MAGIC MIX

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BACK CATALOGUE - F

First Aid Kit

You Are The Problem Here

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

    Taken from the new album "Ruins". Studio version & a version recorded live in Stockholm. 

    Frank Zappa

    Lumpy Gravy: Primordial

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

      Lumpy Gravy: Primordial contains Frank Zappa’s first orchestral-only edit of the music sessions recorded at Capitol Studios during 1967. This self-described “ballet” was never officially issued until 2008 on the posthumous collection Lumpy Money. This April it makes it’s debut on limited edition 12” 45rpm mono translucent burgundy colored vinyl, mastered from the original 1967 1/4” mono master tape, with FZ’s original gatefold album design lovingly restored.

      Serious Poke is the debut solo from Fred Abbott the London-based musician, until now, best known as lead guitarist and keyboard player in the recently disbanded Noah And The Whale.

      A supremely talented multi-instrumentalist and songwriter, Abbott joined Noah And The Whale in 2009 and went on to huge success, especially notable being his contribution to 2011‘s Platinum-selling and highly acclaimed Last Night On Earth.

      Abbott enlisted the help of his Noah And The Whale compadres and other friends for the recording of Serious Poke, with sessions taking place at West London’s British Grove Studios over the past year. The album was co-produced by Fred with Martin Hollis, whose diverse credits include Grinderman, The Rolling Stones and Take That.

      Fred Anderson & Hamid Drake

      From The Ocean To The River

      Following up on their 2004's acclaimed "Back Together Again" on Thrill Jockey, Drake and Anderson set out to show just how much they've grown, how beautifully their work together has evolved. The closest of relationships gives its members space to expand, change, develop, and play. Tenor saxophonist Fred Anderson and drummer Hamid Drake have just that kind of partnership, one that has seen them periodically move apart and work extensively on other fronts. Over the course of some three decades, master saxophonist and prodigy percussionist have continued to reconfirm their commitment to their joint project. Drafting an all-star band consisting of fellow-Chicagoans, the twosome entered John McEntire's Soma Studios and proceeded to record their most relaxed, perfectly balanced date yet. In a discography that has gone from a handful of rare LPs fifteen years ago to a staggering number of discs on various labels today, it may seem hyperbolic to call "From The River To The Ocean" Fred Anderson's greatest album yet, but the empathy and cohesiveness of the ensemble, coupled with the saxophonist's brilliant, searching improvisations, makes it a ringer.

      Findlay Brown

      Losing The Will To Survive

      Findlay Brown is making big waves right now. The release of his debut album, "Separated By The Sea", has met with massive critical acclaim, garnering four and five star reviews across the board whilst his recent live shows have been going down a storm. Findlay Brown's music incorporates elements of both psychedelia and folk to mesmerising effect, perfectly demonstrated on "Losing The Will To Survive".

      FORMAT INFORMATION

      12" Info: The 12" features both the 'album version' and the 'Beyond The Wizards Sleeve Reanimation' of "Losing The Will To Survive".

      Ltd 7" Info: The 7" includes a cover of Jesus And Mary Chain's "Just Like Honey" on the B-side.

      Findlay Brown

      Losing The Will To Survive / I Will (Ghost Ship)

      With influences ranging from Simon and Garfunkel, Jackson C. Frank, The Band, Spirit and Family to Funkadelic and Kraut-rock Findlay has a deep vein to mine for musical inspiration. These solo acoustic songs were recorded in the bedroom of his producer, Simon Lord, formerly the singer with psyche rockers Simian. They illustrate Fin's understanding of the craft of song-writing, an understanding he shares with the likes of David Crosby or Jose Gonzalez. Blessed with a voice that will inevitably melt hearts, Findlay drapes "Losing The Will To Survive" in lush vocal harmonies, reminiscent of a long lost classic. "I Will (Ghost Ship)" is a heart breakingly beautiful and intimate ballad. This is the first release on new label All Good Things, whose philosophy is to release accessible records big on personality, right across the musical genres.

      FORMAT INFORMATION

      CDS Info: CD single includes bonus track "Don't You Know I Love You".

      Super Rhythm Trax unveil their brand new side label Bleeper, which will concentrate on a slightly tougher strain of techno than the rattling warehouse beasts previously purveyed. First out of the gate are Ford Foster who've previously graced Unknown To The Unknown and Opal Tapes. Joined by Frankie Castle with "Bounce That", an ingenious ghetto house jam with a serious twist. Backed with a Jerome Hill remix that strips the whole thing down leaving the bare ingredients to do damage on the dancefloor. Also included are an instrumental version of the original, and the slo mo banger "Shake That". With its parent label Super Rhythm Trax a highly coveted label we expect these units to move quick sharp...

      STAFF COMMENTS

      Matt says: More illicit nightclub weaponry from the same folks that brought you Super Rhythm Trax.

      Freddie Chavez

      They'll Never Know Why / Make Up Your Mind

      Freddie Chavez hails from Albuquerque, New Mexico, and still performs in local bars and clubs. He recorded his masterpiece “They’ll Never Know Why” in 1968 for Look Records, a division of Starday out of Nashville. It made little noise Stateside but went on to become one of the most popular floor fillers at Wigan Casino and just about every other venue at the time and since. DAVE NEWMAN also recorded just one single for Look Records in ’68, “Make Up Your Mind”. The song was written by Freddie Chavez and would have made a wonderful follow up to “They’ll Never Know Why”. However, Newman does it justice and it did have its moment of fame on the UK Northern Soul scene but has yet to enjoy anthemic status.

      STAFF COMMENTS

      Andy says: I never went to Wigan Cassino or Legends. I was too busy big fish little fishin' at the Hac. However the legacy of soul music is difficult to ignore here in Manchester. Tracks like this show me why...

      Neapolitan born Franco Chiari was an eclectic artist whose polymathy on the keyboard made him stand out from the crowd. He played the piano, accordion, synthesizer, vibraphone and marimba in both jazz and symphony and picked up countless acolades for his virtuoso skills. For three consecutive years (1957/58/59) he won the National Jazz referendum, was vibraphonist in the national TV Orchestra and participated in numerous important broadcasts. In this album however, originally released in 1973 and now his most sought after work, he rearranges the compositions of Mario Bertolazzi electronically with the use of synthesizer on rhythms ranging from latin beats to funk. The result is a groovy voyage through lounge funk ("Rio Tu Ed Io"), electronic oddness ("Mi Manchi Troppo"), proto chipset ("Love Rides To Montecarlo") and dusty Bossa ("Bossanova Du Du Da").

      FORMAT INFORMATION

      Ltd LP Info: Numbered limited edition with digital downloads included and an amazing cover with splashes of paint, making each copy unique and unrepeatable.

      Frank Cordell

      Demon - From The Original Motion Picture Soundtrack

      Stylotone in association with The Frank Cordell Estate and writer, director & producer Larry Cohen is proud to announce the World Premiere Release of ‘Demon - From the Original Motion Picture Soundtrack’.

      A joint Academy Award and Golden Globe-nominee in 1970 for his soundtrack to ‘Cromwell’, Frank Cordell also composed the infamous unused score to Stanley Kubrick’s ‘2001: A Space Odyssey’.

      The 4-Track 45rpm Vinyl Only 7” EP features music from the Original Motion Picture Soundtrack to the cult 1976 horror film ‘Demon’ (also known as ‘God Told Me To’). The EP has been assembled, mastered and cut by Sean Magee at the world famous Abbey Road Studios in London.

      Frankie Cosmos

      Next Thing

      Greta Kline's musical output as Frankie Cosmos exemplifies the generation of musicians born out of online self-releasing. Kline initially built a reputation with her prolific catalog of bedroom recordings and as a performer and advocate of New York's All Ages DIY scene. The beauty in Kline's writing does not lie within immense statements and large gestures, but instead can be found in her ability to examine situations and relationships with heartbreaking sincerity.

      In 2014 Kline released her first studio album, Zentropy. Within months of its release, Zentropy became one of the most critically acclaimed independent albums of the year and was named New York Magazine's #1 Pop album of 2014. In 2015 Kline signed to Bayonet Records, immediately releasing an EP where she experimented with writing in an electronic setting. The EP Fit Me In was well received and garnered a Best New Track from Pitchfork. Kline then began recording her next album appropriately titled, Next Thing. Like Zentropy, Kline approached Next Thing by fleshing out several old home recordings, and by writing half of the album from scratch. Next Thing explores new emotional and instrumental territory for Kline.

      FORMAT INFORMATION

      Coloured LP Info: Limited sky blue vinyl for Indie stores only.

      Francesco De Masi

      Fuga Dal Bronx

        Fuga Dal Bronx - Original Motion Picture Soundtrack LP. Music by Francesco De Masi. Original Artwork by Luke Insect. Pressed on 180 Gram Black Vinyl. 

        FUGA DAL BRONX (also known as ESCAPE FROM THE BRONX) is one of Director Enzo G. Castellari's crowning achievements. It's part of his low budget MAD MAX-inspired trilogy that started with 1990: THE BRONX WARRIORS and I NUOVI BARBARI. FUGA, though, is the jewel in that particular crown, and is so over the top it makes MAD MAX 2 seem like a Disney film.

        Dispensing with story all together, Casterllari is able to go wild with crazy over-the-top stunts, explosions and gratuitous violence. Francesco De Masi's score is nothing short of masterful proving why he is one of the greatest (unsung) composers that worked in Italian genre pictures during the exploitation heyday of the '70s and '80s.

        His score veers from tense, smokey, jazz-inspired moodiness to full on rousing funk action, masterfully composed and beautifully orchestrated. It's another essential Italian score that deserves to be in your collection.

        FORMAT INFORMATION

        Ltd LP Info: Limited to 150 copies.

        Floyd Dixon / Tony Harris, JJ Jones And Band

        Ooh Little Girl / Try This Li'l Ole Heart

        Two killers from the Ebb stable back to back! On side A Floyd Dixon hits us with the brilliant jivin' rock & roller "Ooh Little Girl", while on the flip Tony Harris, JJ Jones And Band deliver hollering slinkie slowie "Try This Li'l Ole Heart".



        FORMAT INFORMATION

        7" Info: Limited dinked reissue with replica US label artwork. 500 copies only.

        Fabiano Do Nascimento

        Tempo Dos Mestres

        "Tempo dos Mestres" (Time of the Masters) is the second album from the tireless, young Brazilian guitarist Fabiano Do Nascimento. It finds its roots in the depths of the Amazon rainforest, passed down through generations of Native Brazilians, and is imbibed by the Afro-Brazilian culture that arose after Portuguese colonization. This blend is not new in Brazil, and is represented musically by great Brazilian musicians both known and celebrated - the guitarist Baden Powell and catalyst Hermeto Pascoal, both direct influences on Do Nascimento - and less exposed, like the experimentalist Carioca, one of Do Nascimento’s mentors, and the Brazilian psychedelic pioneer Lula Cortes, whose album Paebiru rewrote Brazilian rock’s history in 1975. It is the third Brazilian album released on Now-Again, following Seu Jorge and Almaz and Do Nascimento’s debut "Dança dos Tempos". Do Nascimento's is joined on Tempo dos Mestres by his long time percussionist, Ricardo "Tiki" Pasillas on trap drums and percussion, and Sam Gendel on saxophone and flute. Vocals are performed by Thalma de Freitas and Carla Hasset. These tracks were recorded live in the studio with no overdubs, straight to 2” analog-tape, and only sparingly mastered to focus on the subtleties of the performances. 

        STAFF COMMENTS

        Patrick says: Less acoustic than its predecessor, "Tempo Dos Mestres" sees Do Nascimento embrace a fuller, more rhythmic sound on this follow up, treating us to a well rounded taste of Brazil.

        FORMAT INFORMATION

        LP includes MP3 Download Code.

        Francois Dubois & Master H

        La Balance - Inc. Dirt Crew Remix

        Everyone's favourite Gallic alter ego meets a real Frenchman as the master of the deep and Funk D'Void's uncanny doppelganger François DuBois comes head to head with Master H. "La Balance" is an upbeat house builder with techy touches and an irresistible funky, percussive driving groove going on. On the flip the Dirt Crew take the track on a deeper tech-house trip, ironing out the percussion and tying the track to a rigid, solid driving kick and stabby acidic bassline.

        'More guns than Goodfellas, more cocaine than Scarface', F**k Me USA was started in February 2006 as a concept, a group designed as an idea; everything, from the lyrics, the notes, the artwork, the instruments and the press shots needed to be in place before a single note was played. What followed was twisted film noir storylines over a 150BPM beat, sung in a style not dissimilar to Alan Vega's from '77s New York punk scene. F**k Me USA are Chris Olley and James Flower sometime members of Six By Seven.

        F**k-Off Machete

        If Gold Was Silver And Silver Was Gold

        Fuck-Off Machete are the latest beautiful new animal born from the fertile Glasgow scene. Quick on the draw and a force to be reckoned with, they formed in 2003 after the demise of bassist & vocalist Natasha Noramlys previous band Ganger (Domino), and began recording their debut album a mere three months after inception. Fuck-Off Machete's music is as strong as it is catchy, displaying a stripped-back and raw three-piece dynamic. Fractious guitars flanked by mighty bass and solid rhythms propel the centrepiece of vocals simultaneously both innocent and commanding. Descriptions such as 'noise-pop' do little to describe the pulverising hooks and seductive stage presence, and references such as Sonic Youth, Polvo, and Joy Division will still leave you unprepared.

        F/i

        Space Mantra

          First time on vinyl for nearly 30 years for this classic slice of American space rock. Milwaukee's F/i have been an ongoing concern since 1981, pioneering a certain brand of experimental rock which encompasses elements of industrial and psychedelic space-rock sounds. Originally a purely electronic outfit heavily influenced by Throbbing Gristle and prolific in the underground tape scene, they made the transition to 'rock band' in the mid '80s, and for many, 1988's Space Mantra LP remains the high point. With fuzzed guitars, metronomic rhythms, swirling synths and occasionally bucolic forays into blissful acoustics, it's a masterful take on cosmic music during the Reagan years. It was previously only ever released on LP once by the famed RRRecords label - Sorcerer is proud to see it back in print as it was. Limited edition of 500 copies. Recommended for fans of: Hawkwind, Amon Duul, Causa Sui, Cluster.

          For 124 Recordings' 4th release, Austrian producer Fabe steps up, and with the help of 2 killer remixes, delivers an EP that ticks all the boxes. The original "Dusty Chords" starts as it means to go on with a baseline that instantly draws you into the groove before the chords lighten the mood and show you what this track is all about. Lush pads lift the track again and the ever evolving sounds keep you well and truly locked in as the track twists and turns to its climax. Swiss man of the moment Washerman is first up on remix duties taking a more direct route. His trademark beats are quick to get going before playing in his own riff with the original chords. Lush pads again provide a lift and vocal snippets from the original give this remix a real feel good vibe. Rounding the EP off in style is a slow burning and deeper mix from Desos. Blissed out chords and a floating string are complimented by a killer baseline to give this track an irresistible contrast that makes it perfect for warming up the club.

          Fabio Fabor / Armando Sciascia

          Infini

            THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

            First ever commercial release for this ultra-rare Holy Grail 1972 Library/Production Music
            Limited Edition 200 GRM Deluxe Replica LP with exclusive scholarly liner notes (by Alvin Lucia) and exclusive commissioned inner sleeve artwork
            Full dynamic range 2016 remaster direct from the first generation analogue master tapes

            Co-signed by the mysterious Fabio Fabor and the renowned Armando Sciascia, Infini is a masterpiece of avant hauntological orchestration.

            Prepared pianos collide with subterranean VCS3 synthesis and mournful ornate strings, spectral choral arrangements ride menacing drones and eldritch bass rumbles in a phantasmic cinematic skin. Recorded between 1970 and 1971(and issued on the esteemed French ‘Musique Pour L’Image' Library label in 1972), these sublime and concise symphonies of apocalyptic pulp dread receive their first ever commercial release here and are presented with 4 incredibly rare extra tracks from the original sessions.


            With engineer / producer Alex Newport and Fat Mike on production duties Fabulous Disaster are charged up and ready to steal your underwear with an all-out punk rock "Panty Raid!". 14 songs that are true to the band's gritty live sound, while retaining their knack for melody and hooks. Fabulous Disaster are up there with other women bands like The Donnas and The Distillers.

            Fabulous Disaster

            Put Out Or Get Out

            All girl band on Pink & Black : torn fishnet stockings tattoos and punk-fire. They play tighter than an elephant-sized cork shoved in a gnat's arse! It's all about the devastation and the smeared lipstick! Touring and more tattoos to follow.

            Face To Face

            How To Ruin Everything

            "How To Ruin Everything" sees Face To Face reaffirm their status as one of the 1990s new-punk trailblazers who have often been cited by bands like Blink 182 and the Alkaline Trio as major influences. Trever Keith, Scott Shiflett and Pete Parada formed as a trio in 1991 with a passion for old skool punk rock and this direct, no nonsense approach is there to be heard on this 2002 punk epistle.

            The Face Vs Mark Brown & Adam Shaw

            Needin’ U – Dimitri From Paris Remix

            David Morales’ legendary track ‘"Needin U" is a landmark in house music culture all the way from its release in 1998 and remains a seminal classic in dance music history. In celebration of the tracks 20th Anniversary, French legend Dimitri From Paris has created yet another thrilling remix of The Face vs. Mark Brown's previous version of "Needin U", released in 2009 via Cr2.

            With plenty of calibre under his belt, including disco remixes of Chic and Sister Sledge, Dimitri From Paris’ take on this all time house classic is not only marked by his acclaimed signature sound - live instrumentation, booming four to floor beat, dynamic rhythms and energizing bass lines, but the fabric of David Morales’ legendary track is evident throughout. Whether for the casual dance music fan, household DJ or an enthusiast for the all-time classics, this remix is a must listen.


            FORMAT INFORMATION

            12" Info: Limited to 1500 units worldwide – one sided 12” numbered vinyl.

            Faces

            First Step - Orange Vinyl Edition

              When Steve Marriott left The Small Faces, Ronnie Lane and Ian McLagan recruited Ron Wood and charismatic frontman Rod Stewart and changed their name to The Faces. First Step, which was released in 1970, was their first LP. Gone was the smart, tight Mod sound (and style) of their previous incarnation, and in came a looser, bluesy rock’n’roll. As its name implies, this is the sound of a band finding its feet, and although it’s slightly shambolic, it’s all the better for it.

              Faces

              Ooh La La

                The Faces' 1973 valedictory effort was initially received in critical communities as something of a disappointment – a kind of hangover record following the vaulting heights of Long Player and A Nod Is As Good As A Wink … To A Blind Horse. Over the course of time, it has become the band's defining work. Blues-inspired workouts like "Cindy Incidentally" and "Glad And Sorry" demonstrate that the Faces have lost nothing off their considerable fastball, while the caution to the wind fuck-around "Borstal Boys" almost dares punk rock to happen. Finally we have Lane's ruminative title track at the album's conclusion – a gorgeous and wry concession to youth as a kind of slow gathering death. "I wish I knew what I know now / When I was younger" may qualify as the greatest and most knowing final salvo line ever authored by a truly legendary band.

                FORMAT INFORMATION

                LP Info: Limited red vinyl.

                FACS

                Negative Houses

                  FACS sprung forth in early 2017 , Brian Case, Jonathan van Herik & Noah Leger were formerly of Chicago band Disappears. "Negative Houses" is their debut recording; an abstraction of their former outfit, even more minimal and bare than what came before. "Negative Houses" approaches the stark, gothy post-punk previously perfected more rhythmically and abstract than in Disappears, with Leger's motorik, machine-like drumming taking the forefront (see the tunes 'Skylarking' and 'Others') and van Herik's guitar alternating between slashes of dissonant ambience and percussive accent. Case switches from guitar to bass in FACS, adding an economical throb to the band's drive on songs like 'Just A Mirror' & the album's centerpiece, the near nine-minute, sax-soaked tour-de-force 'Houses Breathing', whose electric heartbeat lumbers forward, sounding like an outtake from Cold Storage Studios circa 1979. 

                  The music is taken from a project originally commissioned by London’s Science Museum to live score Fritz Lang’s 1927 cinematic landmark, Metropolis on it’s 90th anniversary. The band performed the score live at the Science Museum’s IMAX in April 2017 in an event that was part of the acclaimed Robots exhibition and series. This new release is a studio recording of the 150 minute score, recorded in its entirety and mixed by Nik Void with the exception of the tracks ‘Heart of Data’ and ‘Babel’ which was mixed by award-winning producer Marta Salogni. ‘A Soundtrack For A Film’ will be made available for the first time as a box set comprising four x 12" vinyl on the band’s own imprint H/O/D Records.

                  The artwork is by British artist Haroon Mirza adapted and arranged by Nik Void in collaboration with illustrator Sam Moore. Factory Floor are Nik Void and Gabriel Gurnsey whose electronic improvisational style of performance has seen them at home in gallery spaces like Tate Modern, to clubs like fabric and Berghain to a remote volcanic Island of Stromboli in collaboration with artist Haroon Mirza. Their critically acclaimed second album 25 25 was released in the summer of 2016 on DFA Records. 

                  ONE COPY ONLY LEFT!

                  Limited repress on GREEN vinyl on Factory Floor's own imprint FFR recordings especially for Record Store Day.. “more in tune with industrial funkateers such as 23 Skidoo, the electro drive of Giorgio Moroder or the creeping unrest of NY madmen Liars. 'Solid Sound' actually sounds quite like Plastikman, Richie Hawtin's best known minimal electronic nom-de-plume and pounds metronomically for 12 blissful minutes. More bubbling technoid shenanigans open side two of this enigmatic slab of clear wax - 'Lyin' features stunning live percussive elements & some seriously beastly noises, the occasional downbeat, muffled vocals are intoned in pace with the relatively frantic rhythm, the whole song climaxing in a burst of industrial noise.” Norman Records. NME - Live Section - 6th Feb 2010: An ancient arpeggiator blasts out a two note refrain.....colossal bursts of guitar noise teased out by (a) violin bow means it already sounds like Giorgio Moroder having a massive coronary by the time the the metronomic drum tatoo starts. And then it becomes REALLY intense. Their absence of compromise and a sound so brutally propulsive it would deny any attempts at dilution, recontextualisation or polish.NME - What's On The NME Stereo - Lyin' - 16th Jan 2010 Never before has disco sounded so beautifully cruel. Artrocker - Live Section - Nov 2009 People have born witness to something unconventional indeed: a set where voilin bows violently attack guitar strings. Where tribal rhythms ride along a storm of chanted vocals and drones, all processed through effects that make them sound dark and unearthly.

                  FORMAT INFORMATION

                  Ltd 10" Info: 10" and DVD.

                  The wait's finally over and one of the most hotly anticipated records of the year is on the platter. "Turn it Up" opens the record in sparse fashion, a heavy duty drum track with plenty of rhythmic complexity and some trippy vocals, but where are the synths? Patience is a virtue. Building up out of near silence, a whirling arpeggio sets "Here Again" in motion, as human and machine percussion marry perfectly amongst a backdrop of ever changing sounds and fx. Theirs is a music repetitive and metronomic in tempo and signature yet ever shifting, ever surprising, ever ear-boggling. A battered drum kit, Jomox Xbase drum machine and Roland SPDS sample pad create the tools for deep and effective hypnosis.  A Fender Telecaster is brutalised with fists and fraying violin bow, an assault complimented by Roland SP555 sampler. For those in the know, previous singles "Fall Back" and "Two Different Ways" appear here, perfectly exemplifying the collision of analogue techno, heavy synthesis, EBM vocals and industrial acid which the trio have made their own. On their own terms and in their own league, Factory Floor have lived up to the hype and then some.


                  STAFF COMMENTS

                  Philippa says: When making music, like art, part of the process is knowing when a particular piece is finished. The temptation to embellish, to fill-out, to just-add-one-more-thing is often given in to. Factory Floor (Gabriel Gurnsey, Dominic Butler and Nik Void) show us exactly how much is enough on their debut eponymous album. All excess fat is trimmed from these tracks – even the geometric pattern on the sleeve alludes to this with its tessellating Stanley knife / cutter blade shapes. This is dancefloor music pared down to muscle and bone. The London trio combine heavy synthesis and live instrumentation – human and machine – to create alt-dance music of dynamism, tension and relentless propulsion. Gurnsey’s tight, metronomic kit drumming sets the pace, pushing the tracks forward, while Butler’s layered, oscillating analogue synths and arpeggiated, sequenced keyboard lines fill the space above with morphing, modulating complexity. Void’s detached, treated robotic vocals sound like the broken transmissions from a computerised dystopian future. Crashing Linn drums, guitar feedback, woodblocks and cowbells complete the picture, but there is always still enough space between the instruments, giving the tracks room to breathe. With a lineage that can be drawn through krautrock, post-punk (they’ve previously worked with New Order’s Stephen Morris), electrodisco, industrial (Void records as Carter Tutti Void with Throbbing Gristle’s Chris Carter & Cosey Fanni Tutti no less), EBM, acid house and even other DFA acts, Factory Floor have moved beyond direct influence and pastiche to create electronic dance music that is totally their own. Raw, brutal, intense, this is EDM Factory Floor style.

                  Factory Floor

                  Transform / Wonder

                  Factory Floor take to their H/O/D (Heart Of Data) imprint for the second time with toxic ooze and body move of "Transform / Wonder". Inspired by Maria's (me neither) metamorphosis from human into robot, "Transform" starts out with a swelling haze of scuzzy ambience and scattered percussion, setting an eerie tone before gradually emerging as a hypnotic, teutonic synth stomper. Deceptively simple, the track slays with solid kicks, well tempered hats and a relentless, irresistible bassline. Grunting machine idents and buzzing synths hint at a digitised soul, but really this jam's all about the body. B-side offering "Wonder" cuts a shadowy silhouette, setting mournful but moving waveforms to a sombre bassline and slow moving kick drum. Amid the whispered vocals, cinematic synth swells and vintage percussion idents, this could eaily be a rare foray into clubland for Vangelis or John Foxx. 

                  Fad Gadget

                  Fireside Favourites - Mute 4.0 (1978>Tomorrow) Edition

                  Fifteen years and four stone ago I used to hang out at Manchester's Retro Bar, a cheap n cheerful scenester haunt with a proper sleazy basement. Amongst other attractions on offer there was a night called Barbed Wire Kisses run by the infamous Jake Barnes. An acolyte of the Dark Wired Sound, Jake introduced me to many a musical oddity, but none were as strange, terrifying and totally irresistible as Frank Tovey's Fad Gadget. The first signing to Mute, Tovey operated at the foremost fringe of the UK's DIY electronic movement, composing lust-songs for drum machine and synth from his 80s bedsit. Bursting onto the scene like an electronic Iggy Pop with a penchant for uncompromising performance art, Tovey spent the next two decades auto-asphyxiated by the microphone lead, covered in tar and feather while shaving his pubic hair - all on stage.
                  Despite his best efforts to outweird anyone and everyone, these challenging antics did nothing to distract from the music, and a quick listen to the soundclips here should tell you exactly why. Wasting no time on the foreplay, "Fireside Favourites" dances from the skewed white funk of "Pedestrian" through the low slung growl of "State Of The Nation" to the unhinged electro pop of "Salt Late City Sunday". Then comes the unstoppable, unparallelled sleaze synth hit "Coitus Interruptus". Not only was this the first Fad Gadget track I ever heard, it has remained my favourite ever since, and a constant feature in my record box. The titular "Fireside Favourite" closes the side with a completely batshit and utterly hilarious pub-rock piss take. 
                  I could keep going, maybe mention the serrated post punk of "Newsreel", the uncompromising techno of "Insecticide", medicated storytelling of "The Box" or cinematic scuzz of "Arch Of The Aorta", but ultimately, words will never do this justice. The finest moment in the Fad Gadget repetoire, and arguably the best synth pop record ever made, this is an essential item folks. Now available on orange vinyl.

                  STAFF COMMENTS

                  Patrick says: I love my job. Today I got to listen to my favourite Fad Gadget record, from start to finish, at punishing volume. Bedsit synth's most uncompromising figure, Frank Tovey is a legend around my gaff, and his debut LP is also his best. Twisted, tongue in cheek lyricism set to infectious (and infected) synth grooves, "Fireside Favourite" balances the funk and punk spirit in the most visceral fashion.

                  FORMAT INFORMATION

                  Coloured LP Info: Limited edition of 500 on orange vinyl.

                  SB Traxx returns for their second outing, flexing four original club Traxx from Anthony Fade. 'Mind Games' opens things up - a Jackin' acid drum machine workout awash with 707 hits and 303 squelch. The A2 'M1 Cause Everyones Gotta Have Fun' then hits you with a piano rave weapon - gritty and hard hitting coupled with those classic M1 stabs.
                  Flip it over for a top-down summer anthem in 'I'm Weak' marrying RnB tinged vocals and shuffling rhythms before 'Dr. Ice' closes it out with a golden-era hip hop inspired deep house groover.

                  STAFF COMMENTS

                  Sil says: A bit of techno and a bit of house in this solid SB Traxx release. 'Mind Games' is the tune here for me - acid house with a touch of industrial techno. Followed very closely by the hands in the air 'Cause Everyones Gotta Have Fun'. Worth its price for these two bangers.

                  Faded Grey

                  A Quiet Time Of Desperation

                  Formed from the ashes of Tomorrow's Gone, Faded Grey have been honing their sound for the last two years and these are their strongest recordings so far. Fast driven hardcore with a ton of heart and sincerity that can't fail.

                  Fader

                  First Light

                    First Light is the debut album from Fader – a new band formed by Neil Arthur (Blancmange/Near Future) and Benge, whose work includes his own solo albums, co-production with Gazelle Twin, plus he’s in two other critically acclaimed bands – Wrangler and John Foxx And The Maths. The music was recorded and mixed at Benge’s MemeTune Studios while Arthur worked on lyrics and vocals in his home studio. The resulting album is full of powerful electronic pop songs – up-tempo, dark, with flickers of beauty in the sounds and rhythms that echo old Joy Division tunes and even bands like The Sound at their most synthesizer heavy. Opening with the psychedelic strangeness of ‘3D Carpets’ (inspired by Hunter S. Thompson’s Fear And Loathing In Las Vegas), the album launches with a salvo of exhilarating electronic rock/pop songs including ‘Check The Power’ - an OCD meltdown with fierce electro surges – and Fader’s debut single, ‘I Prefer Solitude’ (due out on 7 June) with its brilliantly insistent chorus. From that point the record buries deeper into melancholy nostalgia; internalized, dead-of-night fears; stream-of-conscious visions of city life and evocative descriptions of lost and lonely figures who find themselves out of time and out of place. The slower tracks such as ‘Laundrette’, ‘Trip To The Coast’ and ‘Liverpool Brick’ are full of longing, with Arthur writing some of the finest lyrics of his career. 

                    The debut album from legendary Sheffield band Faerground Accidents sees a brilliant collection of late night songs, a missive from bohemia laced with perfect melodies and a bright and thrilling rush of neon melodies and great acidic lyrics from a band that Adam Ant calls the best new band in the UK and are also tipped for success by the likes of Richard Hawley and Jarvis Cocker.

                    “With witty vignettes comparable with the bedsit psycho-sexual melodrama of the likes of old Moz himself, witty kiss offs (“I went to the supermarket after every one of those/And I spent my last pennies on a value meal for one”) capturing the futility, fumblings and fragility of affairs of the heart, it’s a rather smart tune indeed..” GODISINTHETV

                    “An eclectic group that merges the fey eroticism of Pulp with the solid chops of a machismo rock band. Faerground Accidents have managed to forge a distinctive style that’s both enigmatic and direct. And, quite frankly, that I can’t get enough of!”
                    Lee Adcock (Dandelion Radio).


                    FORMAT INFORMATION

                    Ltd LP Info: Limited to 500 copies.

                    Ltd CD Info: Limited to 500 copies.

                    Scott Fagan’s debut album, ‘South Atlantic Blues,’ is a genuine lost classic - a mystical, mythical and deeply soulful masterpiece.

                    Recorded when Scott was just 21, virtually homeless and with pennies to his name, it was released in 1968 on Atco Records but remained obscure, confounded by a series of frustrating near-misses. From being mentored by Doc Pomus to being discovered by Jasper Johns, Scott’s incredible story and music unfolds on ‘South Atlantic Blues,’ remastered and reissued for the first time ever on CD and vinyl on Saint Cecilia Knows (the label that also released the acclaimed Mickey Newbury box set, ‘An American Trilogy) in association with Scott Fagan’s own lil’fish records.

                    Steeped in delicate psych, soul and resonant acoustic guitars “that stroke and stone you to the core” (Shindig). It’s an epic song cycle about Fagan’s hard-scrabble life in the Virgin Islands, where he was raised and lived until 19 before returning to his birthplace of New York City. A teenage prodigy, mentored and managed by songwriters Doc Pomus and Mort Shuman, Scott recorded early material for Columbia and Bert Berns’ BANG label before signing with Atco. In 1969, artist Jasper Johns discovered ‘South Atlantic Blues’ in a cut-out bin, fell in love with the record, and used it as the inspiration for three artworks, known as ‘Scott Fagan Record.’

                    The pieces are now housed in the permanent collections of MOMA, the Met and the Walker Art Center. Born on 52nd Street, Scott was the son of a sax player and singer who fraternized with jazz greats. That familial connection with music would come full circle when Fagan discovered he was the biological father of songwriter Stephin Merritt of the Magnetic Fields. They did not meet until the premiere of a documentary about Doc Pomus in 2013. A conversation between the two is included in the liner notes of this CD release. The initial pressing of the vinyl comes as a limited edition, hand-numbered, 180g vinyl with a reproduction of Jasper Johns’ 1970 lithograph, ‘Scott Fagan Record,’ as cover art, and includes a digital download.

                    The CD comes with extensive liner notes, rare photos, and a download of five bonus tracks—the original 1965 demo for Doc Pomus as well as a recently-discovered acetate, the only copy in existence of a previously-unknown Doc Pomus song, All For The Sake Of Love, that only Scott Fagan recorded. 

                    John Fahey's final record released in his lifetime was the discrete album titled "Hitomi". It finds Fahey at peace with all his musical phases, working them together with a frail, fragile aesthetic supported by various reverb, echo and digital delays. Fahey creates a stark, naked sound which is 100% Fahey at its core.

                    John Fahey

                    How Bluegrass Music Destroyed My Life

                      Facts and fictions from one of our nation’s foremost fingerpickers! It sounds gross, but looks great on paper. Fahey on Fahey, if you will. His life is now an open book.

                      Paperback, 291 pages.


                      John Fahey

                      After The Ball

                      CD reissue of 1973 album originally on Reprise. this is a deliberate hotch-potch of Americana styles as Fahey chooses a wide ranging selection of material from twenties ballroom via the blues to folk roots and Hawaiian music. Nice cheesy cover too.

                      John Fahey

                      Hard Time Empty Bottle Blues (1-4)

                        One of acoustic music's true innovators and eccentrics, John Fahey was a crucial figure in expanding the boundaries of the acoustic guitar. He drew from blues, native American music, Indian ragas, experimental dissonance and pop, and was the first to demonstrate that the finger-picking techniques of traditional country and blues steel-string guitar could be used to express a world of non-traditional musical ideas. Fahey played with a fierce imagination and versatility, and while his idiosyncrasy may have limited him to a cult following, it also ensured that his work continues to sound startlingly original.

                        FORMAT INFORMATION

                        LP Info: Lovely overprinted clear vinyl.

                        John Fahey

                        Red Cross

                        A genuine innovator, John Fahey extended the entire scope of the acoustic guitar during a career spanning five decades. He took elements from many types of roots and ethnic music and fused them with new techniques, stylings and tunings. He was among the originators who applied the 'finger-picking' steel-string technique of country / bluegrass to different musical genres. He died aged 61 following complications after heart surgery and "Red Cross" is the final studio work from this prodigious talent. It is a simple and evocative set of tracks with a mood of peace and completeness as Fahey takes a more reflective approach devoid of the menace and angst of, say, "Womblife". There's still spine-tingling moments especially the version of Gershwin's "Summertime" and the old Negro spiritual "Motherless Child". The album is a fitting 'full-stop' to the career of one of the most idiosyncratic artists of the last fifty years.

                        FORMAT INFORMATION

                        LP Info: 180g vinyl edition.

                        John Fahey

                        Trancendental Waterfall: Guitar Excursions 1963-1967

                          The Transcendental Waterfall: Guitar Excursions 1963-1967 is a 6-LP box set drawing from JOHN FAHEY’s best, and most influential, period. Included in the set are Blind Joe Death, Death Chants, Breakdowns, And Military Waltzes, The Dance Of Death And Other Plantation Favorites, The Great San Bernardino Birthday Party, The Transfiguration Of Blind Joe Death, and Days Have Gone By, all reissued on 180-gram vinyl with deluxe tip-on jackets.

                          Also included are a t-shirt, a poster, and a postcard, all of which are housed in a deluxe box. An amazing package featuring some of the most important guitar solo recordings of the 20th century.

                          Limited to 2,000 numbered copies.

                          John Fahey

                          Vampire Vultures

                            The publication of "How Bluegrass Music Destroyed My Life" did a great deal to spread the word of Fahey's literary talents, although sadly only a year before he died. Originally a project of his own conception, "Vampire Vultures" was to be an epic work that would expand on many of the characters and experiences he introduced in "Bluegrass...". We will never know what this book would have been like if he had been able to complete it. "Vampire Vultures", however, is not a shadow of a greater work, but is instead a unique volume that allows the reader to walk deep in the mind of its creator. Compiled from his private papers, it includes noteboook entries, short stories, letters never sent, revealing the struggles and victories of a cult artist's life in modern America. Throughout, Fahey approaches broad subjects without fear and he offers his views on everything from religion to psychoanalysis, as well as, of course, music. He is hilarious and sharp and fun.

                            John Fahey

                            Volume 1 / Blind Joe Death

                              "Blind Joe Death" is the first album by American fingerstyle guitarist and composer John Fahey. There are three different versions of the album, and the original self-released edition of fewer than 100 copies is extremely rare. It was one of the first albums recorded and produced by an independent artist. The recording of steel string acoustic guitar solos was ''incredibly avant-garde'' in 1959. It was released on Takoma Records, Fahey's own creation, and not marketed. It made no impression on the American record-buying public. Its popularity, significance in guitar music, and critical reception has steadily increased over the years. The 1967 release received five stars in the second edition of the Rolling Stone Record Guide. Music historian Richie Unterberger characterized the impact of "Blind Joe Death", noting it as being ''a very interesting record from a historical perspective...as few if any other guitarists were attempting to interpret blues and folk idioms in such an idiosyncratic fashion in the late '50s and early '60s'. Richard Cook of the NewStatesman wrote 'Only 100 copies were pressed. Incredibly, it was still enough of a milestone to secure him an almost worldwide reputation'.

                              FORMAT INFORMATION

                              Ltd LP Info: Limited pressing, second edition.

                              John Fahey

                              Your Past Comes Back To Haunt You (The Fonotone Years 1958-1965)

                                Oversized, hardback book with Gatefold Portfolio housing 5 CDs inside Slipcase. More than 10 years in the making, this box set features the earliest recordings and the first book ever written about one of the most influential guitarists from the 1960s and ‘70s, John Fahey.

                                The five CDs feature 115 tracks, most of which are available on CD for the first time. The audio was remastered from Joe Bussard’s reel-to-reel tapes to achieve pristine sound quality. As for the accompanying book, the list of scholars who contributed essays includes Eddie Dean, Claudio Guerrierri, Glenn Jones, Malcolm Kirton, Mike Stewart and John’s childhood friend R. Anthony Lee. Byron Coley contributed a poem about John, and Douglas Blazek’s 1967 interview with Fahey is published for the first time.

                                Released 10 years after John Fahey’s death, this set puts one of the final puzzle pieces of Fahey’s career in place. Everyone can now hear where this guitar legend got his start – a smoky basement in Frederick, Maryland. Co-produced by Dean Blackwood of Revenant, Glenn Jones, and Lance Ledbetter of Dust-to-Digital, this set is released with the support of Joe Bussard and the John Fahey Estate. The set is dedicated to John’s mother, Jane C. Hayes and the late musician Jack Rose.

                                “...the folk guitar-playing equivalent of William Burroughs or Bukowski. (Fahey) had a real edge to him.” - Pete Townshend
                                “His music has that great feeling like in short fiction. It's unpredictable but inevitable. You're surprised but you realize that's how it had to happen, even though the elements are unpredictable. Every note was perfectly placed but unpredictable.” – Dean Blackwood, co-producer of Your Past Comes Back to Haunt You
                                "John was an essentialist, and the only thing essential to him was his art—his writing and his music—and everything else was just a distraction." – Dean Blackwood, co-producer of Your Past Comes Back to Haunt You
                                “Fahey was the first to demonstrate that the finger-picking techniques of traditional country and blues steel-string guitar could be used to express a world of non-traditional musical ideas -- harmonies and melodies you'd associate with Bartok, Charles Ives, or maybe the music of India." -- Dr. Demento (Barry Hansen)
                                "as monumental and singular a musical talent as any this country has produced." – Byron Coley
                                “Playing a six-string acoustic guitar, Mr. Fahey used country-blues fingerpicking and hymnlike melodies in stately pieces with classical structures. Wordless and unhurried, his music became a contemplation and an elegy, a stoic invocation of American roots, nameless musicians and ancestral memories. Behind its serene surface, the music was both stubborn and haunted. ...From the beginning, he was an iconoclast and a maverick.” -- Jon Pareles, The New York Times
                                “It is Mr. Fahey's moment as he rides back into view as an avant-garde father figure, whom the guitarist Thurston Moore of Sonic Youth has acknowledged as a ''secret influence.''
                                "…Mr. Fahey's music is conceptually slippery: it belongs to no genre. Musicians within folk, neo-acoustic blues, New Age and now, strangely enough, post-everything avant-garde rock have claimed him as an inspiration...he may be best understood in the same category of self-inventing American composers as Charles Ives and Brian Wilson." -Ben Ratliff, The New York Times
                                “As much as any single person, Fahey advanced a persuasive case that the blues, jazz, and hillbilly performers of the '20s and '30s created the most vital and enduring American music of the past century… Though it began as somewhat of a lark, the Blind Thomas material reveals Fahey the musician already in full bloom, ransacking old blues and country songs for ideas to flesh out his excursions and meditations.” – Eddie Dean
                                "What attracted me to Fahey's music was that it was solitary — very austere but very emotional." – James Blackshaw.

                                ● 115 tracks on 5 CDs
                                ● 88 page Hardback Book
                                ● Extensive Notes and Essays
                                ● Never-before-seen Photographs
                                ● A co-release between Dust-to-Digital and Revenant

                                The Bananrama lady reinvents herself as part of the electro-clash scene on this Droyds-remixed 12". Think SAW-era 'Nana, but in a bit of a mood, rather than happy and fluffy! Hey kids, watch out for a future Fahey appearence at Homoelectric!!

                                The delightful Fair Ohs release their second full length, Jungle Cats. Inspired by trips to North Africa, the lost music of forgotten tribes, San Francisco psych, James Brown’s unequalled dedication to the Holy Groove and Carlos f**kin’ Santana; Jungle Cats is a record to seduce to.

                                Fair Ohs formed four years ago in a haze of beer-soaked free love party-vibes. Eddy, Joe and Matt came together like young romantics, vowing to show everyone the meaning of true love. The years that followed the consummation of their musical marriage on that hot summer’s day saw them release a series of 7″ singles and cassettes – some shared with the likes of Women, Male Bonding, and Cold Pumas – that made people like Pitchfork say “hey, these guys are A-OK!”. But no one was prepared for the earth shattering power of debut album Everything Is Dancing. A record so inventive and hip-shakingly awesome that fans and critics alike regularly begged them for locks of hair, sweat-drenched t-shirts and babies. But Fair Ohs gave them nothing, the music was the gift they shared, not their love.

                                Everything Is Dancing was the sound of East African guitar music colliding with Indian ragas and Cuban rhythms in the hands of three shirtless London punk virtuosos. And it was rad. They toured after that, playing to the braying masses. All furious and drunk and hypnotic, they bewitched Europe and Great Britain, casting their magical musical spell in the tiniest of dives and the most sun soaked of festivals. But then they rested, and waited, and created. Setting the ‘desert vibe’ tone from opener Green Apple Milk – full of crackling, dusty Ethiopian jazz samples and three-part saxophone harmonies that eventually descend into a slow and psychedelic Santana and Earth-inspired desert trip – and featuring 2012’s ‘Salt Flats’ albeit a new far jazzier version of the hit flexi single - this is a record to be naked to…. A record to dance all night with your crush to…. An endless fiesta that Lionel Richie promised, but never delivered.

                                Jad Fair & Kramer

                                The History Of Crying

                                  JAD FAIR has been one of the premiere artists of the American Indie Music scene since the late 1970’s. He has recorded with many of the best musicians and bands in the history of the world, including Half Japanese, Yo La Tengo, Daniel Johnston, R. Stevie Moore, Teenage Fanclub, Moe Tucker, The Pastels, Danielson, and KRAMER. He's released over 50 albums. Not content with being a pretty boy rock & roll legend, Jad is also an accomplished artist, and has had 16 books of his art published in Europe, Japan and America. He and Kramer have worked together since Kramer produced two seminal LP’s from Half Japanese in the 1980’s; MUSIC TO STRIP BY, and THE BAND WHO WOULD BE KING.

                                  They first collaborated as a duo in 1988 when they released ROLL OUT THE BARREL, and then again ten years later with THE SOUND OF MUSIC. KRAMER is a world unto himself. After paying his dues for 5 years with Eugene Chadbourne in both The Cadbourne’s and Shockabilly, Kramer joined the BUTTHOLE SURFERS in 1985 but only remained with the band through their first European tour before departing and establishing NOISE NEW YORK, his own 16-track recording studio in NYC. It was there that he founded his notorious SHIMMY-DISC record label, producing and releasing music by artists as diverse as DANIEL JOHNSTON, KING MISSILE, GWAR, GALAXIE 500, PUSSY GALORE, and his own bands, B.A.L.L. and BONGWATER. He then moved to a state-of-the-art 24track recording studio, Noise New Jersey, where he produced some of the greatest recordings by WILL OLDHAM, URGE OVERKILL (“Girl, You’ll Be A Woman Soon” - for the Pulp Fiction Soundtrack), DANIELSON, and the first two LP’s by LOW. THE HISTORY OF CRYING is JAD FAIR & KRAMER’s third collaboration, and their first in almost 20 years; 12 brand new songs produced by Kramer at his Florida studio, Noise Miami. Longtime fans of Jad Fair will be stunned by how he SINGS on this LP. No other LP in Jad’s storied career features him singing complex melodies in the manner he does here. From a life in music spanning over 40 years, It is unlike anything he has ever done before, and it is a wondrous thing to behold. Jad SINGS! This LP also features guitar solos by PAUL LEARY (BUTTHOLE SURFERS), whose contributions to this LP cannot be overestimated. BS fans will go hog wild. 

                                  Fairewell is the new project of Sheffield-born, North London-based Johnny White, formerly of The Rollercoaster Project.

                                  The debut album ‘Poor, Poor Grendel’ features ‘Born Under A Bad Sign’, which was featured on Lauren Laverne’s BBC 6 Music show.

                                  ‘Born Under A Bad Sign’, with its video featuring a boy unwittingly leading a sheep to its untimely demise, became a blog hit.

                                  Musically veers from elegiac post-rock to saturnine synth-pop. Radio Dept-style indie makes way for lengthy instrumentals which bring to mind M83 covering ‘Songs From The Big Chair’-era Tears For Fears.

                                  What is Fairhorns? Fairhorns is the sound of the dirty future to come. More prosaically - but not by much - Fairhorns is Bristol based multi-instrumentalist Matt Loveridge, best known for his role as guitar abuser and keyboard/synth manipulator in acclaimed experimental rock trio Beak> alongside Billy Fuller (Fuzz Against Junk) and Geoff Barrow (Portishead, Quakers).You may also know Matt as Team Brick, whose 2009 debut album Alogon was greeted with considerable praise. Prior to that, Team Brick had garnered a reputation for unpredictable, exciting and often confrontational live shows, suggesting a British-born hybrid of R Stevie Moore, C Spencer Yeh (Burning Star Core) and Mike Patton. After a number of years of getting thoroughly puzzled with itself - and self-releasing a succession of limited-run CDRs covering ground from chiptune pop to heavy drone and Power Radiophonics - Team Brick splintered into several different projects, each one focusing on a separate element. Thus, Fairhorns was born.

                                  Released via forward-thinking UK label Invada, DOKI DOKI RUN is the project’s debut album. Matt describes Fairhorns as “the fuzzed out, too-much-coffee haze of an all-night YouTube binge. Blackened Kraut. Ur-Step. Half-remembered kids TV theme tunes on a locked groove. Autistic blues - music for angry nerds who like to groove stoically and immobile.” The discerning listener may detect elements reminiscent of Hospital-era Cold Cave, Xeno & Oaklander, La Dusseldorf and even avant-doom pranksters Crom in the album’s quixotic flow, ranging from clattering electro-percussive assault to organ-led dreamscape.

                                  “Baffling , startling , Doki Doki Run is an eccentric gem that rewards and encourages careful listening” – 9/10 Loud & Quiet

                                  STAFF COMMENTS

                                  Ryan says: A collection of messed up, oddly dark drone ramblings for anyone who likes something a bit weird.

                                  In 1974 Jad and David Fair teamed up to form a band called Half Japanese. The route was simple, at first. If one pounded on drums the other could squeeze sounds from an electric guitar. There were no other band members to stay in tune with, so there was no particular reason for them to worry about tuning the guitar in a traditional manner or learning traditional chords. They were free from the start to express their music in their own way. They traded off the guitar and drumming rolls. Whichever one sang the words also played the guitar and the other one drummed. For a couple of years they wrote, recorded and performed this way, without the convention of more members. When they did decide to expand they went big. They first thought of recruiting an outside drummer, so that both could play guitars at the same time.

                                  In 2014 Jad and David stripped things back to the roots. They went back to recording as a duo. One sang and played guitar, the other one drummed. 40 years had passed, but they slipped right back into the original roles and churned out a number of breath-stealing songs. 40 years later; 40 years better. One pick, two sticks and heart-warming vocals...... That's all they needed; two brothers, still rockin' the same damn deal! 

                                  The words and primary voice are those of Jad Fair, that enduringly idiosyncratic artist revered in discerning pockets of the global indie rock underground for decades. Danielson’s Daniel Smith has long admired Fair, drawing inspiration from Half Japanese (the band Fair formed with his brother in the ‘70s) on through to his prolific career today. Their discussions of collaborating finally came to fruition when Joyful Noise Recordings designated Fair its “Artist In Residence” for 2014 and Danielson was tapped as one of 4 artists (including R. Stevie Moore; Teenage Fanclub's Norman Blake; and Strobe Talbot) to record separate respective albums with him for a boxed-set limited release.

                                  “Flattered and honored” is how Smith sums up his feelings about the project -- and grateful to get a game-plan for what always seemed a complementary pairing. Sounds Familyre will be doing their own non-limited release of Solid Gold Heart in June, on CD, digital and gold vinyl. The 11 tracks of sweet collaboration collected under said title sound like what you might expect, given the respective artists: gleaming tunes of sincere sing-speak, resplendent with sparkling back-up vocals and warmly melodic, inventive instrumentation; a sunshine-bright outlook of positive encouragement to keep “rockin’ on the side of gooood” -- because, after all, “We deserve chocolate cake/ We deserve apple pie/ Enjoy your life ...”

                                  The collaborative process commenced with Fair sending Smith his unique vocal demos of recited lyrics with articulated mouthsound musical qualities (some bits remain in the final mixes). Smith then wrote music for each chosen track, eventually getting Fair and drummer Gilles Rieder into his Clarksboro, NJ studio to record their parts during a few hours break from touring. Aside from Smith’s own guitar-playing and singing throughout the album, there were contributions made by his brothers David and Andrew on percussion, and sisters Rachel and Megan along with wife Elin on vocals. Spicing things up at Fair’s behest were members of Texas art-polka band Brave Combo: Carl Finch on accordion and keys; Jeffrey Barnes on sax and woodwinds; and Danny O’Brien on trumpet. Bringing things full-circle was Kramer (Shockabilly, Bongwater, B.A.L.L. et al.) on bass, who also co-mixed and mastered the album.

                                  The result is a beguiling blend that builds off each participant’s strengths, truly a fresh sum that is greater than its parts. “The goal was to make 3-minute pop songs, as accessible and fun and immediate as possible,” notes Smith. And that’s what you’ll hear, each track an uplifting, mutually enhanced concoction. Anyone who ever had a Solid Gold Heart -- wouldn’t they want to turn around and share it? Of course they would. Jad Fair and Danielson are happy to offer up theirs.

                                  Jad Fair

                                  His Name Itself Is Music

                                    Jad Fair is by his own admittance a prolific artist, 'It takes a lot of work, and bands spend way more time in the studio than I do. Most of my albums have taken three or four days to record'. It comes as no surprise then that whilst releasing "Beautiful Songs - the Best Of Jad Fair", an album featuring both Jad’s own material and those created with Half Japanese and boasting over 100 tracks, that Jad can offer yet another contribution "His Name Itself Is Music", to what is already a considerable and esteemed bank of work, "His Name Itself Is Music" see’s Jad continue to embrace his emotive and raw approach to music making. An un-tuned guitar, his voice for beats and his expressive singing wavering in and out of pitch as if momentarily plucked from his generous subconscious.

                                    'I love him for his boundless enthusiasm and shy genius' says Everett True, '.. maybe it’s wrong to call Jad naïve because he knows what he’s doing, but he has a child-like wonderment that to me is at the core of most great music I can name. The Shaggs, Leadbelly, Jonathan Richman. He makes my feet want to move, and there’s no higher compliment, I’ve seen Jad play concerts with a rolled-up newspaper and upturned wastebasket for rhythm, with just his voice for colour. I’ve also seen Jad play stadiums in precisely the same fashion – with a band behind him, sure, but with the spirit intact – in front of crowds of over 15,000, in support to Nirvana on their final tour'.

                                    The Fairlanes

                                    Welcome To Nowhere

                                    12 songs dealing with the uncertainty of life and those troublesome emotional issues that crop up from time to time. Getting older but not necessarily wiser and finding that the American Dream is a bit of a nightmare. For fans of 'quality soft core' such as the Alkaline Trio, NOFX and Lagwagon.

                                    This is the debut LP from Fairmont on Border Community. And it is pretty much what you'd expect both from the artist and the label that brought you Holden's recent LP and Nathan Fake's "Drowning In A Sea Of Love". Basically that means there is a techy undercurrent to the proceedings, with a large percentage being aimed at the floor, and a few slow burners and ambient interludes. The one thing that sets Border Community apart is their kookiness, strange electronic squiggles, drones, FX and otherworldly noise all permeate the tracks, this all points to "Coloured In Memory" being the next triumph in the BC cannon. Very good indeed.

                                    Weapons Of Desire welcome Tim Fairplay to their barracks. "Key To Paradox" is a lazer-guided assault of automatic 303 fire and machine gun drums. The tension and drama is accentuated through taut, overhead synthlines. Iron Blu is enlisted for remix duties, changing the attack to a somewhat more deliberate, slow paced marched with intricate percussion nuances and proper pounding low end. Both are sure to cause 'nuff damage out in the field. Super limited weaponry, buy now!

                                    Timothy J. Fairplay

                                    False Visions

                                      Seven track cassette only release. All original & unreleased material. Limited run of 100 for Cassette Store Day 

                                      Timothy J. Fairplay

                                      The Promise Of Midi

                                        Seven track cassette only release. Limited run of 100 for Cassette Store Day - 27th September 2014 on Centurians of Rome.

                                        The tracks where originally recorded for an album a little while ago, but Antoine stole the master tapes so it never got released.

                                        Fairport Convention

                                        Moat On The Ledge - Live At Broughton Castle

                                          THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                          Moat on the Ledge: Live at Broughton Castle, August '81 is a live folk rock album by Fairport Convention. The album was produced by Simon Nicol and Dave Pegg.

                                          DELUXE VINYL EDITION!!!!

                                          Fairport Convention

                                          "Babbacombe" Lee

                                          Digitally remastered with bonus tracks, "Farewell To A Poor Man's Son" and "Breakfast In Mayfair", enhanced packaging and extra sleeve notes.

                                          Fairport Convention

                                          Liege And Lief

                                          Remastered with the addition of two unreleased session tracks "Sir Patrick Spens" and "Quiet Joys Of Brotherhood", both featuring Sandy Denny vocals, Island have managed to make what was an all time classic folk rock album an even more essential purchase. Reformed after a fatal car crash which had killed their previous drummer and Richard Thompson's girlfriend, Fairport Convention produced some of the most genuine and original music to emerge in Britain in the last half century. The talent in the band was immense - singer Sandy Denny, guitarist Richard Thompson, fiddler Dave Swarbrick, guitarist Simon Nicol, drummer Dave Mattacks and mister versatility Ashley Hutchings on bass produced weaving rhythms and unique time signatures that moved folk music onto a new and joyful level. The folk ballads are epic and the musicianship incomparable - an altogether wonderful experience.

                                          Fairport Convention

                                          What We Did On Our Holidays

                                          Fairport Convention are rightly regarded as the greatest band to originate from the British folk rock scene of the 60s. Over the course of their first three albums they shaped a new, unique style by drawing on traditional folk tunes and contemporary American songs as well as the songwriting talents of Richard Thompson, Ashley Hutchings, Simon Nicol and Ian Matthews. A crucial change had taken place since the release of their debut album when Alexandra Elene MacLean Denny (known as Sandy) joined the band. Sandy Denny was the greatest female folk singer of her generation and "What We Did On Our Holidays" opening song "Fotheringay" is a Denny classic - her achingly beautiful and penetrating vocal adding an extra dimension to a band already overflowing with talent. 1969's "What We Did on Our Holidays" is one of their finest albums with its mix of traditional folk songs, their best self-penned songs to date and wonderful cover versions of Dylan and Joni Mitchell tracks.

                                          FORMAT INFORMATION

                                          CD Info: Remastered with bonus tracks.

                                          Fairweather

                                          Alaska

                                          New EP from the excellent emo-core outfit Faiweather which contains three new tracks. An inspired mix of riff and lyrical intensity with hints of Slint, Fugazi and Sonic Youth.

                                          Fairweather

                                          If They Move. Kill Them

                                          Fairweather : very young, very intense, brooding, energetic and melodic. They've toured loads and are signed to the same label as Saves the Day another excellent young indie/emocore band. Their music is about passion, intensity and movement through life and they're pretty impressive.

                                          Fairweather

                                          Lusitania

                                          Taking a short break to compose and work on their second album has done Fairweather no end of good. They've returned with a no-holds-barred emotionally rampaging disc that builds on the stop gap four-track EP "Alaska" and moves into even more dynamic and sophisticated territory. "Lusitania" is an hour long journey filled with tension, hope and the human condition: a breathtaking album that moves emo in a new and positive direction.

                                          Faith No More

                                          Album Of The Year - 180g Gold Vinyl Edition

                                            The last album of Faith No More was a worthy goodbye to millions of fans worldwide. Having a new guitarist in their ranks, the band recorded 12 fresh songs in the comfort of bassist Billy Gould’s home studio. These sessions produced two hits: “Ashes To Ashes” and “Last Cup Of Sorrow”. Straightforward and concise, the album sequence takes no prisoners and delivers an outstanding Faith No More experience. At its release in 1997 Album Of The Year was pressed on LP in small quantities, making original vinyl copies very hard to find.

                                            With the reissue of Music On Vinyl, thousands of fans can again enjoy this album the way it should be heard - on wax! To stir up some attention we’ve thrown in a special first run of 2000 copies on GOLD vinyl – must be seen to be believed. Don’t sleep on this one.

                                            FORMAT INFORMATION

                                            LP Info: Limited 180g vinyl pressing. First 2000 on gold COLOURED vinyl.

                                            ‘Sol Invictus’, Faith No More’s highly anticipated follow-up to ‘Album Of The Year’, arrives via Reclamation Recordings / Ipecac Recordings.

                                            ‘Sol Invictus’ is the band’s first new album in 18 years.

                                            ‘Sol Invictus’ was produced by Bill Gould and recorded in the band’s Oakland, California studio.

                                            Faith No More have influenced bands of all genres, including System Of A Down, Incubus, Muse and more.

                                            The single ‘Motherf*cker’ heralded the arrival of the album and was followed by ‘Superhero’. Both songs feature on the album along with eight other brand new tracks.

                                            FORMAT INFORMATION

                                            Ltd LP Info: Gatefold LP vinyl with download code of the album and foil block finish. Special limited edition gold vinyl LP (750 copies for the UK & Eire) available exclusively to independent retailers.

                                            Faith No More

                                            Superhero

                                              Faith No More, who reunited in 2009 for a series of sold out performances and international festivals, are currently recording their first full-length album since 1997’s ‘Album Of The Year’.

                                              ‘Superhero’ is the second single to be released from the upcoming full length.

                                              The new album is being recorded in an Oakland, California studio with bass player Billy Gould handling production.

                                              The release will be the first from Faith No More’s newly formed Reclamation Recordings imprint via Ipecac Recordings.

                                              Faith No More

                                              The Real Thing - Green Vinyl Edition

                                                The Real Thing (1989) turned out to be Faith No More’s most aptly named record as it presents the band’s most revered line-up. Mike Patton on vocals proved a massive improvement on their previous singer. Added at the last moment to complement a set of strong, funky songs, he joined Roddy Bottum on keys, Jim Martin on guitars, bassist Bill Gould and Mike Bordin on drums. The hit single “Epic” proved to be just that, and is one of the most recognizable Faith No More songs in their repertoire.

                                                • 180g audiophile vinyl
                                                • Insert
                                                • First 2500 numbered copies pressed on green / yellow marbled vinyl



                                                Faith No More

                                                We Care A Lot: Deluxe Band Edition

                                                Out of print for 20 years, the debut album of Faith No More gets the deluxe treatment, having the original album fully remastered from original tapes, plus nine bonus tracks, including demos and never before heard live tracks.

                                                FORMAT INFORMATION

                                                2xLtd LP Info: Double LP in a gatefold sleeve with printed inners
                                                plus a copy of the album on CD.

                                                Marianne Faithful

                                                Before The Poison

                                                An album of extraordinary power from a true icon, fuelled by collaborations with and contributions from such artists as PJ Harvey, Nick Cave & the Bad Seeds and Damon Albarn. The core of "Before The Poison", Marianne's first album for two years – are the contributions by PJ Harvey and Nick Cave. Polly Harvey has penned three of the songs and co-written another two with Faithfull while Cave and Marianne jointly wrote a further three tunes. Both PJ Harvey and Nick Cave, together with members of their respective bands, also perform on the album. Damon Albarn has also contributed a song while the remaining track on the album was written by the acclaimed American composer Jon Brion in partnership with Marianne Faithfull. "Before The Poison"'s liner notes are by the renowned novelist and critic Will Self.

                                                Marianne Faithful

                                                Rich Kid Blues

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

                                                  Issued on vinyl for the first time since 1985, this Record Store Day 2017 edition is pressed on silver coloured vinyl.

                                                  Produced by Mike Leander, who had produced and arranged much of Faithfull's Decca material, "Rich Kid Blues" is an intriguing album of spare, largely acoustic readings of folk / rock songs, including several Bob Dylan covers, as well as songs by Phil Ochs, George Harrison, Cat Stevens, Tim Hardin, James Taylor and Sandy Denny.

                                                  Marianne Faithfull

                                                  Negative Capability

                                                    ‘Negative Capability ’ is Marianne Faithfull’s 21st album and the most emotionally powerful of her 54-year recording career. Facing down arthritis and bolstered by collaborators including Warren Ellis, Nick Cave, Rob Ellis, Ed Harcourt and Mark Lanegan, ‘Negative Capability’ is charged with brutal honesty and autobiographical reflection as she addresses losing old friends, her loneliness living in her adopted city of Paris, and love.
                                                    Driven by her supernatural reinterpretative skills, florid lyricism, battle against the pain she lives with, and realised with her stellar group of musicians, ‘Negative Capability’ is Marianne’s unflinchingly honest and relentlessly beautiful late-life masterpiece. The stark emotional heft, exquisitely framed by ornately sensitive musical backdrops can only be likened to the late-life works by Johnny Cash or Leonard Cohen.

                                                    Recorded at La Frette studio on the outskirts of Paris, ‘Negative Capability’ is inexorably overshadowed by grief at losing close friends from the ‘60s such as Anita Pallenberg, Martin Stone and Cream album designer Martin Sharp. It’s produced by both Rob Ellis – the PJ Harvey producer who’s been Marianne’s collaborator for five years -and Warren Ellis from Nick Cave and the Bad Seeds. Warren’s violin blesses songs such as ‘Misunderstanding’ and ‘Born To Live’ – her intensely moving eulogy to departed lifelong friend Anita - with the stark but lustrous autumnal beauty that makes the album

                                                    The first single ‘The Gypsy Fairie Queen’ – inspired by Shakespeare’s ‘Midsummer Night’s Dream’ – was co-written with Nick Cave and features his vocals and piano playing.


                                                    Few DJs have truly trashed the rulebook like Fake Blood. When his remixes snuck onto the dance scene in 2008, he shied away from the spotlight and, like a dancefloor ninja, managed to keep his identity firmly under wraps. There were no gimmicks, no stadiumsized headpieces or fancy dress masks to obscure him, just a desire for club heads to absorb his music without any preconceptions.

                                                    Four years and four EPs on, Theo Keating is still something of an enigma. He doesn’t prey on fame, he does very few interviews and he isn’t part of a DJ crew; he has always preferred to let his music speak for itself. He’s been in no hurry to release a record either, until now, that is.

                                                    Keating has found a home on Different Recordings, which counts club crusaders like Tiga, Felix Da Housecat and Vitalic among its roster, and is finally ready to present his debut album, ‘Cells’.

                                                    To ready fans for his debut long-player, Fake Blood drops the ‘Yes/No’ EP. The 12” features fan-favourite ‘Yes/No’, a blur of samples, strings and bass that has been a staple in Theo’s sets for a while, as well as ‘End Of Days’, an apocalyptic and cinematic techno opus.

                                                    Fake Ideal

                                                    Carve Me An Edge

                                                    Great angst ridden rock from these four guys from that hot bed of rock'n'roll... Doncaster. Both formats include exclusive tracks.

                                                    FORMAT INFORMATION

                                                    CDS Info: The CD single includes "My Stacatto Hell" and "In The Afternoon".

                                                    Fake Laugh’s self-titled debut album arrives this summer as a delicate accumulation of years of experimentation. Unfurling slowly, the full length has been a gradual process: part playfulness, part perfection. Whilst perpetually in tune with the digital disconnect of contemporary life, the album is a vivid rummage through sixties US-pop standards and British alternative stalwarts. Fake Laugh showcases a familiar world of love, confusion and self-questioning but refocused through the bright lens of the London/Berlin based artist Kamran Khan. Tirelessly writing and recording whenever he can, a busy 2016 saw Khan release the energetic 'Ice' EP, the bubbly trepidation of double A side 'Mind Tricks/Birdsong Lullaby' and the more complex and serene ‘Great Ideas’ EP. All three were important steps towards manifesting the right combination for the eagerly anticipated debut. Khan confesses that once upon a time Fake Laugh was “a bit of fun on the side”.

                                                    However, now with the project his sole focus, there’s a revitalised commitment to recording that has seen him finishing the album this year. Reuniting once again with producer Theo Verney (Traams, O.Chapman) in Brighton, Khan has brought the intimacy of his bedroom and added it to a more luscious environment. Certain parts of the record date as far back as 2013, whilst others were recorded only in the past few months. The result is a record that flows with a wise but youthful abandon. Echoing latter Belle & Sebastian records - that retained their adolescent flare and longing - Khan has fortified his dreams rather than forgotten them. 


                                                    Fake Left

                                                    Borders Night Train

                                                    Fresh new shit from the Rubadub camp up there in Glasgow. The label has fast become synonymous with cutting edge sounds from the worlds of leftfield, house and techno; and this new release by Glaswegian local and until now unsigned artist, Fake Left, further cements the crucial status the label is quickly achieving. Onto the music and what we have is two tracks of rich, textured, deep house music. It sounds to me like Fake Left is a hardware fanatic, as there's a natural distortion and warmth here that suggests analogue instruments. Not over complicating things, he often stands back and allows the machines to breath, letting gentle phasers and frequency shifts drift through the pulsating sequences. "Borders Night Train" is the more acidic of the two, layering up a gliding, disorientating motif over some wigged out 303s and dramatic string sweeps. Deep and more cinematic than your average acid blaster. "Depth Contours", in contract, is pure liquid deep house pleasure. Casually unfolding under phazed hats, grinding electronics and dreamy pads it's like Jose Rico's Downbeat label soiled with warehouse grime. Excellent stuff. most recommended.

                                                    Fake Love

                                                    Fake Love Vol.1

                                                    Zoooooooommmm! Massive space disco 12" here with absolutely no info! A brief listen through either side will tell you that you're in the land of Hi-NRG, Italo-disco fire power with a specific focus on the more cosmic end of the spectrum. I'm guessing these are edits, and I'm sure I know the source material, though an extra hot This'N'That at lunchtime has left me light-headed and low on memory recall. The A-side offers us a Donna Summer-styled slammer befitting the Fake Love moniker, but with extra Patrick Cowley synth riffery, cosmic disco vox, sci fi samples and a phat vocoder. Over on the flip, we have another poppers-fuelled pounder, this time taking proggy chords, vamping keyboards and a perfectly panned sequence and strapping them to a thumping 4/4. Tops off!

                                                    Fake Love

                                                    Fake Love Vol.2

                                                    More illicit edits from the elusive Fake Love crew. The A side is a stonkingly huge Japanese boogie thing from 1982. Cosmos and "Midnight Shuffle", taken from the album, "Bourbonsuite" and previously titled in Japanese! A copy of the full LP'll set you back between 50 or 75 sheets, but here we get this killer lead track presented on a full clean side of wax and sounded super hot and heavy! - yes cru! Featuring sugary sweet female vox, galvanized bass and big powerful piano chords, this shows the Japanese band equally as apt and conjuring big bolshy disco-boogie crossover hits. Next up a fast paced, Moog-led, disco-funk blaster with fiery synth work, big slap bass and vamping piano licks; jubilant and rambunctious from start to finish, answers on a postcard if you know this one folks! Concludes with a smooth-rolling erection-section groover, with sunshine brass, detailed guitar licks and sloppy boogie drums, this EP is all the working DJ needs to keep the majority of nighttime establishments more than happy as they dance away the evening sipping cocktails. Big smiles all around - 10 / 10.

                                                    STAFF COMMENTS

                                                    Matt says: Bloody hell don't sleep on this pop pickers. Rare-ass Japanese album track boogie and two even harder to identify disco jams from the Fake Love cru.

                                                    Fake Love

                                                    Fake Love Vol.3

                                                    As the early summer sunlight begins to cascade over the red bricks and overpriced flats of our much loved home, those mysterious folks at Fake Love check the barometer and bring us a trio of exciting, exotic and occasionally erotic edits perfect for long summer nights. The A-side here erupts into triumphant technicolour with off beat guitar, calypso keys and all manner of whacky Anatolian synth action, prancing onto the dance floor and getting stuck into some sort of belly dance limbo. Is it a merengue? Is it a meringue? Who knows, it's tasty and it's gonna turn you on! Floating over to the B-side and we're in the Caribbean for sure. As groovy and off kilter as Martin after a sip of rum punch, this mid tempo hip twister comes packed to the rafters with late 80s fusion synth sounds, tropical pop sensibilities and a sort of sexy/sort of silly vibe - one to wind to perhaps? The digi-zouk delights continue on the B2, with a deep and dramatic female vocal topping the steady and strutting beat - I'll looking to Ruffy or Plastic Bamboo for the IDs here...

                                                    STAFF COMMENTS

                                                    Patrick says: Fake Love 3 is here, bringing maximum fun for our minimum sun. Grooving with gusto from a variety of Caribbean islands, this is Balearo-holiday pop at its finest. In my bag!

                                                    Fake Love

                                                    Fake Love Vol.5

                                                    Crafty buggers Fake Love return, making it almost a weekly occurrence. Much like Mastermind on BBC can be relied upon week after week to totally bamboozle and ridicule your intelligence - Fake Love pour humiliation over your disco, soul and funk knowledge, digging up highly listenable yet majorly unheard nuggets from the past thirty or so years; and continuously making us here at Piccadilly HQ admit defeat at the hands of this avid firm.

                                                    To make matters worse, our in-house disco encyclopedia Patrick is off today, so I'm handing in the towel before I've even begun, sculling back into the mail order to section to discuss stiffeners and shipping costs with Dave.

                                                    What I can tell you is that side A features a bouncy, electro-disco cut rich with boat party flavour and sounding like summat you'd catch Balearic Mike or Kelvin Andres playing to out to raptors celebration. Side B keeps the Balearic spirit alive as a proper beach ball soul cut skips across the bay as we enjoy margaritas and calamari. A truly evocative holiday experience! Bal-ear-ic A F mate....



                                                    STAFF COMMENTS

                                                    Patrick says: While Matt's flailing around the mailorder department in disgrace, I've returned to offer some ID assistance. Volume 5 focuses on the sweet voiced musical career of Alessandra Mussolini (the grand daughter of the fascist dictator) via two top edits of her most sought after material. The A-side offers "Love Is Love", the camp disco hit which inspired Ofra Haza's Israeli Balearic hit "Adama", while the B-side flips "Amai Kioku", an Italian Balearic disco hit with Japanese lyrics. Curio anyone?

                                                    Nathan Fake / Wesley Matsell

                                                    Cambria01

                                                      Nathan Fake and Wesley Matsell launch new imprint Cambria Instruments.

                                                      “A highly expressive, lysergic trip and one of his finest productions to date. All in all, you couldn't hope for a stronger start from a new label.” - Bleep

                                                      One of the most consistently excellent artists within the Border Community fold, since impressing them with his simultaneously reflective, dance floor jams when just out of his teens in 2003; Nathan Fake is stepping out on his own. With his friend, fellow producer and DJ, Wesley Matsell, Fake has announced the launch of his new imprint, Cambria Instruments, with the first release set to be a split release between the pair.

                                                      In some ways the title of the imprint follows Fake’s interest in exploring the heritage of Britain – most notably on his 2012 record Steam Days, its tracks’ titles referencing several historical areas around his native Norfolk. “Cambria is a reference to both Wesley and I,” Fake explains. “He’s from Wales, and Cambria is an ancient English/Latin name for Wales, so we thought that summed up where the label was coming from.”

                                                      Teaming up with Matsell – himself a Border Community club staple – the pair’s first release on Cambria Instruments will be Fake’s nocturnal groove-laden track ‘Black Drift’, coupled with Matsell’s similarly crisp mixture of shifting percussion and submerged oscillations, ‘Bismuth’. Both tracks have a similarly hi-fidelity feel to them, coupled with – as Fake puts it – "new esoteric melodies and textures previously unheard from both artists”.

                                                      Details are yet to be confirmed on future releases from outside artists, but solo EPs from the co-founders can expected in the future. With Matsell’s far-reaching tastes in everything from fifties electroacoustic, acid house and early Detroit, through to hardcore and rave, nineties techno and noise, the thought of him joining up with Fake’s own naturally eclectically-informed mind is an exciting one indeed.


                                                      Nathan Fake has grown from his beginnings as an undeniably skilled, but relatively inoffensive purveyor of twee IDM (see the cutesy electronic rhythms and circuit-bent melodies of 'Drowning In A Sea Of Love') into a powerhouse of challenging electronics and innovative melodic constructions.

                                                      The brash and stomping 'Feelings 1' could easily be stretched into a 6-minute long OPN track from his early catalog, but retains its impact and drive in part due to it's brevity, letting up after only a couple short minutes with a thematic segue into the thumping title track. Utilising his tried-and-tested technique of a filtered-out beginning into a revisitation of that theme, but injected with fiery percussion and swooning synthplay, Fake constructs a towering wall of chaotic arps and fizzling saturation, underpinned by distorted kick drums and dusty pads.

                                                      'HoursDaysMonthsSeasons' is much more along the lines of Border Community heavy-hitters Holden or Luke Abbott, pitching tweeting modulars and syncopated throbs against a droning foundation of fire and brimstone. As with all of Fake's more recent work, this is a deep and rewarding experience, but gives as much as you do, revealing it's complexities through patence and perserverance. 

                                                      Moving further along (we have convered the towering 'DEGREELESSNESS elsewhere), we move into ambient territory with 'SmallCityLights' which is a relaxing and much-needed respite (make use of it while you can) before the thudding dystopian sidechained duality of 'Radio Spiritworld'. Like a pack of robots fizzing and staggering towards a neon sun, we get chillwave guitars, industrial hammering and crackling electronic connections, coming together into a bracing mix of rampant retro-futurism and forward-thinking outsider 'tron.

                                                      Providence is as contrary and (I imagine) divisive as anything Fake has accomplished thus far, founded upon his considerable talent for writing a dancefloor stomper, but abstracted into the outer realms of melodicism and rhythm. A challenging, towering behemoth of an album, that will confound and amaze in equal measure. 

                                                      STAFF COMMENTS

                                                      Barry says: Nathan Fake does OPN. Shimmering synths, soul-shaking drone and abstracted rhythms mashed together (amazingly) into a brittle and brutal amalgamation of conceptual genius and technical mastery. A++, Will listen again.

                                                      With a line-up of members from New Brunswick, Canada and Manchester, UK, it should be no surprise that the songs of Faker Junior have the feel of both wide open spaces and urban grit, distilled and blended into brief ringing-guitar symphonies. Strong vocals (singer Ryan Lamey has been compared to both Buckleys, Tim and Jeff), layered guitars and driving rhythms are combined to form cliche-free melodic songs with enough of the sweet and the bitter, the dark and the light, to satisfy in full, but without excess or wasted effort, and with the occasional unexpected turn. Previously a solo singer-songwriter seeking musicians, and a group of musician-writers seeking a frontman, they connected online and first met in Manchester on an appropriately snowy night in December 2008. The chemistry was immediate and within weeks they had pooled resources and their disparate influences to write their first new songs. By February 2009 they were in the studio to record demos of 4 tracks with producer Yves Altana, but the initial results were so good that recording was extended and the finished tracks have become the band's self-funded debut EP, "Need To Know".

                                                      FORMAT INFORMATION

                                                      Ltd CDS Info: Four track EP.

                                                      Ahmed Fakroun

                                                      Ahmed Fakroun

                                                      Insanely popular across the Maghreb, name-checked in international spy novels and beloved of music adventurers like David Byrne, Libyan superstar Ahmed Fakroun is the most astounding raï-disco-funk pioneer you never heard of. His 1983 album, "Mots D'Amour", recently reissued by PMG, is regarded as a global fusion classic, and has had the whole Piccadilly staff (along with Natasha Bat For Lashes and Duncan Dutch Uncles) doing some sort of weird shop conga for weeks now. Well, the joy doesn't end there, and PMG have persuaded the Libyan legend to put together this self-titled anthology of songs recorded across Europe in the late 70’s. The grooves are slower, sweeter and lower slung with Fakroun’s multi-instrumentalist chops on the saz, mandol and darbouka drum truly coming to the fore. 
                                                      In amongst the exotic and esoteric grooves within, we have a welcome return to vinyl for two of Ahmed’s rarest and most sought-after 7”s. The Ned Doheny-via-Benghazi, West Coast grooving of "Nisyan" rubs shoulders with the Tommy Vance produced Balearic classic "Awedny" - alive with haunting flutes and relaxed funk. Elsewhere reggae-tinged lilters of "Falah" and "Yu Hussad" beam sunshine straight from your speakers and "Njoom Al Leyel" boasts a stoned funk one only finds in pre-Italo Italy. "Ahmed Fakroun" is the perfect late night, come-down album. Especially after a hot and sweaty evening in a raï club, somewhere in North Africa. 

                                                      STAFF COMMENTS

                                                      Patrick says: After supplying a party power-up with a much needed reissue of "Mots D'Amour", PMG team up with Ahmed Fakroun for an anthology of the Libyan legend's late 70s output. Alongside rare as hens teeth Balearic belters "Awedny", "Nisyan" and "Sinini" we're treated to a whole set of low slung, lightly spiced North African grooves.

                                                      The sixth installment of Slow Motion’s retro-futuristic international-sister label brings us the debut release of mysterious Russian producer Fakundo. Perfectly in tune with the Wrong Era ethos, Fakundo drops a quartet of leather-bound floor flayers. The whole EP is brimming with hard-hitting electro swagger that conjures up a dystopian video-game underworld, the best bits of Alien Sex Fiend and comes atop a whole bunch of wobbly baselines. "Telo" opens fire with a wrong speed barrage from New Order's drum machine, lurching into a pummeling Belgian bassline and peaking with the bleepiest hook you'll hear all year. "Distract" switches into electro mode, wrapping a rubberised groove round a stuttering 4/4 before bringing the full force of an electronic army on any remaining wallflowers. Toss that pancake and take a big bite out of "TTT", a deranged machine funk mauler that sounds kinda like "Los Ninos Del Parque", but with way more druggy aggression. Fakundo brings the roof down with "Black Ecstacy" a slow and low electro churner dipped in acid and aimed at the jugular. Not for the faint of heart this record is a total dance-floor destroyer.

                                                      Tav Falco & Panther Burns

                                                      Hip Flask: An Introduction To Tav Falco & Panther Burns

                                                        Frenzi Records presents Hip Flask, a comprehensive Best Of collection by maverick American artist Tav Falco and his “wreckabilly” combo Panther Burns, including 2 songs from their brand new studio album Command Performance as well as 17 classic back catalogue tracks.

                                                        Raised in rural Arkansas, Tav Falco formed the first incarnation of Panther Burns in Memphis in 1979, offering an artful mix of punk, garage, rockabilly and “art damage” influences, and sharing stages with the likes of The Cramps and The Gun Club. Legendary friend and mentor Alex Chilton (ex-Box Tops and Big Star) orchestrated their acclaimed debut long player Behind the Magnolia Curtain for Rough Trade Records, before going on to produce the next three Panther Burns albums, using vintage Memphis studios such as Ardent, Sam Phillips Recording and Easley McCain.

                                                        Tav Falco & Panther Burns have been cited as an influence by everyone from Jon Spencer Blues Explosion to The Fall, Spacemen 3 and Spiritualized. “Renegade Tav Falco explores a highly personal vision of rock n’ roll,” enthused Edwin Pouncey in The Wire in November 2014. “Possessed by a wide range of influences that range from country and blues, novelty numbers and punk rock, to La Monte Young styled drone. But Falco has earned the right to stand shoulder to shoulder with the musicians and artists he so fervently admires.”

                                                        Robert Palmer of the New York Times declared of Falco: “He is a singer, guitarist and researcher of musical arcane who hasn’t let his idiomatic mastery and increasing technical expertise compromise the clarity of his vision.”

                                                        “Tav Falco has spent much of the past two decades crafting a revisionist pop culture history,” said David Sprague in entertainment bible Variety. “He was post-modern when post-modern wasn't cool.”

                                                        A permanent move to Europe in the late 1980s saw Tav based first in Paris, and subsequently Vienna, and an expansion of Panther’s Burns raw garage sound to embrace Stax, lounge and even Argentinean tango influences (Falco is an accomplished dancer, as well as a photographer and filmmaker). His new set Command Performance was realized in Rome in 2014, and tops an extraordinarily rich back catalogue covering four decades and a dozen studio albums.

                                                        All 12 are represented on this new cherry-picked collection. “Hip Flask is a genre-hopping portmanteau of tunes and anthems that have propelled, compelled, and haunted the minds, bodies, and feet of generations of celebrants,” explains Tav. “There’s an undercurrent which runs through each of these divergent songs - an undercurrent that wells up from darker waters and lifts the beholder in that wistful, joyous, sensual, and at times terrifying tonal embrace we call music.”

                                                        Hip Flask is released through bespoke imprint Frenzi, and features a 16 page illustrated booklet with liner notes by Tav himself. To follow are deluxe double disc editions of The World We Knew (1987), Return of the Blue Panther (1990) and Life Sentence in the Cathouse (1991).


                                                        Tav Falco & Panther Burns

                                                        Life Sentence In The Cathouse / Live In Vienna

                                                          Frenzi Records presents a deluxe double disc remaster of Life Sentence in the Cathouse, the sixth studio album by maverick American artist Tav Falco and his “wreckabilly” combo Panther Burns.

                                                          Raised in rural Arkansas, Tav Falco formed the first incarnation of Panther Burns in Memphis in 1979, offering an artful mix of punk, garage, rockabilly and “art damage” influences, sharing stages with the likes of The Cramps and The Gun Club. Legendary friend and mentor Alex Chilton (ex-Box Tops and Big Star) orchestrated their acclaimed debut long player Behind the Magnolia Curtain for Rough Trade, before going on to produce the next three Panther Burns albums, using vintage Memphis studios such as Ardent, Sam Phillips Recording and Easley McCain.

                                                          Life Sentence… is the sixth Panther Burns album, produced by Chilton and originally released in 1991. “This was our last album recorded in Memphis,” explains Tav. “We invited the finest musicians we knew in our sphere: Mabon ‘Teenie’ Hodges, the Hi Records guitarist and hit maker for Al Green, wrote a song for the album and played guitar. Jim Dickinson came in on piano and acoustic guitar on which he always played in only one key: open G. On bass we had Roland Robinson, who at 14 years of age started on the road as bandleader for Eddie Floyd. The Easley brothers played dog house bass and guitars.”

                                                          Stand-out tracks include Torture, Guarda Che Luna and a muscular version of Cropper/Floyd classic My Mind Was Messed Up At the Time. Disc 2 offers a complete (and thunderous) live show recorded at the band’s tenth anniversary show at the Messepalast, Vienna, in May 1988.

                                                          Tav Falco & Panther Burns have been cited as an influence by everyone from Jon Spencer Blues Explosion to The Fall, Spacemen 3 and Spiritualized. “Renegade Tav Falco explores a highly personal vision of rock n’ roll,” enthused Edwin Pouncey in The Wire in November 2014. “Possessed by a wide range of influences that range from country and blues, novelty numbers and punk rock, to La Monte Young styled drone. But Falco has earned the right to stand shoulder to shoulder with the musicians and artists he so fervently admires.”

                                                          Life Sentence in the Cathouse is released through bespoke imprint Frenzi in an attractive tri-fold digipack. Also released are deluxe 2xCD editions of The World We Knew (1987) and Return of the Blue Panther (1990), plus ‘best of’ anthology Hip Flask.


                                                          Tav Falco & Panther Burns

                                                          Return Of The Blue Panther / Midnight In Memphis

                                                            Frenzi Records presents a deluxe double disc remaster of Return of the Blue Panther, the fifth studio album by maverick American artist Tav Falco and his “wreckabilly” combo Panther Burns.

                                                            Raised in rural Arkansas, Tav Falco formed the first incarnation of Panther Burns in Memphis in 1979, offering an artful mix of punk, garage, rockabilly and “art damage” influences, sharing stages with the likes of The Cramps and The Gun Club. Legendary friend and mentor Alex Chilton (ex-Box Tops and Big Star) orchestrated their acclaimed debut long player Behind the Magnolia Curtain for Rough Trade, before going on to produce the next three Panther Burns albums, using vintage Memphis studios such as Ardent, Sam Phillips Recording and Easley McCain.

                                                            Return of the Blue Panther is the fifth Panther Burns album, originally released in 1990. , “This was our first recorded without a producer,” explains Tav. “Not only that, but there also was trouble in the bedroom. Girlfriends of the band suddenly began to demur our affections. Hence, the lonely tonalities and twilight atmosphere heard on this set.”

                                                            Stand-out tracks include Surfside Date, Fun Mob and Girls On Fire. Disc 2 offers live album Midnight in Memphis, recorded at the band’s tenth anniversary show at the Warehouse, Memphis, on February 10th 1989.

                                                            Tav Falco & Panther Burns have been cited as an influence by everyone from Jon Spencer Blues Explosion to The Fall, Spacemen 3 and Spiritualized. “Renegade Tav Falco explores a highly personal vision of rock n’ roll,” enthused Edwin Pouncey in The Wire in November 2014. “Possessed by a wide range of influences that range from country and blues, novelty numbers and punk rock, to La Monte Young styled drone. But Falco has earned the right to stand shoulder to shoulder with the musicians and artists he so fervently admires.”

                                                            Return of the Blue Panther is released through bespoke imprint Frenzi in an attractive tri-fold digipack. Also released are deluxe 2xCD editions of The World We Knew (1987) and Life Sentence in the Cathouse (1991), plus ‘best of’ anthology Hip Flask.


                                                            Tav Falco & Panther Burns

                                                            The World We Knew / Shake Rag / Live

                                                            Frenzi Records presents a deluxe double disc remaster of The World We Knew, the third studio album by maverick American artist Tav Falco and his “wreckabilly” combo Panther Burns.

                                                            Raised in rural Arkansas, Tav Falco formed the first incarnation of Panther Burns in Memphis in 1979, offering an artful mix of punk, garage, rockabilly and “art damage” influences, sharing stages with the likes of The Cramps and The Gun Club. Legendary friend and mentor Alex Chilton (ex-Box Tops and Big Star) orchestrated their acclaimed debut long player Behind the Magnolia Curtain for Rough Trade, before going on to produce the next three Panther Burns albums, using vintage Memphis studios such as Ardent, Sam Phillips Recording and Easley McCain.

                                                            The World We Knew is the third Panther Burns album, originally released in 1987. “In a sense, it was a self-conscious and conceptual look back upon the trajectory of the group seven years into our existence,” explains Tav. “Fuelled by an era that was rapidly coming to an end, or had already ended, slipping away into the bleakness and softness of the Memphis night.”

                                                            Stand-out tracks include She’s a Bad Motorcycle, Ditch Digging, and Tav original Cuban Rebel Girl from the bonus Shake Rag EP. Disc 2 offers a previously unreleased live recording from the Babylone Club in Bordeaux from April 1987.

                                                            Tav Falco & Panther Burns have been cited as an influence by everyone from Jon Spencer Blues Explosion to The Fall, Spacemen 3 and Spiritualized. “Renegade Tav Falco explores a highly personal vision of rock n’ roll,” enthused Edwin Pouncey in The Wire in November 2014. “Possessed by a wide range of influences that range from country and blues, novelty numbers and punk rock, to La Monte Young styled drone. But Falco has earned the right to stand shoulder to shoulder with the musicians and artists he so fervently admires.”

                                                            The World We Knew is released through bespoke imprint Frenzi in an attractive tri-fold digipack. Also released are deluxe 2xCD editions of Return of the Blue Panther (1990) and Life Sentence in the Cathouse (1991), plus ‘best of’ anthology Hip Flask.


                                                            Though the vast, wide-open music made by Fall On Your Sword is made to underlie the visual images that flicker across a film screen - to enrich and inform the storytelling and further the emotional depth of the sights before our eyes - the songs of FOYS often seem to have their own expressed narrative. The soundtracks made by Will Bates and Phil Mossman move through moods and traverse a range of emotional environs, and seemingly possess their very own story arcs, conveyed in music’s notes and tones instead of the filmic language of images. “The First Time I Saw Jupiter” and “Rhoda’s Theme”, both extended mixes of songs featured in the film Another Earth, are a good place to start to see the duo’s ability to create a feeling and place through song. Both compositions lead the listener by the ears through expansive soundscapes and textured sonic landscapes.

                                                            "The First Time I Saw Jupiter” creates an atmosphere of eerie, icy desolation; sounds emit outward in what feels like the loneliness and desertion of space. The tenseness widens with the slow rise of a foreboding sustained bass tone, and from there, we pass through a range of sounds: electronic squalls, high pitched pulses, synth tones that ring out like warning bells of lurking danger. “Rhoda’s Theme” feels slightly more hopeful and less lonely. The song begins with a soft, repeating keyboard line, and then opens up onto beatific synths. There are slight shifts of shape across its nine-minute duration, as it moves from moments of driven beats and rhythms to sections of gorgeous, nearly orchestral streams of sound.

                                                            Fall On Your Sword are Will Bates and Phil Mossman. Bates has worked with artists including Roy Ayers, Paul McCartney, Marc Almond and Marshall Jefferson. As a solo artist and multi-instrumentalist, he has recorded under the name of his own post-punk outfit The Rinse and collaborated with Electric Six frontman Dick Valentine as The Evil Cowards. Bates has composed scores for films including You Won’t Miss Me, Play and Chosin. Phil Mossman is an original member of LCD Soundsystem (though he quit touring with the band in 2006, he rejoined the band for their final shows at New York City’s Terminal 5 and Madison Square Garden). In collaboration with DJ and composer David Holmes, Mossman worked on productions for bands including U2, Manic Street Preachers and Jon Spencer Blues Explosion and scored the films Out Of Sight and Ocean’s Eleven.
                                                            Since forming in 2010, Fall On Your Sword has scored five feature length films, and this year won a prestigious Clio award.

                                                            Fall Silent

                                                            Drunken Violence

                                                            Triple beat breakdowns, speed riffs from Hell, from the opening note to the killer artwork, Fall Silent have produced one of the best hardcore / metal albums of the year. The follow up to "Six Years In The Desert", on "Drunken Violence" they approach their sound with more speed and anger than any other album the band has released. With the speed collapsing into powerful breakdowns, they have been described as Pantera meeting Black Flag in a dark alley with flicknives. Cool!

                                                            Fall Silent

                                                            Six Years In The Desert

                                                            Taking the DIY ethic and mixing hardcore, punk rock and death metal they use primal vocals and a precise monsterous guitar attack that will hit you like a punch in the gut. This CD collects the band's previously out of print releases and features 17 hard and nasty tracks.

                                                            The Fall-Outs

                                                            Summertime

                                                            The Fall-Outs' fourth full length album, recorded at Egg Studios with Johnny Sangster at the helm these thirteen tracks are filled with the Fall-Outs trademark dark cynicism balanced with angelic harmonies and pop smart hooks, this is garage rock / pop at its finest.

                                                            The Fall

                                                            Masquerade (Single Mix) / Masquerade (Pwl Mix)

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

                                                              Previously unreleased on 7" - we have 2 mixes of Masquerade - a track that first appeared on the hard to find Levitate album in 1998. This single is a prelude to the re-issue of Levitate album on CD and Vinyl by Cherry Red. The versions of this single previously appeared on the rare 10"version (10 Artful 1). The band have a new album 'New Facts Emerge' released by Cherry Red in spring 2017

                                                              Never before on 7" - this single from the rare Levitate album contains the rare PWL mix


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