and 'Siberia & Meteorites' demonstrate what an amazing body of work the band have.

                                                    The Bunnymen are still revered by those in the best of popular culture. In the past year alone, the highly acclaimed and culturally phenomenal Netflix series 'Stranger Things' has used the song 'Nocturnal Me' whilst the equally comparable '13 Reasons Why' has used 'The Killing Moon', a song also used on another Netflix show, 'Dead of Summer'. 

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Luminous Coloured Double Vinyl. RSD Stores Exclusive limited edition.

                                                    Coloured LP includes MP3 Download Code.

                                                    Echo And The Bunnymen

                                                    Crystal Days 1979-1999

                                                    A wealth of classic tracks on this superb 4CD set from one of the greatest Indie bands of the late 70's and 1980's. Echo and the Bunnymen's vision and originality shine through on tracks like "Rescue", "Over the Wall" and "A Promise". The set includes 17 rare B-sides and live tracks (many appearing on CD for the first time), an absorbing colour booklet and remastered original recordings. The sort of retrospective a band of this quality deserves.

                                                    Echo & The Bunnymen

                                                    Crocodiles

                                                    Heralded upon its release (in July 1980) as the first great album of the new decade, the crucial thing about "Crocodiles" was that whilst its authors were of the Punk Generation, the record itself was a clear cut away from Punk. Grandiose, doomy, dead catchy but edgy too, the sound was a bit psychedelic with nods to Syd's Floyd, the VU's minimalism, The Doors otherworldly poeticness and dynamism and a clear fondness for the trashier sounds found on Nuggets and Pebbles. But how they got so good so fast is still astonishing (singer Mac was only 20!) This reissue collects 1981's "Shine Scotland Live EP" and some smart early versions for the first time onto one disc. And OK, I suppose you better add 'slightly Gothy' to that list of sounds! And the word 'incandescent'!

                                                    Echo & The Bunnymen

                                                    Echo & The Bunnymen

                                                    Whilst only Mohammed Ali could big himself up more than Ian McCullough, the Bunnymen vocalist could also be disarmingly honest. He said they'd got straight A's at A level with "Ocean Rain", tried to graduate with this record and failed. They'd gone for a mainstream, clean rock production with all their special quirks shorn off and a lot of it misses the mark. However "The Game", "Lips Like Sugar" and "Bedbugs And Ballyhoo" are right up there with their very best. As is "Bring On The Dancing Horses" included here in its gloriously indulgent 12" extended-version-majesty.

                                                    Echo & The Bunnymen

                                                    Heaven Up Here

                                                    When this was released in June '81, the Bunnymen were the cult band in the UK. And to many of those fans this LP represents their finest hour. They loved the weirdness, because to my ears this is easily the Bunnymen's least poppy album: dark, mysterious and requiring repeated listens before it unfurls itself. From another planet, really, properly moody and complex, but out of the labyrinthine confusion of angular guitars and weirdly melodic bass, rose the truly epic "Over The Wall". An absolute classic and influence on The Roses own epic "I Wanna Be Adored". There's five bonus tracks here, including a great live version of the album's other highlight "All My Colours".

                                                    'Legendary Liverpool band Echo & the Bunnymen release their 12th studio album and first since 2009, Meteorites. Produced by Youth (Killing Joke, The Verve), the album contains ten hand-picked new songs written by founder Ian McCulloch and performed by Bunnymen stalwarts Mc Culloch and Will Sergeant along with Gordy Goudie (guitar) and Stephen Brannan (bass).

                                                    It’s an intimate song cycle written by Ian McCulloch performed by the band with a renewed sense of purpose showcasing all of their unmistakable musical hallmarks while taking them to a new level. Says McCulloch: “’Meteorites’, the new Bunnymen album…at long last we’ve made the worthy successor to ‘Crocodiles,’ ‘Heaven Up Here,’ ‘Porcupine’ and ‘Ocean Rain.’ ‘Meteorites’ is what Echo and the Bunnymen mean and are meant to be—up there in heaven--untouchable, celestial, beautiful and real. It has changed my life”

                                                    STAFF COMMENTS

                                                    Andy says: Massive sounding return to form. Deep, doomy and beautiful. Return of The Mac.

                                                    Echo & The Bunnymen

                                                    Porcupine

                                                    'Porcupine' is Echo & The Bunnymen’s most profound & personal album from their early period. Weathering band turmoil, rejections from their record company & spans of song writing drought, the group emerged with a passionate & compelling set of songs described by vocalist Ian McCulloch as “coming to terms with the opposites in me.” Following their fourth Peel session in early 1982, the band chose Ian Broudie, leader of The Lightning Seeds and co-producer of Echo’s 1980 album Crocodiles, to produce Porcupine. 

                                                    While the album includes both “The Back of Love” & “The Cutter” (two of their most upbeat & successful singles), most of the material was fairly introverted & autobiographical. Unfortunately suffering negative reviews upon release (including a misguided hate-piece in the NME), Porcupine has since become a gold standard for both the band & British underground rock from the ’80s. It’s also simultaneously their most retro album & their most forward looking. The production is full of guitar effects that must have set the mind of Kevin Shields onto the path to My Bloody Valentine’s own masterpiece, Loveless. In addition to the “The Cutter” & “The Back of Love”, Porcupine includes songs such as “My White Devil,” “Heads Will Roll,” & “Porcupine” that transcend & enlighten to this day. It’s an essential album from one of the most influential bands of the post-punk movement.

                                                    STAFF COMMENTS

                                                    Andy says: Heavy, powerful, totally original, sometimes melodic sometimes fractured post-punk rock. An amazing band.

                                                    Echo & The Bunnymen return with their 10th studio album. As bashful as ever Ian McCulloch affirms 'It's our best album since "What Are You Gonna Do With Your Life?" No actually, I'm gonna say it's the best album since "Ocean Rain". "The Idolness Of Gods" is possibly the greatest song I've ever written'.

                                                    Echo Collective

                                                    Echo Collective Plays Amnesiac

                                                      Over the past few years orchestral instrumental music from outside the classical establishment has become huge, and Neil Leiter and Margaret Hermant of the Belgian Echo Collective have witnessed the evolution and extraordinary rise of this movement right up close. They've worked with some of the most important players, including Stars Of The Lid, Dustin O’Halloran and Adam Wiltze’s A Winged Victory For The Sullen and O’Halloran’s solo projects, as well as Jóhann Jóhannsson. And though the Echo Collective members themselves very much do come from within the classical music establishment, they don't care which side of the fence they are seen to be on. It was this which grabbed the attention of German music hub !K7's new sub-label 7K! - who have signed them for a two album deal: first to release the Amnesiac reinterpretation, then for a record of Echo Collective's own compositions.


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